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Delve into the quirky and psych-tinged world of Brazilian pianist, composer and multi-instrumentalist Mauricio Fleury.

With more than a hint to Brazilian jazz greats like Azymuth, Deodato and CTI Records in their prime, Revoada is a groove based jazz-framed record, primed with other transitory musical vignettes which touches on Turkish psych and soul-jazz born out of the 70's film soundtrack genre.

Revoada is a 6 track album and storyboard of Mauricio's migration and travels through Brazil's geographical oddities , its rural and urban enclaves. Recorded in Brazil, it's the result of numerous treks through funky flea markets, soaking up old vinyls and vintage cultural artefacts combined with a new life led in Berlin since 2022.

Mauricio, as well as a founding member of Bixiga 70 (google Brazilian Afrobeat pioneers), a band he fronted for over 12 years, is also an in-demand collaborator and musician who as a pianist, guitarist and even percussionist has shared stages and studios with the likes of Brazilian greats including Gal Costa, Emicida, Lucas Santtana, João Donato and Liniker.

In 2007 he had a life-changing experience meeting Tony Allen, at the Red Bull Music Academy. After hanging out, chatting music and life, Tony insisted to Mauricio to participate with Tony in a jam with blacktronica and soulful house music pioneers Ron Trent, Theo Parrish and Steve Spacek. Mauricio sums it up, "From that moment on, I was never afraid to collaborate musically with anyone, no matter who's playing. It also brought me to researching the connection between Brazilian music and Afrobeat which is something that still means the world to me".

Another unforgettable session Mauricio undertook happened alongside João Donato and Marcos Valle, playing Donato's classic album Quem É Quem, live, a record seen as a blueprint for second generation bossa nova. Mauricio has worked with Gal Costa on two albums, Estratosférica Ao Vivo and her last studio album A Pele do Futuro. Fabio Sá and Vitor Cabral (bassist and drummer on Revoada) were playing with Gal at her last concerts, including in Berlin in 2022 before she passed.

In contemporary music, Mauricio was part of Toy Selectah and Mexican Institute of Sound's Compass project. He's worked with Colombia's Los Pirañas and has even recorded a mysterious and unreleased album with Quantic.

Revoada shows signature traces of Thelonious Monk, Ramsey Lewis' swinging soul sound, Deodato's drama, and styles from further afield, spreading into Turkish psych and Ethiopian jazz, when the time is right. Each track, led always by Mauricio playing multiple instruments with a choice selection of guests and core members on bass and drums, highlights Fleury's meticulous approach to finding the right timbre, utilising his arsenal of organs and effects pedals to set the mood, taking the listener to a specific place or memory that has shaped him.

A vinyl DJ for over 25 years and someone who is immersed in digger and collector's culture, Mauricio places a lot of emphasis on the importance of the complimentary relationship between two artforms (DJ and composer/producer) in the sense of having a broad repertoire of musical knowledge, references and perhaps predictably, being a Brazilian, understanding the connection between rhythms. This is an impressive debut album that struts itself right into the runout groove.

CAY unveils his personal side on Another Life, a debut album rich in melancholic euphoria

The expressive, multi-faceted 10 tracker comes on Mind Against's HABITAT label in January 2026

Cologne-born producer CAY explores beyond the dancefloor with Another Life, a debut album that trades peak-time pressure for an ambitious and artful exploration of self. Far from being rooted in one genre, the record weaves his own honest vocals with a wide range of powerful rhythms that pull from progressive, broken beat, techno and trance.

For CAY, making music has always offered refuge and a place to calm his mind, process life’s chaos and channel personal experiences into sound. His journey started in the clubs of Cologne, in illegal forest raves and with trips to Berlin to soak up big room techno. His search for more purpose, away from mental demons and the darker side of the party lifestyle, led him to production. DJing followed after a push from his brother turned Manager, and while those experiences around Europe shaped his understanding of dance floor dynamics, he was never in a rush to release his early experiments.

Instead, CAY took private time to evolve into an accomplished artist with his own musical voice. Label heads Mind Against were so impressed when they heard what he sent to their demo inbox, they both reached out to collaborate, and he has since released on their label HABITAT.

With Another Life, he is making music that is multilayered and rich in narrative, rather than defined purely by big moments. It is drawn from years of writing, with more than 60 tracks whittled down to one concise, impactful statement. "There wasn't one big concept,” says CAY “but there was direction. It's a big risk for me, but I wanted to introduce people who like club music to something deeper. I want the music to say something real.”

Because of that, Another Life introduces CAY the vocalist. For the first time, he sings on several tracks. The subjects are real, whether that's an important friend, a moment with his girlfriend or, on 'Runaway', the thought of giving up and escaping everything. The lyrics are honest but often slightly oblique, so they invite your own readings rather than spelling everything out.

Sonically, the album moves between optimistic grandeur and introspective reality. It's cinematic but personal and bridges the gap between dancefloor drive and vulnerable storytelling. There is a grand scale to many of the tracks, with arching synths reaching and heavyhearted drums anchoring a groove: you'll dance, you'll cry, maybe both at the same time.

Another Life is the sound of a producer granting himself permission to sing, turn inwards and risk audience expectations. It’s intimate without being insular, club-capable without being confined, and a compelling first chapter for an artist who has spent years building toward this moment of truth.

2025 Repress

It's a pleasure to welcome Priori to the DustWORLD family.. What an EP.. Hope everyone is well out there..

In 2016, a year after the 50th entry in the long-running series, none other but the iconic Detroit artist, DJ and producer Moodymann stepped up to helm the next landmark edition of DJ-Kicks, his first ever multi-artist DJ mix compilation. Following !K7's 40 th anniversary, this classic DJ-Kicks mix is now being repressed on coke bottle clear vinyl.
Born Kenny Dixon Jr., Moodymann is a one-of-a-kind electronic music icon, hailing from, and wholly synonymous with the Motor City. He is an outspoken, impossibly charismatic artist who has been putting a distinctive and soulful stamp on house and techno since the early 90s. Melting together jazz, funk, soul, blues and rock in captivating ways, he is responsible for some of electronic music’s most definitive tracks, EPs and LPs on labels like Planet E, Peacefrog and his own KDJ and Mahogani Music imprints. As able to serve up the sweetest and most sensual sounds as he is the darkest and most depraved grooves, his own unique voice and stream of conscious musings infuse expertly sought-out samples for music that is decisively alive and authentic.

Across 75 minutes and 30 tracks, Moodymann does not disappoint: despite being a notorious vinyl fetishist, Dixon’s aim is to present music of quality, not to one-up fellow collectors. Rather than serving up ridiculously rare or hard- to-find records, he instead focuses on creating a libidinous, blues-drenched mood that takes in heart-breaking soul, gorgeous hip-hop and love-fuelled house.

In addition to cuts from his own creative circle, the mix features 11 exclusive Moodymann edits. Like everything Kenny Dixon Jr. touches, his DJ-Kicks showcases the taste, skill, and soul of a dance music original.

High-definition audiophile pressing - 180g premium vinyl - the complete album plus bonus track from the same session, but not included on the original LP

This special edition presents the complete Grant Green LP 'Gooden's Corner' (1961) with an additional track recorded at the same session with saxophonist Ike Quebec joining the quartet on the seldom heard standard, Count Every Star by Bruno Coquatrix and Sammy Gallop. Grant Green - guitar Sonny Clark - piano Sam Jones - bass Louis Hayes - drums Ike Quebec - tenor sax (on 'Count Every Star' only) Rudy Van Gelder Studios, Englewood Cliffs, New Jersey, December 23, 1961. Original sessions recorded by Rudy Van Gelder & produced by Alfred Lion. "This is an album of real beauty and synergy between Green and pianist Sonny Clark, who along with Sam Jones on bass and Louis Hayes on drums rounds out the quartet. Green, an expert with standards, offers 'Moon River', 'What Is This Thing Called Love?', and 'On Green Dolphin Street'." - ****1/2 Michael Erlewine, All Music

Ace Records are delighted to reissue one of Parliament’s classic LPs, “Funkentelechy Vs. The Placebo Syndrome”. The album got to #2 in Billboard’s R&B chart and #13 on the Billboard Top 200 album chart.

Originally released in 1977, “Funkentelechy” found George Clinton and his crew on top form. Although best known for featuring their smash club hit ‘Flash Light’, every track on the album shines from ‘Bop Gun’ to ‘Wizard Of Finance’.
Ace are always known for going the extra mile and this reissue is not only pressed on 180gm vinyl but comes with the 8-page comic book that also graced the original issue.
There is no downstroke on this upstroke. This is the one.

A vinyl soundtrack for GQuuuuuuX (Geku Axe) is now available!

"Mobile Suit Gundam GQuuuuuuX" is a new Gundam series, a collaboration between Studio Khara, the creators of the "Evangelion" series,
and Sunrise, the creators of the Gundam series. The pre-release theatrical version was released in January of this year, becoming a huge hit,
grossing approximately 3.4 billion yen and attracting over 2.06 million viewers.
The TV broadcast began in April, and it became one of the most talked-about anime titles of the spring.
A vinyl record featuring a selection of the soundtrack from "Mobile Suit Gundam GQuuuuuuX," including the music used in the pre-release theatrical
version, is now available. The music was co-produced by Junsei Terui, known as a member of the bands "Haisui no Nasa" and "siraph" and
Masayuki Hasuo, also a member of "siraph," and composer of the anime "Jujutsu Kaisen" series and the live-action film "Showtime Seven"
The music, which includes pop, electronica, and minimal music that fits the worldview of the work, will allow you to experience a new "Gundam"
sound. The LP label side is colored vinyl (splatter disc) and it is a set of two discs!

On the 25th August, Burna Boy will release his brand-new album ‘I Told Them…’. It will be available to stream everywhere as well as on CD & Vinyl. The Pre-order will go live alongside the album announce on the 28th July. ‘I Told Them…’ features Burna’s newest hit singles ‘Sittin’ On Top Of The World (feat. 21 Savage)’, ‘Talibans II’ & ‘Big 7’ as well as a whole host of album features.



Burna Boy was born Damini Ogulu in Port Harcourt, Rivers State, Nigeria, in 1991 and began making music at just ten years old. As a teenager he honed his craft on Nigeria’s southern coast, delving into dancehall, reggae and Afrobeat’s. In the early 2010s Burna Boy emerged as one of Nigeria’s fastest-rising stars, combining influences from his Nigerian heritage with hook-filled pop stylings to create unforgettable tracks. His 2012 single ‘Like to Party’ broke into the global mainstream and paved the way for his full-length debut L.I.F.E, a year later.



Over the next five years, Burna Boy released two more albums and collaborated with a long list of high-profile artists including J Hus, Skales, Fall Out Boy and Lily Allen. African Giant was released in 2019 followed by his fifth album Twice as Tall in 2020 (which featured collabs with Chris Martin and Youssou N'Dour), both charted in several countries across the globe andgarnered worldwide acclamation, with the latter winning a Grammy Award for ‘Best Global Music Album’. Breaking cultural boundaries, he became the first Nigerian to headline a show at New York’s Madison Square Garden, he released his sixth album, Love, Damini, last year (featuring collabs with the likes of Ed Sheeran and Khalid). It deservedly became the highest-charting Nigerian album in history and currently holds the record for the only African artist to earn a no. 1 on iTunes in 16 countries worldwide.

Hot Creations Winter 2025 Vinyl Sampler featuring four of the Hottest recent releases on Hot Creations.

First up Jamie Jones marks Hot Creations’ 15th Anniversary with solo return with this year’s anthem: “Murder Mystery. His first solo release on Hot Creations since 2022’s ‘Bionic Boy’ EP, it’s a track designed to move, mesmerize, and captivate with every listen. Rolling basslines, intricate percussion, and a subtle tension pulse beneath the playful surface, making it a record built for late nights, festival main stages, and intimate spaces alike. It’s a statement of intent, and a reminder of why Jamie’s groove-driven productions continue to set the standard for house music worldwide. Next up Darius Syrossian returns to Hot Creations with ‘Bass In Ya Face’, featuring Cortez Walls is a driving, bass-fuelled floor-filler that combines weighty low-end grooves with hooky vocals.

On the flip, Joe Rolét makes his Hot Creations debut with this summer’s underground anthem. Enter: ‘No Hesitating’, the definition of a bassline mover. Stacked with rave-ready pressure and designed for full dancefloor impact, it’s a cut that has already been road-tested to devastating effect by Rolét himself alongside names such as Chris Stussy, Max Dean, and the Hot Creations head honcho himself, quickly becoming one of the most sought-after IDs of the year. Finally Manchester’s AJ Christou is back on Hot Creations with the incredibly infectious: ‘Bang Bang’, which leads with crisp percussion, slinky grooves, and a hook that’s been igniting AJ’s sets worldwide.

Following his debut EP God Iz Enough, South London artist Tomi Ahmedeus unveils “Sereniti Praya” a striking new chapter that deepens his sonic identity. Once again collaborating with Grammy Award-winning engineer IRKO, Ahmedeus crafts an immersive soundscape where brutalist textures, cinematic layers, and visceral rhythms converge. At it's core, Sereniti Praya is both dance driven and emotionally resonant: intricate sampling and percussive detail form the cadence of a project that speaks to love, loss, and self-discovery.

It is a record that moves between the personal and the ephemeral, designed as much for reflective listening as for the energy of the dance floor.

Marco Funari’s Music Institute Records make’s a return with it’s first ever release from 1993, remastered and re-released. Another lost house classic !

Kaninchenbau label head The Funk District has joined forces with Argentinian keys specialist Sokur for a new four-tracker that collides bluesy samples with sleek electronic grooves. 'Till My Feet Got Numb' kicks off with waves of synth energy run through with sampled vocals that hark back to Robert Johnson. 'Never Satisfied' is another mix of funky drums, jazzy pianos and crackly blues vocals that is unusual but effective. 'Took My Babe Away' repeats this combination, this time with hints of St Germain in the melancholic spoken words and ever more thumping and acid-laced beats. 'Sunshine From The Sky' completes the quartet with more hurried grooves laced with wonky synth work. It's peak time stuff with plenty of deeper meaning.

Flick Wilson's "School Days" album has long been one of our all-time favorite LP's through it's killer combination of super heavy Roots Radics rhythms, wild Scientist mixing, and the Flick's unique alternating falsetto style. Never widely available and only ever released in NYC, it's now deservedly reissued.

For a few years, Slovakian born & Czech-based artist pantata (Stefan Barcak) has been making music for himself, while running a record store slash coffee bar (called 25,2 rpm) in Prague. Over the course of a month in 2024 pantata made many songs with different analog machines and selected the favourite tracks out of this. His music is very laidback -almost empty- analog music that reminds of K. Leimer and Tara Cross mixed with Czech & Slovakian childhood memories and love and honesty of nowadays memories. "I was born on March 3, 1998, in a small town in eastern Slovakia. In the distance, you could see the Slovak mountains. That image of big mountains on the horizon still inspires my work today. In my early years, before my family and I moved to Prague, I was quite an outsider, I liked drawing and painting and I never stopped. Nowadays, I have a nice setup at home. A few synths: Sequential Circuits Six-Trak, Pro-One, Yamaha DX7, Roland Juno, JP-8000, S-1 (a small SH-101 clone), and classic Roland drum machines like the 909 and 707. I also use a few effect pedals, an old mixer, and a Tascam Portastudio where I record everything to tape. When I make a track, I usually need to finish it in one day. I start playing my instruments, and whatever feeling I have that day needs to be recorded. If I leave a song for tomorrow, I might lose the feeling and feel something completely different, so I prefer to start a new track instead."

El Elektro Compilado Padrísimo Vol. 1 is a double 12” compilation curated by Spanish artist Elektro’s Grandfather, Dark Vektor featuring his personal selection from today’s scene. A fearless snapshot of the Spaniard national electro scene. Established figures stand shoulder to shoulder with new blood, generating a current where tradition and innovation collide in sparks. Every track is a charged fragment of a collective identity, soldered into one unstoppable groove. A declaration that the Spanish electro underground is alive, mutating, and absolutely padrísimo. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

A chopped-and-screwed love letter to the sounds of rebajada – half-speed cumbia, pioneered by Sonido Dueñez in the 1990s, and born from an overheated turntable motor that didn’t make the crowd stop dancing. With Debit’s treatment, rebajada becomes an ethereal, at times intense ambient tapestry that’s also a history lesson.

Spend any amount of time pacing the streets of Monterrey, the bustling city in the north of Mexico where Delia Beatriz, aka Debit, grew up, and you’ll be sure to catch traces of cumbia echoing from Bluetooth speakers, DIY soundsystems, or car stereos. An Afro-Latin dance form and »practica cultural« originating in Colombia in the early 19th century, cumbia evolved rapidly in the early 1900s, as a localised sound played on drums and flutes quickly modernised to integrate European instrumentation like the accordion. When it reached Mexico in the 1940s, the sound shifted again, fusing with mariachi styles and integrating further vallenato folk elements. Eventually, cumbia spread across the entirety of Latin America, splintering into a spectrum of different musical styles such as chicha in Peru, and cumbia villera in Argentina. And over in Monterrey, cumbia inadvertently found its own idiosyncratic groove.

From the 1950s to the 1970s, waves of immigrants from across Mexico and Latin America headed to Monterrey to find work, making a home in Colonia Independencia. Colombian cumbia records, shipped in from Mexico City, Houston, and Miami, became the soundtrack of the neighbourhood, relaying familiar stories to a rural working class adjusting to their new industrial reality. The sound struck a chord with locals, and huge street parties hosted by ramshackle soundsystems known as sonideros unified the diverse community. So when cumbia rebajada materialised serendipitously in the 1990s, it emphasised and highlighted the memory distortions at the heart of the immigrant experience. Local record collector, selector, and sonidero Gabriel Dueñez had been playing cumbia for hours one night when disaster struck: his turntable’s motor overheated and slowed down, turning the music into a warped groan, with half-speed voices echoing over wobbly accordion drones and splashy drums. But the crowd kept dancing, and Sonido Dueñez realised he’d struck gold – cumbia rebajada was born.

Over the next few years, he dubbed a popular series of mixtapes, hawking them at the flea market on the dried-up Santa Catarina riverbed beneath El Puente del Papa, the bridge that links downtown Monterrey with Independencia. These woozy archives became the stuff of legend, poetically but subconsciously shadowing DJ Screw’s series of epochal cassettes that appeared over the border in Houston. Beatriz uses Sonido Dueñez’s first two tapes as the starting point for »Desaceleradas«, entering into a dialogue with time, culture, and geography as she recalls the sonic ecosystem that surrounded her decades ago, long before she emigrated to the USA. If 2022’s acclaimed »The Long Count« was an attempt to recover concealed pre-Columbian history in the face of colonisation, »Desaceleradas« jumps forward, figuring out how memory and shared celebration can resist a more contemporary form of cultural erasure. As AI systems scrape, blend, and decontextualise culture around us, leaving vapid slop, »Desaceleradas« proposes a slower, more careful, and ultimately more human kind of engagement. It’s an archive with a pulse.

On »Empty Room,« David Granström works with slow transformations, cyclical and isometric patterns as well as just intonation as a way to create harmonic stability, allowing his long-form pieces to develop their own unique temporal and spatial qualities. A prolific figure in Stockholm’s experimental drone scene and a collaborator of Hallow Ground label mates Maria W Horn and Mats Erlandsson, the Swedish composer navigates through moments of quietude and crushing volume on these five tracks. Sonically and atmospherically, the pieces on »Empty Room« simultaneously call to mind Fennesz’s most meditative work or the physical experience of seeing Sunn O))) live, blending guitar recordings and synthesised sounds with forceful effects similar to those of Mario Díaz de Leon’s Oneirogen project while still being as moving and delicate as Alessandro Cortini’s solo work. The album is marked by melodies and harmonies that are the product of a peculiar working process that turned the composer into an intent listener collaborating with, rather than simply using technology.

Having been invited by the self-organising artist group The Non Existent Center for a residency to Ställbergs Gruva, a defunct iron ore mine in Sweden’s Bergslagen region, Granström took his guitar as a starting point for his compositional work that heavily relies on real-time sound synthesis. »I seldomly use the instrument as a sound source in the final compositions and rather transcribe and orchestrate the harmonic structures using sound synthesis,« he explains. »On this album however, I chose to include the actual recordings of the guitar in order to extend the spectra between non-referential synthetic sounds and embodied referential sounds.« Working with precise tunings in order to blend the timbre of the synthesis with the harmonic structures of the composition, he created composite sound objects in which the harmonic elements blend into each other.

Through the re-amplification of synthetic musical materials from the inside of the abandoned mine, his original compositions were enriched with site-specific sound qualities before he further refined them in a singular working process. Granström works with algorithmic and generative processes, using the SuperCollider programming environment and thus blurring the lines between generative and creative forms of composition. »One of the things that I like about this way of working is that it creates a distance between myself as a composer and myself as a listener of the music that is produced entirely by the system,« he says. Granström’s technologically aided eschewing of the conventions of composing doesn’t make the end result any less personal, however. By listening again and again to the newly generated output, Granström simply took on a different role in the process of finalising the music, with the technology and the sounds becoming his co-authors.

By creating systems that generate music, he gains a new perspective on (musical) time, says Granström. »There doesn't have to be a fixed length to the music at all,« he explains. »And by writing music with this in mind, my focus tends to shift towards writing cyclical structures that gradually change and transform over time.« Simple parts, in other words, that emerge as the five complex wholes that form »Empty Room,« a record that itself seems to take on different forms with every new listen.

Announcing Perseverance Flow, the latest album from acclaimed Chicago-based ensemble Natural Information Society (NIS), release date 2024-10-24. After a trilogy of double LPs by expanded manifestations of the band that began in 2018 with Mandatory Reality & continued through Since Time Is Gravity (a Pitchfork Best Jazz & Experimental Album of the Year selection & Mojo’s #1 Underground Album of 2023), NIS returns to its core formation of Lisa Alvarado on harmonium, Mikel Patrick Avery on drums, Jason Stein on bass clarinet, & composer/multi-instrumentalist Joshua Abrams on guimbri for one continuous 37 minute composition across a single LP. As the rocket boosters on spaceship earth sputter closer to burnout, lower your stylus into a soundfield that grows stronger the deeper you travel into it; a dose of the medicine many of us look to music to deliver awaits you inside.

One of the deep contemplations of this natural information (thanks Bill Callahan) is the wide range of source materials Abrams draws from over the band’s more than 15 year history: Ideas from minimalism, modal jazz & traditional musics are regularly reimagined in these compositions. The 2021 double LP descension (Out of Our Constrictions), with guest soloist Evan Parker, reflected aspects of Abrams’ love of party music, Chicago house, & John Coltrane. *But even veteran travelers with the NIS best brace themselves for the Perseverance Flow.

Speaking to the history & the inspirations behind the album, Abrams offers: “We played the piece for a year in concert before the recording. At Electrical (Audio Studios, Chicago) we went in at 11 & were done in time to pick our kids up from school.” Abrams continues: "In a reference world, I imagine Perseverance Flow like a live extended realization of a Jaylib lost instrumental as remixed by Kevin Shields. Or vice versa. I also think it has sympathies to some of the more rhythmically intricate dance musics out of Chicago & Lisbon.”

The core NIS ensemble heard on Perseverance Flow always address Abrams’ writing with the discipline of orchestra musicians & the creativity of improvisers. But this time around, instead of inviting living legend status musicians Evan or William Parker or Ari Brown as honored guests to solo freely over the composed materials, Abrams’ invited guest collaborator was the medium of the recording studio itself. Situated at the board with engineer Greg Norman, Abrams pushed post production techniques found only sporadically on earlier NIS records deep into the heart of the music, distorting & reshaping instruments to subtly &, at times, aggressively mutate timbre & texture, color & time.

Refracting the band’s signature mesmerizing chains of overlapping rhythmic patterns through the sonic funhouse of dub makes Perseverance Flow the most formally experimental NIS album to date. Now a soundworld fully unique to itself is listening to itself, consoling & humoring itself, & consoling & humoring you. A destruction myth & a creation myth of a soundworld together at once —”energetically nutritious” (October 2025 Issue 500 The Wire) supernatural information society.

“Perseverance Flow is skipping rope in slo-mo. A dance of co-operation to rally guts & humors & keep marching through pouring tears” (Abrams).

For AI-41 Astral Industries presents a vinyl reissue of Robert Henke’s multifaceted concept album ‘Layering Buddha’. An erudite masterclass on sampling and composition, ‘Layering Buddha’ encapsulates the material process of metamorphosis and a well of nascent, ever-present potentialities. This new edition comes remastered by Henke himself. 

Originally released in 2006, ‘Layering Buddha’ began with a curious encounter with the ‘Buddha Machine’ - a pocket-sized, battery powered playback device that, over the past two decades, has quietly achieved a cult status around the world. Conceived by the Beijing-based group FM3 (Christiaan Virant, Zhang Jian), the machine takes inspiration from Tibetan Buddhist prayer boxes and consists of nine sound loop compositions of varying length, which can be toggled with a single switch. Due to low production cost and manufacturing imperfections, each Buddha Machine is unique, giving slight variations in sound, pitch and duration.

Using a state of the art A/D converter Henke made high quality recordings from a single machine, providing the source material for the album. Through various processing and arrangement methods, new pieces emerged, most of them all deriving from a single source loop. The pieces were then set up on the computer as generative arrangements, living as continuously permutating structures that could theoretically go on forever - just as the loops do within the Buddha Machines… 

The final pieces featured on the album are rendered excerpts of these infinite permutations, and therefore exist as momentary views on a perpetual machinery, as opposed to closed works. Upon initial exploration, it also became a natural development to format the work into an immersive multi-speaker performance - which premiered on January 31, 2007.

Within the music, subtle artefacts and idiosyncrasies are transmuted into new realms of texture and timbre. Through the extractive hand of subtle augmentations, an array of ethereal dimensions emerge from the vast unseen ocean. Suspended in a sense of timelessness, their undulating rhythms point to a pool of endless mysteries. 

Gatefold clear 2LP


Lorna Shore hat unerwartete Höhen erklommen, vor den größten Zuschauermengen ihrer Karriere gespielt und ist buchstäblich durchs Feuer gegangen, um »I Feel the Everblack Festering Within Me« zu veröffentlichen. Das neueste Album des Quintetts aus New Jersey knüpft dort an, wo sie mit dem mittlerweile klassischen »Pain Remains« aufgehört haben.

Während die erste Single des Albums, »Oblivion«, klassische Lorna Shore-Klänge sind, hört man erst in Songs wie dem hymnischen »Unbreakable«, dem pathetischen »Glenwood« oder den triumphalen Gitarrenmelodien von »Lionheart« den Sound von Extreme Metal, der seine eigenen Grenzen überschreitet – geprägt von den Erfolgen auf riesigen Festivals und Arenenauftritten mit Künstlern wie Gojira und Mastodon.

Lorna Shores Aufstieg war schlichtweg atemberaubend, und »I Feel The Everblack Festering Within Me« ist nichts weniger als ihr karriereprägendes Album.