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Arp Frique returns to the scene with a new album after a string of releases, leaving the cratediggers and dancefloor tastemakers with underground classics like Nos Magia, Voyage and Nyame Ye. On ''Analog People Digital World' he embraces the digital coldness of Yamaha’s classic DX7 synthesizer to create a refreshing listening experience using only the FM synthesis-based sounds from this machine to find new heat for an analog world, reflecting on the digital revolution we are living through. The album features Ghanaian songstress Mariseya (Omampam, Jah Kingdom, Digital World, Roi Salomon), Cape Verdean OG Americo Brito (Go Now Wetiko) and Surinam funkstar Sumy, who joins the record on the opening track “Spiritual Masseuse”. Arp Frique closes the album with “Duncan Truffle”, a very intense and wobbling instrumental echoing Bootsy and Bernie Worrell on a solo exercise. Expect an analog-digital exploration of lofi funk, highlife, zouk and reggae. Does that DX7 sound hot or cold to you?

After a rather long hiatus due to well known circumstances, Stützpunkt returns with its third release. Berlin based French producer and DJ Casual Treatment makes his debut on the imprint with the „Devotion EP”. Uncompromising while staying true to the genre’s roots, the record embodies the soul of the German capital’s sound.
„Tourmente” recognizes the itch under your skin, feeling it out and giving in to the demand.
Taking a „Trip to Alderaan” feels like going on a journey to a blooming past that hypnotizes its passengers in an unforeseeable future and into a magical past.
„Abrasion” breathes life into the tired soul, never losing its prey, putting you in consequential trance and ecstasy.
The fourth track „Devotion” not only gives the record its title but also caps a voyage down memory lane into the most perceptible realms.

Two years after their previous effort, regular as clockwork, Swiss throbbing synth pop duo Veil Of Light is back with a new album and what can we say? These guys keep on getting better and better.

If you have followed the Zurich-based outfit over the past few years, you must have noticed the constant moving towards 80’s FM new wave and synthpop tones – without losing their electro/body music outline – that have marked the band’s parable, especially since their latest Landslide LP.

Sundancing is their sixth full-length and it stays the course, bringing what we’ve just said to the next step. Nine new dancy and bright tunes with emotional depth that blend lush instrumentation and robust rhythms, guided by funky and rubbery basslines. Syncopated rhythm sections match suburban cool synths in the lead single Apricot Kiss and Hypersleep, while Raindancing and Tonight summon a sinuosity long gone since the mid Eighties. The musical backdrop here serves as the fundament for emotional vocals delivering lyrics dealing with the fragility of love, joy and loneliness.

There’s some subtle addictiveness to these songs, one that will gently grab you by the collar of your coat and stick the refrains from Sundancing inside your head for good.
Veil Of Light might make it look easy to keep it neat without being minimalist, intimate without being depressing, romantic in the most true sense of the word, but we know that’s possibly the hardest thing to do.

Orange Vinyl

»Love As Projection« is the new album by Frankie Rose, her fifth studio LP and second for Night School following the reissue of her interpretation of The Cure’s »Seventeen Seconds«. Frankie Rose has forged an enviable musical legacy, from playing with bands like Crystal Stilts and The Vivian Girls but on »Love As Projection« she takes a bold step into electronic pop production. A sumptuous recorded statement, it dances in ecstasy and broods on the tumult of the western world’s decay in equal proportion. At the heart of the album is glowing, confident songwriting, resplendent in hooks and choruses but still touched with an optimism undimmed.

After spending nearly two decades establishing herself across New York and Los Angeles independent music circles, Rose re-emerges after six years with a fresh form, aesthetic, and ethos. Celebrated over the years for her expansive approach to songwriting, lush atmospherics, and transcendent vocal melodies and harmonies, »Love As Projection« is a reintroduction of her established style through the lens of contemporary electronic pop. Recorded with producer Brandt Gassman and mixed with long-term collaborator Jorge Elbrecht this is the album Frankie Rose has been building up to her entire career.

More than a rebirth, a refinement, a resurgence, »Love As Projection« boasts a widescreen scope: a long- form project heavily considered for half of a decade, culminating in the most personal and accessible collection of art-pop that Frankie has ever written. When Rose aims for the pop jugular as in first lead track »Anything«, the result is unstoppable. A majestic pop song built for radio, it erupts into an irresistible chorus that marries classic epic 80s American pop with the cult effervescence of Strawberry Switchblade »It’s like a prom scene in a John Hughes movie. It’s a hopeful song about abandoning fear even if the world is quite literally on fire.. In the end, at least we have each other,« says Rose. »Sixteen Ways« further boasts a propulsive, massive chorus, though tempered by a cynicism built in global post-truth, global malaise. »It’s about getting your hopes up, but simultaneously making lists in your head about how it will never work out in your favour.«

The big anthems don’t let up there. On »DOA« some massive, rolling drums lathered in big mid-80s gated reverb dovetail with a syncopated baseline for the ages as Rose’s vocal sails effortlessly above. The effect isn’t unlike ethereal vocalists Clannad circa Howard’s Way or Enya jamming with Simple Minds in their stadium-conquering heyday. Rose tempers the adrenalin with heart-tugging bittersweet tones and there are plenty of them. »Sleeping Night And Day« takes its time with an off-the-cuff chorus, swirling around in harmony and chorus-bass. »Saltwater Girl« picks up the balladeering baton with another nod to album track-mode Switchblade, deep space opening up in the mid-tempo drum track and soupy, digital atmospherics. Album closer »Song For A Horse«, reimagines modern Pop production a-la-PC Music but shorn of the meta-atmosphere. Pianos, swelling synths, minor keys cut through with major. These moments, also seen in Feel Light offer ballast to the soaring pop choruses. Moments like these are big oceans of emotion to fall into before being led out by Rose into a bright new day.

»Love As Projection« is released in the USA by Slumberland.

Obscure and Rare album of Spacey Fusion grooves, played by a group that includes Robert Rockwell on reeds, plus Bobby Lyle on piano and electric piano. Lyle's presence gives the album a nice groove.


Bob Rockwell, born in Miami, Oklahoma, is an American jazz saxophonist who emigrated to Denmark in 1983 and has lived ever since.

Get ready to embark on an ethereal journey with Jannis Carbotta's long-awaited debut solo EP. Jannis' artistic focus on the tension between analog and digital spaces is evident throughout the entire release, as he employs classic band instrumentation as well as processed field recordings and electronic experimentation to craft a unique and captivating sound. "A Magic Spin" was co-produced and mixed by the drumming wizard Jan Philipp, with whom Jannis also collaborates in the experimental indie band Infant Finches and forms the duo Aeol. This fusion of ambient, electronica, alt pop, and shoegaze effortlessly creates a soundscape that is both otherworldly and intimately personal. The record features 5 original tracks plus an exclusive bonus track, an exclusive reinterpretation of Slowdives ”Rutti", which will only be available digitally via Bandcamp. Mark your calendars, as "A Magic Spin" will be released via Kame House Records in February 2023.

John Bence can be described as a Savant in the world of Avant-Garde classical composition, and puts his mastery on full display in his newest release with Thrill Jockey. Archangels is a deep dive into the world and soundscape that Bence carefully crafts to offer a glimpse of the divine. Raised in Bristol"s burgeoning underground electronic music scene and a graduate of the Royal Birmingham Conservatoire, John Bence manages to employ compositional complexity to manifest potent emotions. Bence"s acclaimed early works focused on the human experience, charting the composer"s own experiences with addiction and alcoholism in both stark minimalism and caustic noise eruptions. Having written Archangels two years into his recovery, Bence deftly threads together gauzy electronic atmospheres, brooding orchestral passages, and minimalist piano meditations Throughout his work, he manages to finely sew together Gregorian chant, orchestral arrangements, rippling synthesizers, and field recordings to reveal new surprises at every turn. Archangels is a compelling addition to contemporary composition by an artist unbound by classical traditions.

repressed !

From samba and bossa nova through to baile funk, with carioca expressions of jazz, rock and hip hop in between, the sound of Rio de Janeiro, while continually evolving, has always held an unnameable quality which reflects the magic and mystique of the city itself. Multi-instrumentalist and arranger Antonio Neves is the city’s newest trailblazer: the enfant-terrible of Rio’s music scene, leading a vital and diverse constellation of both emerging and well-known artists advancing the city’s musical legacy.

“It all started one sleepless night, after watching a Quincy Jones documentary”. Inspired by the legendary music magnate, Neves began writing a list of artists residing in Rio de Janeiro “people that I admire, that I consider geniuses of their instruments, who share with me affinities, anxieties and projects.” The list included some of Brazil’s most revered living musicians who Neves has worked with in recent years: Hamilton de Holanda, Leo Gandelman and Dorival Caymmi. Neves also called on some of Brazil's most exciting emerging talents including Alice Cayymii and Ana Frango Eletrico.

A Pegada Agora É Essa (The Sway Now) is Neves’ second album: a vibrant portrait of the current Brazilian music scene. From the regional to universal, popular to erudite, samba to rap, Latin rhythms to jazz, MPB and pop to good old rock'n'roll, Neves walks with fluency and mastery amongst all the musical genres that Brazil has to offer.

“My offer to the musicians was complete freedom to express themselves through the songs I proposed – classics like “Summertime”, “Luz Negra” and “Noite de Temporal”, and compositions of my own – creating a space of authorship for the band and the guests. A space for inventions, purges, delusions, laughter. The idea was to bring the freedom of jazz crossed by Brazilian rhythms, such as the traditionals Partido Alto (A Pegada Agora É Essa) and Jongo (Jongo no Feudo and Luz Negra); rhythms of African-Brazilian religions like Candomblé (Noite de Temporal) and Umbanda (Forte Apache); and a tribute to newest Rio de Janeiro’s contribution to Brazilian music, the Funk Carioca (Simba)”.

Coming from a musical family, Antonio’s father, Eduardo Neves, was a renowned conductor and a professor at Juilliard School of Music and the California Jazz Conservatory. In the bohemian neighbourhood of Lapa, aged 14, Antonio began his career as a drummer, before experimenting with brass. He would soon become a skilled trombonist and arranger achieving the recognition of his teachers and peers. It wasn’t long before he would be playing with some of the biggest names in Brazilian music, such as Hamilton de Holanda, Leo Gandelman, Moreno Veloso, Kassin and Elza Soares.

His debut album as a trombonist was PA7 (2017, Rock It), released at the same time he was travelling the world playing with artists like Moreno Veloso, Kassin and Leo Gandelman, and recording the albums Jobim, Orquestra e Convidados (2017, Biscoito Fino), with Mário Adnet and Paulo Jobim; and Elza Soares Canta e Chora Lupi (2017, Coqueiro Verde Records). More recently, Neves was the arranger for the acclaimed Little Electric Chicken Heart album, by Ana Frango Elétrico, which has been nominated for a Latin Grammy and voted 2019’s ‘Brazilian Music Revelation’ by The Art Critics Association of São Paulo.

Anno 2022 stiegen die deutschen Extrem-Metaller MYSTIC CIRCLE aus den dunklen Untiefen empor und veröffentlichten ihr selbstbetiteltes neues Studio-Album.

Dieses führte zu einer eindrucksvollen Rückkehr, samt einem furiosen Charteinstieg auf Platz #78 in den offiziellen deutschen Albumcharts.

Mit viel neuer Inspiration schufen die beiden Hauptmitglieder Beelzebub und A. Blackwar neun neue Tracks für ihr neuntes Studioalbum, das "Erzdämon" heißen wird und am 17. März 2023 auf ihrem neuen Label Fireflash Records das Licht der Welt erblickt.

There’s more than a hint of ambition on the double LP sophomore effort from Sam Austin Rabede, the producer known as DJ Black Low. Pretoria, South Africa-born and based, the young man makes amapiano with new ways of expressing this local turned-global style of dance music.

In DJ Black Low’s musical imagination, the songs manage to smoothly vacillate between dreamy and firmly-grounded. Adorned with vocalists across most of the twelve tracks, there’s a new dimension to Black Low’s now-signature approach to abstract, angular deconstruction of the rhythmic developments in his songs.

The album references influences and ambitions in its song titles and lyrics while the music itself is anthemic in its sonic and structural aspirations. On many of the songs a slow-burning tension transforms into something unexpected until you’re somewhere else as the track concludes. There is an emotional and compositional maturity that builds on his earlier work. Vocals and lyrics are in focus.

Production collaborators among Black Low’s Gauteng Province circle add to the constantly churning array of ideas that populate this consistently surprising release. Despite being a relative newcomer, DJ Black Low is onto something here.

You Can Can is an echoed affirmation, an album which traces song forms around silence, field recordings, and degraded analog memories. This is folk music transmogrified and mutated, as if recorded and reconstructed in Pierre Schaffer’s GRM studio.

Not your typical Mariposa folk duo, the group is comprised of Toronto avant-music scene stalwarts, vocalist Felicity Williams (Bernice, Bahamas) and bricolage artist and synthesist Andrew Zukerman (Fleshtone Aura, Badge Epoch). The album feels like a somnambulant conversation, fragmented and half-remembered with Williams’ vocals traveling through a landscape of field recordings and Zukerman’s saturated concrète topographies. It is an electro-acoustic assemblage, both analog and digital, comprised of air, electricity, minerals, wood, and water. Although the album nods towards traditional forms of folk and musique concrète (if at this point it can be called a traditional form), it is outwardly and inwardly contemporary; non-linear, citational, opaque, and sui generis. In a way it feels like a sonic index of the narrative experiments found on the infamous Language school-related publisher The Figures, in the work of Lyn Hejinian, Clark Coolidge, and Lydia Davis. In the musical continuum, the album picks up where Linda Perhacs left off in the early 70’s—explored by Gastr Del Sol in the ‘90s—a convergence of rural acoustic idioms and urban avant-electronics. This is country music for the discerning cosmopolitan citizen of the 21st Century.

RIYL: Luc Ferrari, Brannten Schnüre, William Basinski, Oval, Eric Chenaux, Emmanuelle Parrenin About Everything In Time and Failure Figures, Felicity Williams says:

Everything In Time is indebted to the language of Brazilian author Clarice Lispector (as translated by Alison Entrekin). Drawing on insights from psychoanalysis, we trace the roots of melancholy to render them available to consciousness; words from the ghostly realm of the transpersonal filter through dreams and shine a beam of light onto a lone trillium in a forest at night. Other influences include the experience of not knowing, of being subject to a gestation outside of one’s control. This is an ode to the power of naming to obliterate, to set free.

Failure Figures is a meditation on the radical contingency of reality and the vicissitudes of the will. With Slavoj Zizek as my guide (think: “Hegel for dummies” - I’m the dummy in this scenario), I wander through the valley of the shadow of death, and take heart. The last verse refers to an experience I had recording at a studio in Brussels. I was singing in French, with which I have some fluency, and the producer was complaining to the artist whose song it was that my delivery was not convincing. Thinking I was out of ear shot, he said in French, “c’est comme elle n'est pas là”; I was pronouncing the words correctly, but I failed to express anything. So what or whom is responsible for conveying meaning, if not the form of the word itself? And if the connection between meaning and form is broken, how do we fix it?

Gratitude to Thom Gill (guitar) and Daniel Fortin (bass) who joined us on the recording of Failure Figures. Thanks as well to my old roommate Christopher Willes, who unwittingly left behind his hand bells deep in the hall closet. We unearthed them by accident, and the bells became an important sound element. Thanks to other past roomies Robin Dann and Claire Harvie, whose childhood piano and guitar respectively still reside with us, and were used in the recording. Field recordings were made in Toronto, Canada and Celestún, Mexico in 2020.

Gjidoda Music is a label produced by Gjidoda Music crew

Our label is dedicated to pushing the boundaries of artistic expression and promoting innovative and unique content. We believe that music, photography, and design are powerful mediums for conveying emotion and telling stories, and we strive to showcase the very best in these fields.

Together, these three pillars - unique music, modern photography, and minimalist design - form the foundation of our label and guide everything we do.

KINGUNDERGROUND TO RELEASE SET OF 45s, FROM CAVENDISH MUSIC CATALOGUE. PAYING HOMAGE TO LIBRARY MUSIC, FURTHERING ITS EXPOSURE TO A NEW GENERATION OF LISTENERS.

Library Music experienced its heyday in the 60s and 70s, as thousands of instrumental tracks were produced by musicians and composers for the purpose of placements in radio, television, and film.
The first 45 of the to be released, classified as ‘Dramatic’ features tracks from both John Scott and Tony Kinsey. Titling was important to Library Music, because it needed to clearly represent the emotions being expressed through the music, so it was easy for television and film executives to find what they needed to complete their projects. John Scott wasted no time getting into the dramatics with the opening track “Milky Way”, it displays the importance of grabbing a listener from the top, as well as being concise clocking in at just 47 seconds. Scott was not only a master composer, but also known for his work on the Saxophone, including playing on John Barry’s soundtrack for ‘Goldfinger’ in the James Bond series.

The juxtaposition of Tony Kinsey’s composition on the record offers a dynamic not present in the two tracks from Scott. Kinsey is more patient in his approach to “Kaleidoscope” building the tension with multiple movements and highlighting several instruments. The way the keys and bass play off each other leaves just enough room for a guitar lick to sneak in, as if it is hinting toward something.
In all there will be 8 individual 45s, licensed from Boosey & Hawkes & Cavendish Music Library and released by KingUnderground. Including compositions by Tony Kinsey, John Scott, Sam Fonteyn, Ray Davies, and more.

ENARCHY is the debut album by Leipzig-based producer and singer Maria die Ruhe. It is the result of a deep and thorough look the
artist took into both her own inner workings and the world around her. In 14 tracks, she explores different types of energy,
oscillating between head and heart. Final destination of this sometimes painful process of self- exploration is the embodiment of
her own power and creativity; the realization, that she manifests her role as catalyst, healer, and fighter for freedom and equality
by reporting on her experiences. These songs are about nothing less than that. And you can also dance to them.
In a musical sense, Maria surpasses herself compared to previous releases. She is bolder, more explorative and dissolves genre
boundaries. Acoustic instruments like the cello and the piano unite playfully with electronic beats. Her expressive voice speaks and
sings from the lowest lows to the loftiest heights. Her self-disclosing lyrics communicate the deepest messages of the soul. One can
tell right away: something is at stake here, this is about a real human living through something real, and now reporting from the
front lines of the human experience.
With lines like „Things are changing all the fucking time“ (ENARCHY) she posts a reminder for the current zeitgeist and the resulting
global uncertainty. „Some things need to be destroyed before they can heal“ is a demand for openness towards change, even if it is
challenging, requires energy, and leaves behind some scars.
In ART IS THE ONLY REAL TRANSLATION OF LIVING FOR ME, Maria uses sentences like „I’ve been trying to please you, I got headaches
and I still don’t fit“ to express her desperation with existing structures of injustice and the lack of livability of the artist lifestyle.
„Ah, you’re an artist - and what do you do professionally?“ Everyone loves music and art! When, o when, will the understanding
follow that there need to be people who make this art as a central part of their lives?
Frustration takes turns with hope and a growing acceptance of the self. In EQUALISTA, Maria discusses antiquated conditions like the
inequality between the sexes in a kind of manifesto, with a simple proposal for solution: „Let’s both be selfish and raise our
energies, to create a whole world with all the things we need.“
In WE BELONG TO NEVER, Maria sings about the everyday horror of toxic relationships. Lines like „Disengagement and rage, I’ve become such a slave.“ express the despair of the emptiness that results from a lack of affection. She also describes treacherous
narcissistic manipulation: „You cut me small just to feel tall.“
In SKIN, she confesses: „I’m not as enough as everyone else.“ and describes the long and painful way from rejecting her own body
to loving herself unconditionally. „I hate what I feel, while I pretend to be free“ means she doesn’t want to be reduced down to
her body, doesn’t want to be seen as an instagrammable, thoroughly designed product; she wants to be acknowledged as an
individual.
In LOST, she poses a question that many are currently forced to ask themselves: „What do we do with all this solitude?“ Maybe
making use of the reclusion by exploring the shadow self. „Can you cope with the truth?“
The conclusion: energy is being freed up through the means of self-experience and living through the personal darkness -
ENARCHY. The realization: every human being is self-determined and should simply do what they feel. It is everyone’s right to
choose their own life’s path. Here, intuition serves as a signpost. This is both feminine and strong.
ENARCHY celebrates an embodied anarchy by working through the personal shadow and the genuine, healthy integration of the
struggle survived - not as a destructive rebellion, but as a testament of shameless, joyful self-empowerment.
„In the end, I want to be alive, because in reality, I’m free.“

On the heels of their monolithic collaborative LP Mental Wounds Not Healing, the collaboration between industrial-noise post-everything bands Uniform & The Body returns with a second entry, Everything That Dies Someday Comes Back. Comprised of an amalgam of abrasive influence that spans Swans-y dirge and purge, Whitehouse’s clenched-jaw noise, middle-period Ministry’s penchant for metallic post-industrial everything, New Order’s nose for melodic emotionality, and Juicy J-inspired beats, Uniform & The Body’s approach delves deeper down the rabbit hole than before, igniting a sonic world of terror and bliss poised to grip the throats of fans yet again. Prepare for a record that the band self-describes as “the middle ground between Robyn and Corrupted, but weirder.”

Much like the collective’s bombastic debut, Everything was built over a series of collaborative sessions with Seth Manchester at Machines with Magnets in Rhode Island, mixing industrial-influenced synths, squalls of harsh noise, manipulated guitar, oodles of samples along with hard rock-inspired riffs, saccharine pop, and the alternately antagonistic and harrowing vocals of Michael Berdan

Last year the Atlanta artist releaed her debut EP Swan, made with producer Marshall Vore who is known for his work with folk dynamo Phoebe Bridgers. The five song col¬lection found a supportive home with Royal Mountain Re¬cords, and drew remarkable acclaim for a debut EP, earning praise from outlets like NPR, FADER, Nylon, Paste, Under The Radar, Coup De Main and Line of Best Fit among many others.
When I’m Alone is the debut album from Girlpuppy. Across the record, Harvey weaves in several cinematic allusions: a Keanu Reeves look alike pops up in “Teenage Dream,” named for the alternate title of an ‘80s movie he stars in;

Though shifting styles the four track EP ‘Intelligent Jump Rope Music’ presents Sarayu in his element, the record is craft of high quality and club ready dance music from start to finish. On the A side, Sarayu opens the EP with the ‘The Bag’, a myriad of infused warm synths and driving hats placing the listener solidly on the club floor. ‘E30 Track’ (A2) then follows with a much moodier bass filled aura, fluidly moving the listeners onwards with a set of sizzling synths and well crafted drums. On the B side the Album title ‘Intelligent Jump Rope Music’ drops the tempo to 120 bpm with acid tinged synths and dynamic snares. B2 then brings in Locked Groove, driving the tempo back to 136 bpm with an ecstatic club finish, intertwining floating sets of emotional synths and grooving hits together to tremendous result.

There are two versions - 180g black vinyl and color vinyl version - limited to 100 copies and each vinyl has a different color. All versions has booklet inside with the special artwork dedicated to each track from teh album.

Things don't always go your way, especially when your plans involve space travel. In the case of Captain Harrison Focus's expedition, it started innocently, but no one was prepared for an emergency landing on the mysterious planet Carmin. Only then did the real fight for survival begin. This record tells the story of a dangerous expedition into space that began on February 6, 2023.

Twoosty Mayonez consists of Bartosz Wolert (drums) and Dominik Kaniewski (bass guitar and synthesizers). "Carmin" is their debut album, which is released primarily on vinyl by U Know Me Records.

Shift Into The Rogue presents two tracks from an as-yet unreleased album Pier Bucci recorded using only one synthesizer for all parts of the entire project - his 25-year companion, the Moog Rogue.

Combining his unique musical and rhythmic sense, love for alternative electronic music from the 90’s (particularly sounds coming out on WARP Records at the time), and the technical abilities gained from years in the studio, Pier has crafted emotional, groovy, raw yet nuanced tracks - inspired by ‘the analogue, alternative, positive, very beautiful music from that time.’