Search:elec

A prehistoric tribe dances around the fire. Young revelers lose themselves on a packed dancefloor. Explorers fly a rocket toward another galaxy. In the TIMEBEING universe, these things are all connected. From the earliest days of humanity, people have strived to expand their reality beyond the limitations of the here and now_and have used technology to make it happen. Their methods and machines may have changed across the centuries, but the drive remains constant, vibrating through history and occupying a space where time loses all meaning. "The art of making music is the art of manipulating time," says Uji. "I have had experiences where time shifts dramatically; sometimes it slows down to a halt, while moments seemingly become infinite. This is where the magic happens. This is when the fabric of what we call reality begins to show its seams." An Argentintian electronic producer and ethnomusicologist, Uji has been navigating those seams for more than two decades, initially as one half of the pioneering duo Lulacruza, but more recently with his own solo work. TIMEBEING continues that lineage, but also elevates it, taking shape as a interdisciplinary multimedia journey that includes a new album, an accompanying short film, an immersive live show and the birth of a new decentralized community of like-minded artists, creators, seekers, and dreamers. Mesmerizing and deeply psychedelic, the TIMEBEING LP certainly reflects the rich sound palette of Latin America_and its intersection with various strains of electronic music_but Uji taps into traditions_both musical and spiritual_that can't be hemmed in by borders and boundaries. Transcendence is the goal, and the album moves through fantastical spaces that may or may not exist: a metallic jungle, a Balkan spaceship, a cloud that morphs into a tumultuous whirlpool. All the while, Uji criss-crosses history, consulting elders and futurists alike as he throws open the doors of perception and pens a new mythology about what it means to be human. FOR FANS OF: Floating Points, Four Tet, Oneohtrix Point Never, Actress, Nicola Cruz, Dengue Dengue Dengue, Nicolas Jaar, Mount Kimbie, Mucho Indio.

Stellar Legions is four experienced space cadets from the Antwerp interstellar legion, led by Captain Andrew Claes (STUFF., BRZZVLL, Internal Sun). With a sound rooted in jazz, improv, hip-hop, dub and electronic music, brace yourself for an intergalactic trip through colourful musical worlds and allow yourself to be carried away to indefinable, otherworldly but always hospitable beacons.

Alongside Claes, the delegates on duty are all heroes from the Allied star: Bram Weijters (Raymond Van Het Groenewoud, Crazy Men), Klaas De Somer (Tourist Lemc, Selah Sue) and Fre Madou (ex-DAAU, Namid). With them, come stories and artifacts from the multidimensional cosmos to our beloved mother planet Earth and this autumn, they passionately present their first omnibus 'Stellar Legions', released 21st October via the groove-obssessed Sdban Ultra label.

The album consists of eight tracks recorded in the studio and live, resulting in one big cosmic experience that exhilarates down to every last arrangement. From Claes' twisted sax on the semi-electronic ecstatic dream world that is an 'An Arp in Tunisia' to the jazzy snatches of 'Wessel' where De Somer's hurried drum patterns and Weijters frenzied keyboard solos catch light, Stellar Legions unites the adventure and improvisation of jazz with contemporary sounds.

At the core of the Stellar Legions sound is a rhythm section Sly & Robbie would have approved of: loose and sticky, grinding and unwinding: De Somer's drums fizz with expectation while the relentless bass strokes from Madou provide the beating pulse. It's fresh, it's raw and it keeps us listening, grooving and wanting more. Elsewhere, 'Odyssey' is a cataclysmic mix of feverish sounds and melodies that take you to an extra-terrestrial place, while the live recording of 'Alcyone', basks in a spatial mix of futuristic grooves and ethereal soundscapes before album closer 'Covix', results in a spacious and wonderfully atmospheric affair.

Electronics wizard Andrew Claes has recorded music in a wide range of styles ranging from free jazz outfit Chaos of the Haunted Spire (duo with Teun Verbruggen) to techno icon Marco Bailey and New Wave hero, Marcel Vanthilt. In addition, he has collaborated with Zach Danziger, Zap Mama, Brussels Jazz Orchestra, Hermes Ensemble, Mauro Pawlowski, Josse De Pauw and many others and released music with the electro-jazz collective AAN/EOP and his solo project, Internal Sun.

Claes is also a teacher of 'Live Electronics' at the Conservatory of Antwerp and a doctorate in the arts, where he is currently investigating the possibilities of an electro-acoustic saxophone. He also regularly gives workshops on the Belgian synthesizer microcontroller platform, Axoloti. His latest achievement is AI-driven robot-jazz project 'BotBop' with Dago Sondervan and Kasper Jordaens, which explores the possibilities and limits of 'computer aided music performance'. Their latest project 'Integers & Strings' premiered at the Sònar festival in Barcelona in November 2021.

First ever vinyl release of this tribal ambient gem. A plethora of exotic rhythms and sonic meteorological phenomena. Loops, leftfield beats, and all kinds of textures from the 4th world and beyond. Originally released in 1994 on CD, it is a true beauty of electronic hypnotism and sonic exoticism. Through a highly developed process of layering, Jeff composes and performs music rich in texture, depth, mood, and subtle detail. His blend of electronic and acoustic instruments and textures produces haunting yet inviting soundscapes with a strong sense of place that hover somewhere between the exotic and the familiar. Moreover, you will find here collabs from other great artists: Dennis Rea (Savant) on guitar and Rob Angus with drum programming.

Jeff Greinke began composing and performing music in 1980 while studying meteorology at Pennsylvania State University. After moving to Seattle in 1982, Jeff formed the production company and recording label, INTREPID, through which he produced his first LP, Cities in Fog. He has since released twenty other recordings on various U.S. and European labels. He has composed music for film, video, dance, theatre, radio, and art installations. Jeff has toured throughout the United States and Europe and has performed in China, Canada, and Mexico. He has also been a member of numerous ensembles and is founder of the group LAND.

Future music duo Second Woman's sophomore full-length for Spectrum Spools further hones their distinctive fusion of shapeshifting software sculpture and tessellated footwork. Shivering digital textures oscillate with and against algorithmically mapped percussion samples, smeared synthetic chords levitate in the distance, stabs of digital noise punctuate the mix in twitchy, time-distorting patterns. Their anamorphosis verges on ascetic: stark, splintered waveforms rendered into unique fiber optic hieroglyphs.
Multi-instrumentalists Josh Eustis and Turk Dietrich share a deep history going back to their days in the New Orleans ambient electronic community, as part of Telefon Tel Aviv and Belong, respectively. Even so, S/W pushes beyond their combined discographies to date, flexing impossibilities, building rhythms from arrhythmia, teasing veiled emotion from bold iterations of cold code.

The Older I Get, the Funnier I Was, which follows Thomas’ brilliant 2020 HBO special The Golden One and his Can't Believe You're Happy Here EP released earlier this year, surveys a range of emotion and offers a broad sonic palette, moving between pop punk, electro, and the obvious influence of the singer-songwriters he grew up listening to in early childhood. It conjures the ennui of Bright Eyes alongside the barefaced storytelling of John Prine, the overstuffed lists of Fred Thomas with the lackadaisical humor of Colleen Green, among many others.

Thomas attributes the dexterity of the record to Duterte, who recorded and engineered most of it in addition to serving up plenty of encouragement when Thomas got down on the process. “As a comic, I used to test out new songs during sets to see if the funny bits were hitting, but since I wrote this in isolation I ended up writing lyrics and worrying less about making jokes,” Thomas says. That said, the album’s plenty funny. Stand-out and lead single “Rigamarole” opens with a Thomas-voiced infomercial that recalls his oft-cited lookalike Jim Carrey as the Grinch, before launching into a buoyant pop song about being depressed.

Whitmer Thomas will admit that when he traveled home to small town Gulf Shores, Alabama to record his HBO stand-up special, The Golden One, he expected to be greeted as a returning hero, a conquering king, or at minimum, a guy with a moderately successful career as an entertainer in Los Angeles. “I expected a big welcome home, open arms, but when I went back I realized: nobody fucking knows me. Nobody remembers me,” Thomas says. “In the years I’d been performing that show, I’d been romanticizing my childhood in this mythologized place, but the visit made me see that I’m not really from there anymore.”

The sense of alienation compounded when Thomas recognized how few people in town remembered his mom, to whom The Golden One is dedicated and largely about. Thomas grew up watching her perform with her twin sister at the legendary Flora-Bama Lounge, where he set the special, and still counts her as one of his musical influences. His new album, The Older I Get, the Funnier I Was, isn’t overtly about his mom, her presence is deeply felt throughout. While in Gulf Shores, Thomas discovered dozens of her old recordings, all of which had been wrecked by Katrina, but upon returning to LA, Thomas paid “a fancy place in Hollywood” to fix the tapes and hired Melina Duterte (Jay Som, Bachelor, Routine) to mix them. The two struck up a collaborative friendship, and Thomas had the sound of his mom’s voice back. “I was listening to songs she recorded when she was about my age, just these heartfelt, sweet Americana songs,” he says. “I decided then that I wanted to lose the Ian Curtis voice I always sing with; I wanted to do what came naturally, because my mom always sounded like herself, even when she was singing some cheesy reggae song about, like, Jamaica.”

Thus he went into The Older I Get, the Funnier I Was knowing it was time to retire his darkwave persona, and leaning into his natural, chirpier voice, which he says sounds “like a 12-year-old’s.” It makes sense: much of the album chronicles what Thomas calls “being a kid and feeling like you have no control and overcompensating by being annoying.” “So much of the album is about witnessing drug and alcohol addiction as a kid and seeing what it does to people, but also realizing that there's nothing you can do about it,” Thomas says. It’s familiar territory (see: “Partied to Death”) but the methodology is different this time around; true to its title, The Older I Get, the Funnier I Was isn’t always looking for laughs. Thomas might’ve left his hometown behind, but his kid self is still tagging along, a Peter Pan shadow he can’t untether himself from. The first line he sings on The Older I Get, the Funnier I Was is: “There should be a room at every party where you can just sit and watch a movie.” Find a 12-year-old who wouldn’t say the same.

The sun, kissing the forehead through half-closed blinds; the night, coming uninvited through a windowpane like a damp, sticky shroud. Light and darkness, solid foundations and elusive glimpses of parallel realities. Armies of digital insects - taken aback by warmth of one brave heart, 90s chillout rooms updated for todays vast and desolated space full of fragile souls desperate in their look for any kind of communion; “artificial intelligence” after three decades of wandering, trying to finally find a helping hand, solace and peace. Shimmer and shine. Welcome to “Pristine”, a new recording from the mind of Jacek Sienkiewicz.
For the past years Jacek has been escaping his image of relentless producer and performer of driving, multi-layered club music. His most recent works include deep ambient records, abstract electro-acoustic experiments, and super smart, stripped-down yet incredibly complex contemporary electronica. The last few records, mostly on his own label Recognition include albums with Max Loderbauer and Atom™, reinterpretations of works by Bogdan Mazurek of the legendary Polish Radio Experimental Studio, scores for radio plays and last year’s massively overlooked “Krasz”, music for theatrical performance of Ballard’s/Cronenberg’s “Crash”.
“Pristine”, a labour of love, is at times abstract and atonal, at times breathtakingly beautiful and tender.
8 tracks written and performed in Jacek’s unmistakable, singular style, and covering many grounds - abstract, electronic forms, neo-classical wonders, super tight compositions and freeform, jazz-like improvisations and stripped-down rhythms. Different moods, machine-translated and reverseengineered in a variety of recording locations, make up this exceptional record.
Shimmer and shine, immerse and enjoy.
Co-Financed By The Minister Of Culture And National Heritage of Poland.
The project has been implemented in co-production with Recognition Records and the National Centre for Culture of Poland

'The Arbitrary Dimension of Dreams' is Cate Kennan's oblique exploration of memory, nighttime, and narrative. The resulting 12 compositions are brisk, evocative, and lingering. Kennan's sonic palette is vast yet harmonized, deftly matching spectral synthesizers to hazy lap steel guitars and watery analog effects. Existing in the sparsely occupied world of early melodic electronic music, her songs call to mind the sonic landscape's of Malcolm Cecil, Hans-Joachim Roedelius, and Deux Filles. Each individual track sculpts a setting, constructing an amorphous landscape of surreal musical vignettes. Picture a boat tied to a dock, bobbing with the waves, wisps of fog refusing the complete vision. This is the nebulous space of 'The Arbitrary Dimension of Dreams,' an enveloping, insistent realm that feels both intimately familiar and profoundly otherworldly.

"It's an album that will no doubt inspire the creation of new bands and artists, a collection of songs that record store employees will recommend to unsuspecting kids looking for something out of the mainstream, and who are ready to have their minds warped." - Flood "Medicine Singers push powwow music into the avant garde" - The Fader The debut album by Medicine Singers is a genre-smashing kaleidoscope of sound combining traditional powwow music with elements of psychedelic punk, spiritual jazz, and electronics in a stunning blend. Building on years of collaboration between Yonatan Gat and Eastern Algonquin powwow group Eastern Medicine Singers, the album features contributions from an all-star cast including jaimie branch, Laraaji, Ikue Mori, Thor Harris (Swans), Joe Rainey, and Ryan Olson (Gayngs). "I look at it like this, everybody is my brother and sister, no matter where they come from," says Medicine Singers leader Daryl Black Eagle Jamieson. "If their culture or music is different, I want to learn about it, and I want to play with them. I think it's our responsibility as artists to show the world that life is not about war and hate. Life is about music, peace, and culture. We need to communicate with people of different cultures and backgrounds. We need to show people how we can work together and make something beautiful." One Dollar of each Medicine Singers album sale goes to the Pocasset Pocanoket Land Trust.

„Techno. Simply Techno. The way I see it and like to hear it.“ is the simplistic idea behind RICO PUESTEL's new album THE VERGE, THE ROPE & THE ROOFTOPS. And that's what is delivered on this LP – 12 high density Techno productions following his highly anticipated 2021 album OBI THINE XI.

Besides the two special Electro jams OUT OF THE BOUNDS and SAVED AGAIN, all tracks deliver a coherent forward motion that have an inner connection while being able to work seperately and individually in a functional as well as special-moment-way throughout any Techno DJ set.

While there happens to be a deeper connection within, RICO PUESTEL himself recorded an album DJ mix, giving another perspective on how these tracks are intertwined.

As the opening of the CD is declaring: „This sound is relentless. It knows no stops. Standing on the verge. Climbing on the rope. Echoes from the rooftops.“

Purple Vinyl in PicCover

"Since it's inception, the various artist compilation series SATURATED! has proven to be the epitome of curation in this small niche scene called bass music or whatever.
Each volume is carefully hand picked and is a picture in sound of the music at that point in time but overall has proven to be timeless.
The arrangement works in such ways that each tune flows perfectly into the next one and actually (given that you have two vinyls like a real dj), you could mix seamlessly from the first through the last track.

Saturate Records has become a hotspot for those seeking fresh sounds from well known and emerging artists within the scene.
Channeling the quintessential stylings of low-end driven beats from across the globe, they have been leading the way in all things bass heavy, broken-beat, experimental, glitch, hip-hop, psychedelic and trap for years now. Having featured releases from names like heRobust and G Jones early on in their careers, SATURATE! continues to help push the new school, hip-hop influenced sound forward with their fingers firmly on the pulse of future freshness.
A weird, wonky and wonderful journey through the raw attitude of the blistering beat driven electronic music scene.

If Meatraffle is the Marxist/Leninist Big Brother house band then SCUDFM is a band of naughty Baby Socialist Anarchists who never pay to get in. SCUD play songs about Electronic Components, House Cleaning, the 2nd 'Ndrangheta War, Boats, Meatraffles, Allergies, Tactical Ballistic Nuclear Missiles plus serious subjects like Trade Unionism and Women's Rights. The band are also great to hang out with, in fact they are even more entertaining as offstage citizens and can recite all the times tables with ease.

The long awaited debut LP by South London supergroup SCUDFM is primed and ready for launch.

If Meatraffle is the Marxist/Leninist Big Brother house band then SCUDFM is a band of naughty Baby Socialist Anarchists who never pay to get in. SCUD play songs about Electronic Components, House Cleaning, the 2nd 'Ndrangheta War, Boats, Meatraffles, Allergies, Tactical Ballistic Nuclear Missiles plus serious subjects like Trade Unionism and Women's Rights. The band are also great to hang out with, in fact they are even more entertaining as offstage citizens and can recite all the times tables with ease.

The long awaited debut LP by South London supergroup SCUDFM is primed and ready for launch.

Pressed on Limited marble colour vinyl in a gatefold sleeve with an embossed art card.

Originally released in 1997, Impossible Princess is Kylie’s sixth studio album and her second for Deconstruction/Mushroom after 1994’s Kylie Minogue. The album marks a further departure for Kylie from her PWL pop beginnings and reflects a more experimental, darker style influenced by late 1990s trip hop, Brit-pop, rock and electronica. As well as co-producing the record (with Brothers In Rhythm, Dave Ball and the Manic Street Preachers’ James Dean Bradfield), Kylie wrote the majority of the lyrics, conveying an intimacy and a freedom of expression inspired by her relationships and travels around the world.
This limited anniversary edition celebrates 25 years of Impossible Princess, and is the first time the album has been officially available on LP, making it much anticipated by Kylie fans.

Pressed on Limited marble colour vinyl in a gatefold sleeve with an embossed art card.

Originally released in 1997, Impossible Princess is Kylie’s sixth studio album and her second for Deconstruction/Mushroom after 1994’s Kylie Minogue. The album marks a further departure for Kylie from her PWL pop beginnings and reflects a more experimental, darker style influenced by late 1990s trip hop, Brit-pop, rock and electronica. As well as co-producing the record (with Brothers In Rhythm, Dave Ball and the Manic Street Preachers’ James Dean Bradfield), Kylie wrote the majority of the lyrics, conveying an intimacy and a freedom of expression inspired by her relationships and travels around the world.
This limited anniversary edition celebrates 25 years of Impossible Princess, and is the first time the album has been officially available on LP, making it much anticipated by Kylie fans.

This is the first time ever Har Mar's breakout 2nd album is available on vinyl. Just in time for the 20th anniversary of its original release. This is the album that contain electro pop classics such as Power Lunch (feat. Beth Ditto) and EZ Pass. The album features collaborations with members of The Faint and Busy Signals. This LP also contains two vinyl-only bonus tracks, "Brothers and Sisters" and "EZ Pass (Mint Royale Remix.)." The artwork was re-imagined by Project Dimmel, who designed the original cover and layout back in the day, and the jacket cover is embossed for an extra-cool tactile feel! It was remastered for vinyl by Jesse Mangum at The Glow.
The inner sleeve contains new liner notes by Sean Tillmann and a bunch of fun pictures. TRACKLIST: 1. Intro 2. Power Lunch (feat. Beth Ditto) 3. Elephant Walk (feat. Clark Baechle and Tiny E) 4. We Could Be Heavy 5. You Can Feel Me 6. H.A.R.M.A.R. (feat. Beth Ditto) 7. One Dirty Minute (feat. Dirty Preston) 8. No Chorus 9. Let’s Get This Party Kickin’ 10. Freedom Summer 11. Love Jam No. 1 12. EZ Pass 13. Brothers and Sisters 14. EZ Pass (Mint Royale Remix)

An original and particular approach to rhythmic electronics, with an incredible sound, like in all of Potter's works. Six hypnotic tracks from Colin's archive of rarities, for the first time on vinyl, perfect to play really loud.

These six pieces were recorded between the late 80s & mid-90s at IC Studio, which was then located in Tollerton, North Yorkshire.

“I wanted to make some tracks which were much more rhythmic. By then the studio was a 16-track and I had acquired more equipment for making sounds and changing sounds. There was an Akai S950 sampler, an Emulator II, Roland TR727 and Yamaha RX11 digital drum machines, a Roland Juno 60, and some new effects processors. I even, briefly, used an Atari for MIDI sequencing, but using a computer in the studio felt a bit weird in those days. Ironic really, given the situation now. There were a lot of new methods to learn and the tracks on this album were the result of some of these experiments, during which I also found ways of integrating the old analog synths with the newer machines. Mixing was still done hands-on, in real-time, with alternative and often radically different takes being made of the same multitrack. Very different to the way things are done now. Better or worse? Who knows? But different.” - Colin Potter, IC Studio, London 2022.

Colin Potter is a sound engineer and musician currently based in London. He has worked within the fields of electronic and experimental music for over 40 years, collaborating with the likes of Current 93, The Hafler Trio, Organum, Andrew Chalk, and most notably as a key part of Nurse With Wound alongside Steven Stapleton. He started the esteemed ICR (Integrated Circuit Records – still active today) label in 1981 releasing a several wonderful home studio recordings of his own, as small run cassette releases.

restock coming...

Last Year, Dub Techno Veterans Paul St Hillaire And Rhauder Joined Forces For A Superb Collaborative Debut Album, Decoded. Sushitech Has Wisely Chosen To Breathe New Life Into Their Soulful, Dubbed-out Exploits By Handing Over The Parts To A String Of High Profile Remixers. The First Of Three Reconstructed Eps Begins With Cobblestone Jazz's Peak-time Take On "skank", Where St Hillaire's Patois Vocals Ride A Metronomic Techno Backing Track Rich In Restless Late Night Stabs, Delay-laden Woodblock Hits And Bleeping Electronics. Flip To The B-side For A Warmer And Hazier Take On "control" By Amorf. Sitting Somewhere Between Bass-heavy Tech-house And Head-in-the-clouds Deep House, It's Something Of A Hypnotic Delight.

Composer François de Roubaix was born in 1939. He didn’t receive any formal musical education, but he became interested in jazz from the age of 15. His professional musical career only spanned ten years, from 1965-1975. During that period he composed for commercials, TV series, shorts, and about 30 feature-length films.

The most striking aspect of François de Roubaix’s music is its versatility: on one hand, it’s his ability to create simple, memorable tunes; on another hand, it’s his bolder experiments with different timbres and recording techniques. He freely combined folkloric and electronic instruments, embracing the advent of the first synthesizers and rhythm boxes. Being a multi-instrumentalist gave him a high degree of artistic freedom, as he spent long hours at his home studio overdubbing various parts of his scores until he would reach the desired result.

Du Jazz à L’Electro 1965-1975 is a brand new compilation album consisting of compositions by Francois de Roubaix. It includes previously unreleased and hard to find compositions from tv-series like Les Survivants and Tarif De Nuit. This compilation also includes compositions for commercials of Cointreau, Muratti and Fiat Coupé. Du Jazz à L’Electro 1965-1975 is available as a limited edition of 1500 individually numbered copies on solid yellow coloured vinyl, housed in a gatefold sleeve with liner notes and background stories about the compositions.

Superb EP ! The best from them with a banging full Electro Techno/Freetekno side and 2 Electro Techno groovers on the flip.. Some vocal samples you could recognise from big cheezy classics...
Sound is quite minimal and spacy, the bass is light and groovy, in that Pumpin 2.0 style proper to Ixindamix.

The full EP provides a wicked printed sleeve.

BIG !

Limited Recut/repress.

Electro and minimal techno tribal spaceship : a superb revelation of a kind.

Remastered 2022.

Basslines !!

cybertek cyborg DJ Wachita China takes his signature glitch-craft 2 cyberspace 4 a computerized ride 2 the virtual rave. an intergalactic menage a trois of sleazy electro, horny A.I. techno, and after-hours sex-bot erotica.

“Final Departure” is the debut album by J-Shadow, a widescreen vision expanding out on an event horizon before us. Built using influences from London’s rich electronic, pirate radio and black music lineages (jungle, grime, hip-hop, electronica etc), the album twists and turns, lifting listeners up towards a more ethereal plane. “I see beauty in the complexity of life from the cosmic scale to the quantum,” he explains. “From all that we can observe, this world stands as a uniquely multifarious sphere in which we just happen to exist.” “I love to take ideas and attempt to conceptualise them into an audible expedition,” he explains. “I find that music serves as an extraordinary medium to project my perception of the universe.” “Sometimes I will reach for certain influences and deconstruct them into an amalgamation of conscious experiences that reflect my vision of how I see the world.”

“Micro tonal poetry” - Mats Gustafsson

'Its an honor for the AFJ-Series to introduce the self-titled debut album by Danish Oslo resident Signe Emmeluth. Recorded at Flerbruket, in the forest an hour outside of Oslo - Emmeluth alone in a room with her alto and tenor saxophones.

A fantastic session of sax solo ecstasies recorded by Magnus Hemnes Nergård. Much like Joe McPhee’s Tenor and Peter Brötzmann’s 14 Love Songs, this album share the same beautiful intimacy. It is close, sparse, poetic and raw at the same time. Minimalist and soulful free music.

Signe Emmeluth is a Danish saxophonist and composer educated by the Jazz Department in Trondheim and is currently based in Oslo. Emmeluth has recently become a rising star on the international scene for improvised music. She has her own quartet Emmeluth’s Amoeba and has worked with Trondheim Jazzorkester, John Edwards, Tony Buck, Paal Nilssen-Love, Mats Gustafsson and Mette Rasmussen to name a few.'

All music by Signe Emmeluth, except 'I’ll Be Seeing You' by Sammy Fain
Signe Emmeluth: alto saxophone, tenor saxophone, recorder and electronics
Recorded at Flerbruket, Hemnes (December 2020/January 2021)
Sound Engineer: Magnus Skavhaug Nergaard
Mix/Master: Lasse Marhaug
Artwork: Kim Hiorthøy

Tak til Karl, Magnus, Lasse og Joakim for hjælp og gode vibber

Pauper 08 offers 1 tune per side.
As usual each tune is an exploration...

A side is a 165 BPM old school tribe sound, very progressive and chanting... with a crazy end...
The flip starts very monomnom soundslike and finally turn cheezy old school :)
The kicks are very pumpin & electro, and the sound is loud !!!

Shinedoe readies her fifth album ‘Freedom Riders’ on her MTM Records imprint with the release of her vinyl-focused ‘Wake Up’ EP, offering a four-track preview into the project while unveiling a selection of diverse electronic productions for home listening through to the dancefloor.

Over two decades, Dutch DJ and producer Chinedum Nwosu, aka Shinedoe, has established her presence as one of house and techno’s most loved talents, while carving a true path to her own vision. Based in Amsterdam and featuring as a key part of the city’s rich and blossoming underground scene, with performances across De Martkantine, Shelter and Thuishaven to international institutions such as Berghain to fabric, her releases on the likes of Rekids, Cocoon, Bpitch Control and her 2021 release ‘The Observer’ on Jeff Mills’ iconic Axis cemented her reputation as one of the scene’s first talents. Having launched her own label MTM Records in 2018, releasing four EPs on the label to date, October signals the arrival of the label’s first album in the form of her ten-track ‘Freedom Riders’ - an expansive and diverse project created in lockdown capturing sonics from across the spectrum - with the LP preceded by Nwosu’s four-track album sampler EP titled ‘Wake Up’.

“Freedom Riders is about living in a world where there is peace, and all our basic needs are fulfilled. Each being having the right to live in peace, be happy and to be. We are all Freedom Riders, some of us get lost and need to get back to the source.” - Shinedoe.

Opening production ‘Wake Up’ is a tension-building journey through metallic textures, warped vocals and eerie interludes, while album title cut ‘Freedom Riders’ fuses hazy atmospherics, rich chords, crisp percussion and sweeping acid lines to offer a late-night ride through smoky territories. On the flip, B1 ‘Peace’ offers an exemplary balance of light and dark with delicate yet vibrant leads guiding murky undertones and sharp percussion throughout, before closing with the hypnotic, off-kilter and mind-altering sonics of ‘Safety First’, traversing soundscapes to showcase and excellently crafted early-morning cut.

Cuts across the album continue this wide-reaching and rich variation, with the likes of ‘Shine’ and ‘Lockdown’ drawing on classic and modern house influences to offer striking additions for the dancefloor, while ‘Floor Action’ and closing track ‘See The Light’ veering into more dubby, paired back territories to offer up a sense of space and tranquillity - with the ten-track project showcasing a carefully crafted album rich in sound design showcasing one of Amsterdam’s finest talents.

DJ FEEDBACK

early support from



Laurent Garnier: Really like PEACE & SAFETY FIRST niiiiiiiiice

Marcel Dettmann: thx

Luke Slater: nice release thanks!

Ame (Innervisions): thanks

Ben Sims: safety first my fave, thx!!

Slam (Soma): Thanx

Chris Liebing (CLR): great vibe

Radio Slave (Rekids): Woah ! "Freedom Riders" is great... and just in time for the weekend ! Thankyou x

Bambounou (50 Weapons / Sound Pellegrino): There's a vibe I like it thanks

Anthony Parasole (The Corner) this is so good

Truncate: Solid cuts!

feat. Sea Shepherd


This is the 5th installment of Inch By Inch by the young and ruthless Jotel California. Hailing from Berlin and being part of the Warning Crew he's an expert in crispy electro sounds with the special ingredients. Check him out cause this is just the start!

'Swooping, sub-heavy sci-fi from Riz Maslen. Leda Maar is a new moniker for the established artist who’s released a crop of downtempo and electronic music as Neotropic and Small Fish With Spine, as well as collaborated with the likes of Future Sound of London, filmmaker Andrew Kötting, and featured in PSP-era Grand Theft Auto soundtracks.

Mana’s long lasting love of Riz’s 1996 Laundrophonic EP, released under her Neotropic name, spurred this new release. That 12” was a deep and dark web of rhythm and ghostly urban found sound that one Discogs reviewer aptly named “coin-slot Dubstep”. With elements mostly sourced from tape recordings made in and of her local laundromat, it still stands out as a remarkably contemporary feeling work; more like a post-Fisher, post-hauntology observation of urban life from the last decade, taking the ambient temperature and undercurrent pressures of the 90s. Asking if she had anything in continuity with this slice of her discography, and describing our interest in her take on “space and bass”, Maslen returned to us with Stairway 13.

Heavy-lidded and ethereal in long form, the album’s balance of bass weight, mechanical metre, and darkly tinted new age feels like a cinematic re-approach to some of the textures, moods, and themes of Laundrophonic. Originally designed for an installation, Stairway 13 folds in her decades’ experience in sound design and theatre, along with shards and elements abstracted from her more recent folk-like music, zoning into a deep, retreated, altogether dreamlike and expansive atmosphere. The scale and soundscape is reminiscent of Geinoh Yamashirogumi and their Ecophony album series, resonating to similar frequencies and exploring themes of chaos and re-birth in feature-length form.

Stairway 13’s four parts spread and swoop as single extended sides across this double LP. Carried by waves of sub bass and heavenly chorus, and later punctuated with autonomic clicks of machinery, whirrs, and pulses - sometimes reminiscent of FSOL’s weirder and more clipped staccato sampling in sections of their cyberpunk ISDN - the work forms a gothic, otherworldly ambience. A subtle space opera.'

Multiphonic trills and yodels, loops of ululations, sudden percussive outburst, warbling glissandi. Ute masks her voice with bird whistles creating a hybrid vocal persona with sculptural, oscillating, swirling tone-colours. The vocal sounds seem to be disconnected from the human voice dissolving into the sounds of birds, of machines, of electronics, of fragmented language.

'Ute Wassermann´s vocal practice is so unique and specialized that it seems to challenge our ability to understand it’s sounds as vocal.' - Aaron Cassidy, Noise in and as Music, University of Huddersfield Press, 2013

'Wassermann sings as a bird, rather than like one. And as philosophers Gilles Deleuze and Félix Guattari point out in A Thousand Plateaus, “Becoming is never imitating.” … The Wassermann soundworld takes form within waveflows and fluctuating particles.' - Julian Cowley, Outer Limits Review, CD review radio tweet, The Wire, March 2016 (Issue 385)

Available on limited edition translucent gold vinyl and very limited vinyl-style cd. "The Young Ones' Flaming Lips meet Jacques Brel in a pean to lost youth, 'Comme dans un Reve' Dream bossa chanson a la Gainsbourg/ Birkin. ‘Dreams’ is the second of the final trilogy of albums by critical darlings The Real Tuesday Weld following last year's acclaimed noir-themed ‘Blood'. This collection references late sixties songwriting a la Lee Hazlewood, Jimmy Webb and Burt Bacharach with nods to Flaming Lips and Tin Pan Alley, all mixed up with hazy lo-fi electronica, ghostly atmospherics and cinematic instrumentals. Guest vocalists A Girl Called Eddy, Sephine Llo and Oriana Curls provide a counterpoint to main man Stephen Coates' Gainsbourg-like crooning. Continuing the band's long preoccupation with dreams, the songs were written in the early morning or late evening on 'either side' of sleep: ‘I’d rise super early and go straight to it with the emotion of the night’s imaginings still heavy on me or work in that strange space-time just before sleep claims us”. The album is sequenced in an approximation of a life, from youth to age, with the band’s perennial focus on London, love, the English landscape and time passing. ‘Bone Dreams Blood’ in particular is a sonic memorial to friends loved and lost in the life of London. "beautiful...giddily recalls Gainsbourg, Pulp, Cole Porter, early Disney soundtracks and seedy postwar revue bars" SUNDAY TIMES // "Utterly unique, utterly delightful" THE TELEGRAPH // "These heart-pricking songs speak to us all" WORD // 'Utterly decadent and darkly humorous' TIME OUT LONDON // 'Superbly atmospheric' UNCUT // Track listing: 1 The Young Ones 2 Kinky Love 3 Bone Dreams Blood 4 I Awoke to Find I was Dreaming 5 Ever After 6 Lost Endeavour 7 Curtain Call 8 Comme Dans un Reve 9 Bodhisattva of the Gulag 10 Everything 11 Last Light

At the crossroads of ritual, industrial, and electronic music, there exists a niche where many experimenters are blurring the lines between genres. Among them are the three members of Nze Nze (UVB76 and Sacred Lodge). Summoning sequenced machines, digital samplers, and multi-effects, they make instrumentals collide with guttural vocals and warrior tales from Fangs mythologies (the vernacular language of Central Africa), arranging it all to create hybrid, unclassifiable, and disorienting pieces.

The fundamentals of radical electronic music are there, but the production is on the level of the great free-jazz records, allowing it to claim a heritage far beyond modern-day offerings.

Drawing from a strong history of electronic influence, Tomashevsky has created his own underworld of foreboding techno. We enter this EP with Incoherent, which exudes ominous sounds - reminiscent of murky radar blips that may be heard deep underwater in the metallic bowels of a submarine. Bubbling electronic delays remain adjoined to these metronomic blips and oer lateral, spontaneous movement around an otherwise sturdy song structure. Jittery melodies scatter nervously under lead elements, remaining disjointed and resulting in increased energy and a darkened excitement.

As we move through the EP, we face ups and downs, both in tempo and mood. Leading on from the first, Rollback is destabilizing, energetic and mean in all the right ways. Wobbling low ends open into a mood of uncertainty, held in place only by the stability of the drums. Rollback suits a peak-time club atmosphere thanks to the gritty synth leads and fast-paced feel.

Ending with the two tracks on the B-side, Tomashevsky still seeks to surprise. Rejected seems to be a distant relative of the Incoherent, following the synthetic blip structure but allowing snares and other percussions to build more prominently. Finally, we arrive at the closing track which marks itself as more obscure. Leaning on kick drum patterns initially reminiscent of electro/breaks, the use of half-time tempo gives a change of pace and a platform for a slightly different song structure and mixing potential.

Mesmeric and entrancing, these songs give any DJ or listener to chance to turn mind chatter o and lock into a hypnotic groove. Drawing on classically techno foundations, Tomashevsky has tipped his hat to the founders of the genre whilst adding his own flavour and subtle techniques that make this EP shine.

The first full length album from renowned electronic dance artists Benoit & Sergio.

The next album announced from FourFour Records, the new label from Jonathan Galkin, co-founder of DFA Records.

Mixed by Beatriz Artola (Fleet Foxes, Adele, A$AP Rocky) and Mastered by Heba Kadry (Bjork, Ryuichi Sakamoto, Nicolas Jaar).

Benoit & Sergio have previously released music on DFA, Ghostly, Hot Creations & Soul Clap Records.

Back from a hot summer we are presenting you this great new release by Steve Mill who truly captures the sun and warmth in these new jams for us. The Greek born artist who lives between Berlin and Thessaloniki just released his “The Mistake EP” on Tensnake’s own True Romance label where we could already hear his soulful and groovey disco infused sound.

The opener “Love Attack” is a real “good times” tune with catchy vocal snips and a bad ass funky arpeggio bass line topped with spaced out strings and pads, this one reminds us a lot of Krystal Klear material and our own Lorenz Rhode. Saying that, we of course could not think of anyone better than him to take on this tune and drawing the inspiration to create his own super funked up version! As always all parts are played and recorded live in his Cologne studio with the same hot summer vibes on this one as well! You can find the vox version on vinyl and an instrumental as bonus digital track to get your party really started. On repeat!

“Make Me Feel” featuring the Berlin based vocalist Tee Amara has disco flavors all over it and is just an irresistible house tune, majestic and soulful. Followed by the slow and developing “Next to You” that’s steadily building towards a crescendo “heaven” gem, much in the tradition of disco edits from back in the 80’s. It reminded us a lot of our old Ben La Desh records we put out some good 10 years ago. Maybe this one is our personal fave, for sure a tune you could drop on any floor: disco, electro or house.

Get in the groove with Steve and Lorenz and let us surprise you with a truly funky, groovey and above all positive vibes only release to reminiscent the summer time. Enjoy!


All tracks have been mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

Substrata was the third studio album by the Norwegian electronic artist Biosphere, released 25 years ago by All Saints Records in London. Here are ten alternative versions picked from the Substrata recordings sessions that took place between 1995 and 1996.

Country Girl marked a distinct sonic shift with the band, as the EP was the first group of songs written in their new home in rural Massachusetts. The novel isolation of the Northeast gave Jae and Augustus plenty of time to write and explore new sounds, while reminiscing about their time in the south. The move also put the band within driving distance of New York City which was another important factor in their progression. The band attributes partial influence on Country Girl EP to their frequent shows in Manhattan and Brooklyn. Playing parties like Nothing Changes and Lost Enterprises gave them access to a vibrant new music community. From industrial to noise table techno, the band was enamored by the raw sound and fearless attitude of the artists and crowds alike. The sound of Country Girl is defined by these two worlds that the band existed within - their quiet, modest life in small town Massachusetts and their speedfueled weekends in New York. Country Girl Uncut includes the complete track list of songs from this time period. The album is out on the band’s imprint “Nude Club” on digital, cd, tape, and vinyl formats.

Pittsburgh, PA-native Buscrates returns to Bastard Jazz with a synth-heavy 7" single, "Internal Dialogue." The two-tracker sees the artist take an easy-going approach to his signature funk-filled sound, with a slowed-down tempo and melodic key riffs. "Internal Dialogue" is a mellow boogie joint that combines plenty of Moog, rich ARP strings, and syncopated clavinet chord stabs; "Early Morning" is reminiscent of a late-90s neo-soul beat, with rich Rhodes chords, while a squelching bass line evokes 70s electro-funk. Both tracks are undeniably Buscrates and are sure to have your head bobbing.

Buscrates - aka Orlando Marshall - is a DJ, producer, and multi-instrumentalist based in Pittsburgh. He draws influences largely from 90s hip hop and early-mid 80s electronic funk, which is evident in the boomy, swinging drums and bubbly Minimoog bass lines heard throughout some of his productions. He works locally and sometimes internationally either behind a pair of turntables spinning 45s or working his trusty Roland SP-404SX sampler and various other little portable gadgets at one of his beat sets. Some of his production credits include Phonte & Eric Roberson, Wiz Khalifa, and the late great Mac Miller.

We are proud to present "I'm Always Right" by Imagination, an unreleased jazz rock LP from 1977. Comprised of five tracks with a playtime of roughly 30 minutes, you will hear one of the finest German late-70s rock-tinged electric jazz albums of the era. The recording is a delightful stand-out with unique compositions, aspiring solo work, and a soulful spirit throughout. Additionally, the album veritably glows with exceptional sound quality, as it has been remastered from original tapes that were cut more than four decades ago at the WDR Funkhaus, Cologne.

Here is the story of how label founder John Raincoatman became aware of these lost tapes:
"I first got in touch with members of Imagination from Düsseldorf (not to be confused with the UK disco band under the same name) in 2017 for licensing the track "Strawberry Wine" from their collectible "Shake It" album from 1980. A couple of months later, when I was speaking with Willi Hövelmann, the guitarist for Imagination, he told me about some recordings the band had made a couple of years before, when they had been invited to to the studio of the WDR, a major German broadcaster. A couple of weeks later, when Hövelmann finally sent me the files that he had requested from the WDR, I could not believe what I heard - not only that the songs were totally different from what I expected, but that they were also very very good! The music wasn't comparable to any other kind of fusion release that I knew of. These five songs were straight forward, tight and soulful electric jazz rock, a combination rarely heard from Germany from that time period."

How come Imagination - at that time a young newcomer band consisting of musicians between 19 and 22 years of age - was able to record at the well-equipped Funkhaus studio of German radio and television? Hövelmann explains: "The WDR got to know us from a newcomer band competition called "Pop am Rhein" (Pop at the Rhine) which was set up to support local bands and was promoted by several bigger newspapers. Imagination was one of the 5 contestants which were picked from 59 bands by a jury of music journalists and our band was invited to play a concert at the Philipshalle in front of about 3500 guests. Although a band called "Accept" won the contest (yes, the heavy metal band that gained international success in the following years!) and Imagination only made 3rd place, we were invited by music host and journalist Wolfgang Neumann to record in a professional studio."

Neumann's broadcasting show at the WDR was called "Rock Studio", and one of his special goals was to help push newcomer bands by giving them airplay. As a side note, Neumann actually compiled a series of three LPs on the Harvest label from 1979-1982, each of them featuring four bands. However, the earlier recordings of Imagination had only been used for broadcasting reasons, they were aired a couple of times but never made it to a vinyl or CD release.
So, on October 10th, 1977, it was time for the band to show up and prove themselves in the studio. The tracks were all recorded in one afternoon, mainly as one takes. In some cases flute, saxophone were overdubbed, as well as the vocals on "Love is Genesis", as Hövelmann remembers.

The first song, "Jazzgang" can probably be seen as Imagination's most characteristic composition out of their early period: heavy bass, saxophone leads and speedy solos by the band members. A genuine, rough, yet funky uptempo jazz rock tune. But it's "I'm Always Right", the second track on the album, that raises the bar as the key track of the release with its 10-minute length. The song starts with a great piano solo by Mario F. Demonte. In fact, "Demonte" was a pseudonym of Ratko Delorko, a classically trained piano virtuoso who is still active today as conductor, composer and performer. At that time, it was simply impossible for him to officially be part in a band like Imagination and hence the alias was invented. Anyway, the speedy intro leads to a very soulful mid-tempo jazz funk groove that offers space and time for the band members to perform a solo. First off is Uwe Ziss with sax and flute combined. The second solo belongs to Willi "Sultan" Hövelmann on electric guitar. For the furious ending the pace is set back to high speed. Delorko serves us with one of the most brilliant uptempo piano solos you may have heard in a while on a jazz record.

The next song stylistically stands out from the rest. "Biting My Time" incorporates a rhythm and blues feel with a 60s soul jazz attitude. The track was composed by Uwe Ziss who leads through the track with aspiring flute solos which feel like an easy summer breeze after the first two rock tinged tunes.

"Himalaya" sees Imagination move away from jazz quite a bit, rather approaching the psychedelic rock genre with a vibe reminiscent of the sound of the early 70s. Again starting with a piano solo by Ratko Delorko the pace is quickly at 150 bpm with the full band laying down an energetic jazz rock sound. Just after a little over one-and-a-half minutes there is a breakdown to a slower tempo with overdubbed mysterious vocals and psyche-y screams which may remind more of the legendary krautrock band Can than what is typically known as "jazz". The mood continues with tense saxophone and guitar solos, just to speed up again towards the end with furious drumming by Andreas Oelschläger.

"Love Is Genesis" concludes the release. It was composed and sung by former bassist Robert Schlickmann. Though most of the band members didn't really like the song at that time it still is a one-of-a-kind soft rock pop ballad which partly reminds of some of the vocal song tracks later to be found on the "Shake It" LP from 1980. The track manifested that Imagination were never really supposed to be solely an instrumental band.

We are now happy to have cleared the exclusive rights for this recording from the WDR and are proud to re-present this amazing collection of songs. It should appeal to fusion, jazz rock and jazz funk aficionados but also to late krautrock collectors. We are also certain that it will also please fans of the "Shake It" album, simply in terms of being such a bright and soulful debut with great music overall.

Coming off the back of covers on CRACK and PERFECT Magazine cktrl announces his highly anticipated new EP Zero. The producer and multi-instrumentalist shares his latest blend of contemporary-classical and electronic R&B that features a collaboration with GRAMMY Award-nominated singer, songwriter 'Mereba' with artwork captured by multi-award winning Campbell Addy. The follow-up to last year’s critically acclaimed EP ‘robyn’ which charted a journey from heartbreak to optimism, ‘zero’ is a tender exploration into love. As a genre-spanning artist whose music waives between R&B, jazz and neo-classical, cktrl’s latest record builds on his emotive sound whilst leaning towards a more electronic-tinged style of production with stunning featured vocals. On the project, cktrl says: "ZERO allowed me to explore my journeys in knowing love. And as a result I now know that I need to allow myself to let my relationships be what they're meant (to manifest organically) free of expectations and without dreams of an idea of someone. Past hurt definitely informed my decisions but it was so crucial for me to grieve those feelings from ROBYN and learn how to be gentle with myself. Just to be able to feel something new, loving again is always different and exciting, once you can open up. ZERO is that journey of ending up back where you started but different, loved and willing to give." The EP opens with the touching ‘mazes’ - initially released back in May via a beautifully crafted video courtesy of Yasser Abubeker. On this cut cktrl’s skills as a saxophonist immediately shine through as he portrays the complexities of loving someone through all its twists and turns. On title track ‘zero’ cktrl links with Ethiopian-American musician Mereba for a forward-thinking yet delicate collaboration that effortlessly meanders between cktrl’s various musical influences, before ‘felt’ provides a luscious display of soulful soundscapes. Accompanied by the angelic vocals from rising artists Anaiis, Annahstasia & Anajah, it’s a blissful celebration of love. The project closes out with ‘safe’, a contemporary R&B banger backed by a bass-driven beat and rich vocals, framing ‘zero’ as a stimulating collection of tracks that expand cktrl’s impressive repertoire of talent.

For Fans Of : The Black Keys, Otis Rush, J.B. Lenoir, The Ramones, Hound Dog Taylor, Christone Kingfish Ingram, Magic Sam. GA-20 clearly is on to something big. It’s a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the place where traditional blues, country and rock ‘n’ roll intersect. “We make records that we would want to listen to,” says guitarist Matt Stubbs. “It’s our take on the song-based traditional electric blues we love.” Stubbs, guitarist / vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018. It’s no wonder they skyrocketed to the top of the Billboard Blues Chart. According to Stubbs, “Since we started the band we’ve focused on the story, the melody, and on creating a mood. Playing live as much as we do, we’re finding more and more that people are discovering how cool it all is. Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not.” With their new Colemine album, Crackdown, and an intensive tour schedule, that’s all about to change. On Crackdown, GA-20’s third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019’s Lonely Soul and 2021’s Try It…You Might Like It! GA-20 Does Hound Dog Taylor) GA-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock ‘n’ roll. The album’s nine original songs include the loping, Louisiana-flavored Dry Run, the dirty, and bare-bones Easy On The Eyes and the melodic, garage-tinged Fairweather Friend. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, Crackdown is rowdy and fun, filled with instantly memorable, and well-crafted songs. Tracks: 1. Fairweather Friend 2. Dry Run 3. Easy On The Eyes 4. Crackdown 5.Just Because 6. By My Lonesome 7. I Let Someone In 8. Double Gettin' 9. Gone For Good 10. Fairweather Friend (Final Goodbye)