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Copenhagens own dj legend and veteran producer KIM KEMI releases another jacking and euphoric banger- ONLY SMOKE - his stylish and subtle sound design and varied arrangement take hints of Robert Hoods minimal riffs and flesh out a full funky arrangement taking us on that classic luxurious sonic journey. Pres play and trigger the
smoke machine - or the soap bubbles.
Martinez ́s remix is a more electro affair that could blend well with classic Underground Resistance releases. Watch out for the acid topline. Martinez is a Swedish electronic music producer and DJ, currently based in Copenhagen. Martinez kick started his carrier
in 2000 with his "Laidback Grooves EP" on the notorious Chicago based Deep-House label Guidance Recordings.
Asmus Odsats remix of SMOKE KILLS is taking the track in a more broken but funky IDM territory, breaking the track down adding avantgarde dub details over the stuttering beat.
Asmus Odsat is a former resident at Culture Box and co-founder of Ritual Malmö as well as the BULK club night releases via. FALK DISKS, the club focused sub-label of FALK (Fuck Art Lets Kill) with his ‘Ecstatic Half Truth’ EP, is played by Courtesy - even in her BBC Radio 1 show mix.
An added bonus to these 3 unique remixes is Kim Kemis beautiful
Tropical Tucan, a perfect opening track fusing sensual chilly Detroit pads and jacking understated beats into a growing glowing mind-state that is worthy of a Carl Craig spin - let it ride - don't miss the climax - you will end up looping it. An essential tool. Enjoy!

Savage Grounds lands on She Lost Kontrol with a 7 track EP, Hidden by the Night. 

For the first time, the voice of Kleio Thomaïdes joins Savage Grounds members Florin Büchel (Synthesizers) and Daniele Cosmo (Drum Machines). The result is an attractive, intense record with some nuances that will surely make the old nostalgics of Krilian Camera and Simona Buja's voice squeak their eyes. 
 The record reminds us the heartbeat of Italian darkwave, the angularity of German basements, the youthful despair of French coldwave. But it’s more than that because it’s a very personal kind of darkness.
 The exasperated atmospheres seem to resonate on both sides of the record, with the due differences between the darker-wave elements of the record and the more proto-ebm ones.
 All these songs are almost ‘goth love protest songs’: they all have the gloominess of the pre-disappointed, of the already-disgusted, of the unrelentlessly bleak against a freezing, sparse, ethereal electronic landscape.
 The voice by Kleio Thomaïdes is so fascinating because... more credits released March 15, 2022 SLK016 Savage Grounds are Kleio Thomaïdes (Voice), Florin Büchel (Synthesizers) and Daniele Cosmo (Drum Machines). Recorded between Zürich and Geneva, 2020/2021 Composed and recorded by Savage Grounds. Lyrics by Kleio Thomaïdes and Daniele Cosmo. Mixed by Florin Büchel. Mastered by Andrea Merlini. Photography by Erika Marthins Artwork by dudegraph - Michelangelo Greco Executive producer: Giovanni Rispoli & Carmine Staiano

Eric Dolphy's final studio album is hailed as one of the finest examples of mid-'60s post bop. Its reputation is purely one of backwards significance. Dolphy, having recorded the album in February 1964, was in Europe less than six weeks later and his all-too-brief life ended less than two months after that. Though likely he never held a copy in his hands or heard any critical opinion of it, it marked his last flurry of original compositions and is considered his apex. It is fascinating to consider whether he would had moved past or away from the album in 1965, had he lived.

Though Dolphy should not be considered an avant-garde musician by the term's most common definitions, most interpretations of Out To Lunch have been done by players working squarely in that area. So it is with this album, the most ambitious in its recreation of the five-tune disc (with one original added to the final "Straight Up and Down, extending the piece to almost thirty minutes). All five compositions from the original quintet LP are revisited in the same order, the record sleeve even duplicates the old album jacket, down to the typeface and black-and-blue color scheme, although a photo taken by Daidō Moriyama inside Tokyo's massive (and massively busy) Shinjuku railway station replaces the Dolphy's album's enigmatic "Will Be Back" sign, whose clock hands indicated no conventional time of expected return.

Otomo Yoshihide first came to international prominence in the 1990s as the leader of the experimental rock group Ground Zero, and has since worked in a variety of contexts, ranging from free improvisation to noise, jazz, avant-garde and contemporary classical. The always surprising and sometimes confounding turntablist, sound artist, onkyo improviser and now avant jazzer heading up a 15-piece aggregation of Japanese and European experimentalists. Who better to grapple with Dolphy's legacy -- so idiosyncratic in its day and yet so influential to creative improvisers who followed -- than a musician with his own singular take on how sounds can be organized in the jazz realm over 40 years later and half a world away? In other words don't expect the conventional from Otomo any more than you would from Dolphy himself. That's not to say that recognizable themes ("Hat and Beard," "Out to Lunch," "Straight Up and Down") don't appear, or that individual players -- including Alfred Harth on bass clarinet bursting into the mix and leaping across the instrument's tonal range in a way that recalls the master himself -- don't carry forward echoes from the past in the spirit of a sincere and heartfelt homage.

However, a good deal of the time all bets are off; in addition to the usual brass, reeds, bass, and drums (and of course a bit of vibraphone, here played by Takara Kumiko in far less prominent role than that of Bobby Hutcherson) are such sonic paraphernalia as sine waves, contact mike, no-input mixing board, and, of course, "computer." (Otomo himself plays skronky electric guitar.) From composition to composition and even during episodes within compositions, the band takes radically different approaches. There are blasts of free jazz energy not too far removed from the Peter Brötzmann Tentet, an impression reinforced by the presence of spluttering wildman Mats Gustafsson on baritone sax. Not surprisingly and often in contrast with the Dolphy original, the music is dense and filled to overflowing with sounds -- sometimes due to fundamental reworkings in structure rather than just the larger size of the ensemble. The middle section of "Something Sweet, Something Tender" somewhat belies the original's title with elongated howls and cries from the horns over slo-mo bass, drums, and electronic noise poised somewhere between dirge and drone, and the sudden explosion of punk-ish rock energy in the following "Gazzelloni" is a startling contrast.

At times, the feeling is that of listening to the original Out To Lunch while a séance is going on to contact Dolphy's ghost, with supernatural sounds swirling around the stereo. The effect is disconcerting, as is the post-apocalyptic cloud hanging over the arrangements, but it makes the effort more than an unnecessary tribute album. Instead, Dolphy is transported into the 21st Century and allowed to romp through modern developments in music. An inspiring concept and an album that will stretch the boundaries of anyone who comes into contact with it.

Boogie Angst is proud to announce Boogie Beats Volume 3; the third installment in their critically acclaimed,club-orientatedcompilation series. Known for showcasing fresh new talent as well as industry titans, Boogie Beats has become a well-lovedshowcasefor both dance floors and home playlists alike.

Kraak & Smaak - Fittipaldi

Opening track Fittipaldi is the previously released Euro heater by label heads Kraak & Smaak. Magnificent Clavinet parts sway hand-in-hand against the diced wall of electronic goodness. Classic sounds brought into the present-day. Named after the famous Brazilian 70s F1 driver, Fittipaldi is a nostalgic, nu-disco groover ready to bridge the classic-to-modern gap in any club this summer.

Steven Kimber - I Wanna Be The One (Drop Out Orchestra Remix)

Next up is a Steven Kimber song, by way of a gorgeous Drop Out Orchestra remix. Drop Out Orchestra are the reigning edit kings of the soulful disco scene. Taking on the Birmingham-based vocalist and producer Steven Kimber's I Wanna Be The One,they managed to turn it into a brilliant yacht-house infused bouncer. Beach-proof from the get go, we wouldn't be surprised to hear this one tear up some island clubs this summer.

King Mutapa - Gimme That Funk

Third in line for Boogie Beats Volume 3 is South-African producer King Mutapa with the ever so shiny Gimme That Funk. Heavily influenced by 70s Disco, Funk and Boom Bap, King Mutapa expertly sprinkles funk chops over the shiniest groove we've heard in ages. Moving through several parts of the song, it's clear to hear that Mutapa's the King of bounce and will steadily continue this trajectory into his fresh career.

Pontchartrain - Cheap Plants

Detroit-based producer Pontchartrain (of Kolours LTD., Delusions of Grandeur, Whiskey Disco, Toy-Tonics and Razor-n-Tape fame a.o.) rain steps up to the plate with Cheap Plants; a bouncy and classy house number which could only have come out of the Motor City. Exuberating percussion parts sway ear-to-ear, whilst the mesmerizing piano stabs stay ever present, providing a steady backbone for the menagerie of lively synth swirls.

FUTVRST - The Feeling

New, mysterious Californian indie-vibed and post-disco duo FUTVRST light up the night with The Feeling. Swirling disco chops under laid with an infectious bassline, all dancing around an irresistible arpeggio sequence. FUTVRST takes us back to the blog house days with this one, and we can't wait to hear what's next for them.

The five songs are rounded off with the longer, original mix of Fittipaldi, plus an extended version of the I Wanna Be The One remix—all set to suit your DJ needs.

Listening through the featured tracks it's clear to hear that the compilations are always a brilliant indicator of the label's variety and broad scope in the electronic music scene, whilst always being undeniably funky and danceable. With exciting times ahead for the Netherlands-based label, the Boogie Beats series always feel like a little homecoming.

'Various Artists – Boogie Beats Vol. 3' is out via Boogie Angst on all digital platforms on April 8, with a limited edition vinyl 12" coming soon after.

repressed !

It's no understatement that London Grammar's forthcoming album is one of the most highly anticipated debuts this year. Confirmed for release on September 9, the album is a result of 18 painstaking months spent writing and recording. Each of the 11 tracks is testament to the trio's innate understanding of the roles that subtlety, contrast and restraint have played in the creation of memorable, timeless and transcendent music. 'That's how this all started,' says Dan, 'and it's always been our primary goal, to keep space in the music. The way that, say, the guitar and vocal interact is massively important to us.'

Heavily involved in every decision made on the album, the band handpicked their team, working closely with producers Tim Bran (The Verve, Richard Ashcroft, La Roux) and Roy Kerr AKA The Freelance Hellraiser. Drafting in Roc Nation's KD (Outkast, Beyoncé, Jay-Z) to mix the album, with Grammy-winning Tom Coyne (Adele's 21), joining them to master.
Tracks like If You Wait and Flickers possess that strange duality of lament and defiance, filled with textures, colours, shadings and interjections that are subtle yet deliver devastating power. The next single, Strong, out on September 1 is the final, killer blow. Building - as you would expect from London Grammar - from nothing, from the barest of bones, Hannah's soaring vocals propels the song to its crashing climax.
More than delivering on their promise, London Grammar's electrifying debut solidifies them as being one of the most exciting and innovative bands to emerge in 2013.

The Globeflower Masters Vol. 1 takes its inspiration from classic soundtrack and cinematic composers such as Axelrod, Morricone, Gainsbourg, Jean-Claude Vannier and Piero Umiliani. Created during Summer 2020, this album is the product of a fruitful collaboration between Brighton-based musicians Glenn Fallows (The Impellers / Andres y Xavi) and Mark Treffel (Blue States / The Soul Steppers). These seasoned performing and recording artists have put their abundance of experience and skilful musicianship into effect with aplomb on this album. This is as accomplished a debut release as you will ever hear, and dare we say, a future classic in the making.

The Globeflower Masters project was borne from an idea Glenn had to create an album that leant on the influence of soundtrack and library composers - particularly of the late 60s and early 70s. This rich sonic palette had previously been innate in his writing and composition but, for this album, the direct inspiration was placed front and centre. After penning several sketches, Glenn contacted Mark to fulfil the vision he had for a complete sound. Mark had an arsenal of vintage synths, pianos and other fun toys which could supplement the drums, guitars and bass that Glenn had been working on. As the album progressed, the pair worked increasingly collaboratively, with each of them starting and sharing ideas to curate the final eight finished tracks.

The results are an album of lush, warm, timeless productions that are drenched in strings and classical instrumentation. Awash with atmospheric excursions, it is a listening experience that moves you through moods whilst transporting you to a world of deeply evocative settings and imagined scenarios. The Globeflower Masters Vol. 1 resonates equally as well on a dark melancholic Winter's day as it does sound-tracking a halcyon Summer day. Though influenced by 60s and 70s productions the record is not a simple pastiche, feeling both simultaneously brand new as well as authentically retro.

- Stunning debut album filled with lush, warm, timeless productions.

- Taking inspiration from classic 60s and 70s soundtrack, and cinematic, composers such as Axelrod, Morricone and Gainsbourg

The sixth release on Italian imprint Tempo Dischi comes from Alessandro Bernabeo, aka Raduan, the Italian DJ and producer behind 'Taki-Naki-Naki', one of the most eclectic and unconventional electronic records made in Italy in the late 1980s.

"At the age of 7, I started attending a music school learning to play the piano. At 11 I began working as a speaker in various radio stations, and at 14, I joined Punto Radio where I grew up professionally and launched my own radio show, PLAY MUSIC, under the name Alessandro Giordani. The success was impressive, and thanks to my friend Gianfranco di Lizio, I also started my DJ career by playing in some of the best dance clubs under the artist name Raduan or Rad-one. Mixing funk, soul, afro and cosmic disco in my music gave me a chance to meet and establish relationships with many of the protagonists of this new musical scene, like l’Ebreo, Fari, Maselli, Claudio Mozart Rispoli, Pery, Rubens. In 1988 I was a resident DJ in a well-known club at the time, the 'RIO CLUB', and together with my keyboardist and percussionist, I had the idea to produce a maxi single. The song was recorded in about 40 hours without sleep at the Cicero Bros studio in Cassino in April 1988, with the support of Lino Rufo, a great artist from Molise, as well as his dear friend and old producer Toni Ochiello. The initial project was completely reworked. The original sampled drums were coupled with an acoustic one, and new melodies and fantastic spacey new sounds and effects were created by keyboardist Bengha. The hypnotic and repetitive voice of Cristina, Claudio Baglioni's background vocalist at the time, and that of Jamaica, originally from Mauritius, made the project even more interesting. 'Taki Naki Naki' is an Italo song, with Cosmic disco and Afro influences, and it's the title track of the EP originally released in June 1988 on Bmg Ariola, ex RCA. The EP includes two other songs 'Nightflight' and 'Hiroshima'. The record was a big hit in all the Italian Disco clubs and launched me into the international dance music scene. It was a fantastic time, with different styles of music and House Music was also on the way. There was a lot of research spirit and the people of the club were ready for various types of change. This record has left a mark, international DJs and shops from all over the world still contact me to ask if I have a vinyl copy left in my archive."

Tape

After learning his craft in his hometown of Saarbrücken, a pivotal move to Berlin at the end of 2016 proved to be the ticket that would catapult hentzup deep into the music universe. Five years later Chris
has made a name for himself as a multi-instrumental music producer and versatile audio-engineer.
With three LPs and several EPs under his belt, hentzup is known for his classic and clever production style of jazz-infused hip-hop compositions. Needless to say that we are buzzing to announce this
soulful eight-tracker from the franco-german producer.

A complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre.
Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai.

Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, but this album gave him the chance to do his thing in it’s most pure form.

The 29 minute masterpiece, perfect in it’s arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly.

The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others.

The original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur’s supervision.

Last time he brought his Emperor Machine project to Leng, via the seductive, call-to-the dancefloor that was ‘Dance Par Amour’, Andrew Meecham had vocalist Severine Mouletin in tow. On this welcome return to the label, Meecham has enlisted the help of another sublime singer: Bom Carrot 봄캐롯, lead vocalist with South Korean punk-pop outfit Tirikilatops.

Although the pair share a mutual friend, who had extolled the virtues of a potential collaboration to Meecham, it was only when Bom Carrot 봄캐롯 reached out on social media that the pair were finally connected. Meecham jumped at the opportunity to kick-start a collaboration, quickly firing over a track he’d been working on. A few months later, her vocals landed in his inbox and the rest, as they say, is history.

The resultant track, ‘춤춰 Chumchwo – Let’s Dance’, may feature many of the aural trademarks of Meecham’s Emperor Machine work – spiralling analogue electronics, vintage synth sounds, effects aplenty and infectious grooves inspired by New York’s no-wave movement of the early 1980s – but is somehow even more thrillingly wild, excitable, and exhilarating than you’d reasonably expect.

A big part of that, of course, is the inspired contributions of Bom Carrot 봄캐롯. Her freewheeling vocals – part sung, part spoken, and part improvised – are energetic, distinctive, and addictive, adding layers of post-punk abandon and a genuine sense of musical freedom. Combined with Meecham’s outrageously unpredictable backing track – there are twists and turns aplenty, as well as surprising percussive and musical touches that seemingly appear and disappear at will – the resultant song is like the unlikely sonic lovechild of Talking Heads, YMO, Pierre Henry and K-Punk.

As you’d expect given his track record of delivering freewheeling instrumental reworks, the vocal version comes backed with an extra-special Emperor Machine ‘Instrumental Dub’ version. Stripped back and percussive, with dropouts and breakdowns aplenty, this is no mere vocal-free take, but rather a reconstructed revision piled high with extra percussion, spacey electronics, echoing vocal snippets, bubbly bass and razor-sharp Tom Tom Club guitar licks –all arranged to rise, fall and rise again around Meecham’s killer groove. As the track’s title suggests: “Let’s Dance!”

Noah grew up in Hokkaido. Japan's northernmost island, it's an idyllic, snowy place—and a wild, harsh one, too. But it wouldn't be long until, after a stint of living in Aichi Prefecture, found herself living in the tangle of urban centres that is Tokyo. Her production has always been experimental, everchanging, drawing influences from a wide range of styles resulting in a sound that is uniquely her own. Whether it's an R&B feel or the lo-fi magic of vaporwave, her tracks resound with energy and beauty. And, always, her voice weaves like a phantom, emotive, through these exciting soundscapes. Noire is Noah's latest full-length release since 2019's Thirty. Since her debut on FLAU, she has garnered praise from dozens of blogs and media outlets including Dazed & Confused, The Guardian and NYLON, to name just a few, and has worked with producers such as SELA. and kidkanevil.

Directly helping Noah to hone the sound which eventually became 2019's Étoile, her most recent album Noire is a collection of past tracks created between 2015-2020. Through jazz-inflected piano loops and a lo-fi vaporwave sound, alongside carefully considered beats, Noah's latest album showcases the joy of finding freedom in staying up late into the night, and the introspection that comes with it.

This never-before-heard work from Noah is the sound of an artist finding themselves, a maturation. The minimalist tracks—a cocktail of late-night jazz meets Portishead—feature gorgeous space for Noah's crooning vocals to breathe among sprinklings of sampled piano, flute and saxophone. From the emotive line, "The things I've left behind…" on 'Shadow', to the sleepy, far-off sounds of opener 'Twirling', the album showcases a lightness and a sensitivity to self: the joy of night twinned with the inevitable introspection that comes with staying up while the world sleeps.

Glenn Astro and Hulk Hodn (to some known as mighty Hodini) release their new full-length record “Ghosts” via Kommerz Records on August 26th.
Producers Astro & Hodn‘s first joint album “Turquoise Tortoise” in 2018 combined uptempo beats, hiphop and spaced out lo-fi slow jams effortlessly. On “Ghosts” the duo develops their exploration of new
aesthetics even further through synthesized soundscapes and numerous collaborations with young talent from all over the world. Artists such as Danish neo soul discovery AGGi, King Krule collaborator Gal Go, Kamohelo from Studio Barnhus band Off The Meds, Berlin-based voice experimentalist Yosa Peit and many more deep dived into the collaboration and transformed the album into a sonic multiverse.
New Release Information
Glenn Astro and Hulk Hodn are connected through a long lasting musical friendship. With their Detroitinspired house releases they gained wider recognition by critics and listeners alike. Nevertheless,
they’ve never been one dimensional artists. Berlin-based Glenn Astro‘s diversified approach to production as showcased on labels such as Ninja Tune and Tartelet bridges the gaps between ambient, hip-hop, techno and bass.
Meanwhile Cologne‘s Hulk Hodn gained the status of a German underground hip-hop legend. Through his records and shows with rapper Retrogott he gathered a cult-like following besides dropping high quality projects with other beat makers such as Hubert Daviz and Twit One and rappers such as Eloquent. Most recently he dropped the instrumental LP “Sparklez” on Sichtexot sub Casual Low Grind.

The funky French duo is back with a new 7 inch!
Once again, DjeuhDjoah & Lieutenant Nicholson push the boundaries of the traditional "French song" to make the world dance. Two funky electronic flow, ready to electrify clubs worldwide. Our two
"chansonniers" are the leaders of "Afropeanité" and the Creolity.
The song "Pas si vite" champions deceleration and positivity during our complex period.
"Caipirinha" is a soft tribute to Bossa Nova, the dream of hot and sweet destination in a cold winter.
Recorded at « Le Triangle des Bermudes » the home studio of Lieutenant Nicholson, produced and mixed by him with a electro analog sound dear to them. Horns, live drums, percussions and vocal choir were recorded at Bastille village at the label basement, even during the pandemic…

Ever since Tsuyoshi Hamada, better known as Dayzero dropped his now-sold-out first ZamZam “Orbit Dub” b/w “Theory Dub” in 2020 we’ve been eager to bless listeners and dancers with a next chapter of his unmistakable, menacing 140 dubs, and that Part 2 is finally here. In the two years since his first Zam he’s worked with Sentry, Vomitspit, Endz, and most recently branched out with an EP of leftfield styles & textures for Bristol’s legendary Livity Sound. Now he's back on 7" vinyl with a pair of stompers just the way we like them.

“Word sounds and power gonna mash them down” couldn’t be a more choice sample to lace “Pages” with, a skanking behemoth of 140 energy powered by swaggering kick & sub, reverb soaked snare, driving shaker, scratchy guitar licks, and mad delays twisting out at bewitching angles.

“Sen” counts off through a dodgy radio frequency, flying low and dropping into a ruff attack of dirty drums & bass, shifting, off-beat mid-range melodics, sleigh bell and percussion cutting through the hazy sonic miasma threatening to envelop the tune. At once eyes-down and hands-in-the-air, Dayzero strikes again with a guaranteed high score in the dance.

Strictly limited to 700 copies for the world. No digital, no repress. Art, design & two-color screen print by Polygon Press. Mastered at Precise, Pressed at Third Man.

Born October 1966. Break Dancer in 1984, under the moniker Mad Max, started a crew named the Back Street Warriors, Busking all over the UK at places such as Covent Garden/Leicester Square Performing on stage & in clubs. They once jammed with the Rock Steady Crew in Camden Palace in front of an audience.

Then in 1987 he became a DJ, playing all genres of music, he first played on
RJR Radio, playing Electro, Hip Hop, Soul, R&B & Reggae. Moving forward he started playing Acid House & Four to the Floor Music styles, by the early 90s he played on Weekend Rush and then went onto Defection, Touchdown, Don & Passion FM, playing Acid & Hardcore Jungle.

In the early days MixMaster Max was one of the Innovators of Jungle music by mixing Hardcore, Reggae & Hip Hop together, helping others to produce, fuse & gain ideas in the music industry. He was by Far the most Original, Innovative, DJ anybody had ever heard.

In 1991 he played alongside John Saunderson at the Camden Palace on a Friday night, he also played at the famous Hacienda club in Manchester.
He was the First DJ to create the Topsy Turvey, which is one turntable on top of the other, he came runner up in the DMC world championships in the early 90s.

He played at some of the Biggest Raves back in the day, Pirate club 93, Fantazia 92, Dungeons 91/92, Turnmills 92, to mention a few. He also played on Avenues FM & People's Choice, which were legal Radio Stations, not forgetting Kool fm & Centreforce.

He performed on stage with the We Papa Girl Rappers in 1990 at the Notting Hill Carnival. This Legendary Cult figure is a Master of the Nunchuckers & TurnTables!
His innovative Mixes were ‘legendary’ he was a pioneer precursor to the Art form known as Jungle Music, not to mention his Scratching abilities, which was ‘extraordinary’!

For those that listened to pirate radio back in the day, he was the legendary cult
figure that inspired us all, giving us the freshest musical styles that had never been heard before!

The fifth full-length studio album from Vermont quartet Twiddle, Every Last Leaf is a bold exploration of the cyclical nature of life.

Propelled by constant evolution in its 18 years touring, the band —Mihali Savoulidis vocals, guitar, Ryan Dempsey keys, organ, synth, Brook Jordan [drums], and Zdenek Gubb [bass], welcomes a musical rebirth, leaning heavily on enigmatically stoic songwriting in lieu of the affably saccharine. Longtime listeners can expect an elevated presentation of Twiddle’s trademark sound, delicately orbiting the worlds of funk, jazz, rock, reggae, and bluegrass.

“Every Last Leaf is a metaphor for life,” Mihali explains. “When a leaf falls to the ground, something will grow from it. Everything is part of this grand circle. In the music, we’re exploring all of life’s sides—from the sad and angry to the proud and happy.”

In the end, Twiddle have creatively found their way on Every Last Leaf.

“When you listen to this, I hope you experience the beauty we did,” Mihali leaves off. “If you feel anything at all, mission accomplished. There are a lot of moments on this album that tie up the elements of life. It’s real.”

With their album "B-3 Vol.1" the Hanoverian Lutz "Hammond"
Krajenski aka krajenski. on the B-3 organ, Ben Kraef from Berlin on
the saxophone and Peter Gall from southern Germany on the drums
break new ground even if the old path of the Hammond-infected Blue
Note refinement always remains in view.

An organist, a saxophonist and a drummer - the classic organ trio has been arousing special expectations to Jazz listeners since the glory days of Jimmy Smith, Groove Holmes and the McDuffs and McGriffs. The organist can spread out, the saxophonist can follow him and the drummer swings and provides the groove "in the pocket". With their album "B-3 Vol.1" the Hanoverian Lutz "Hammond" Krajenski aka krajenski. on the B-3 organ,

Ben Kraef from Berlin on the saxophone and Peter Gall from southern
Germany on the drums break new ground even if the old path of the
Hammond-infected Blue Note refinement always remains in view. KraefKrajenski-Gall do their thing and that very consistently. They play with the different readings of the format with reflections from Jimmy Smith to Larry Young. They play with expectations and play around clichés with sophisticated twists and tongue-clicking rhythmic and harmonic treasures.

It's an album to dig out the phrase "No fillers, all killers" for.

After Dinner’s Paradise of Replica is a concise nugget of tomfoolery that occupies a whimsical no man’s land between art pop, Japanese folk music and full-assed Art Zoydian avant proggery. Gentle, arcane and covertly sweeping, it typifies that friendly strain of experimentalism that Eastern music seems so predisposed towards and which curious minds find such great delight in.

Assembled by the enigmatic chanteuse and composer known simply as Haco, After Dinner was less a band and more of a loose art collective that utilized a plurality of different musical disciplines stapled together through free improvisation sessions. And some of this does come through on Paradise of Replica—the record is a scrapbook of bells, strings and koto humming under Haco’s ethereal vocals, and the effect, while perfectly tuneful, does come off more as a musical project than a conventional album.

But Paradise of Replica is far from an impenetrable scholastic endeavor—in fact, there’s something of an Elephant 6-like quality in its ability to warp conventions while still coming off more or less like pop music. Counter to the ramshackle hostility of much improvised music, After Dinner’s choices are melodious and feel deliberately sequenced. Even crescendos don’t tend to rise above a murmur, and there are even apparent hooks on tracks like “A Walnut” and “Ironclad Mermaid.”

Ultimately, there’s not much to be said about Paradise of Replica that can elucidate more than actually hearing it will be able to. Proggy, playful and lush, it’s a brief glimpse into something in the vicinity of genius, and just outside the realm of commercial music. It’s a quietly bold project that shows a softer side of the avant-garde, and makes a perfect companion to Stereolab and Magma at once.

Singer/Songwriter-Kunst aus UK, prominent mit dabei Paul Weller! In Zusammenarbeit mit Paul Weller als Produzent und Co-Autor seines 5. Studioalbums veröffentlicht der Liverpooler Troubadour Steve Pilgrim das schmerzhaft melancholische ,Beautiful Blue" auf Ltd Vinyl und CD. Auf dem Album wirken Paul Weller, Steve Craddock und Rachael Jean Harris mit Streicherarrangements von Hannah Peel mit. Ein Text von Paul Weller war die einzige Inspiration, die Steve Pilgrim brauchte, um die Arbeit an seinem mit Spannung erwarteten sechsten Album ,Beautiful Blue" zu beenden. Er spielt seit mehr als einem Jahrzehnt Schlagzeug und singt mit der lebenden Legende Paul Weller. Skizzen von Liedern, Melodien und Akkordfolgen wurden der Anfang einer gemeinsamen Schreibrichtung von Pilgrim und Weller und brachten das Material an einen neuen Ort, der den sanftmütigen Scouser auf eine Art und Weise anspornte, die nur Weller hervorrufen konnte. Stücke wie ,Test of Faith", ,Don't Let The Mirror Break You", ,One With All", ,Universe" und ,Where Our Love Goes" erinnern an Pilgrims frühere Arbeiten, sind aber mit einer Wärme und Klassik versehen, die man auf dem gefeierten Album ,True Meanings" seines Co-Autors findet. Mit der Unterstützung des Toningenieurs und Klangzauberers Charles Rees und den Streicherarrangements der renommierten Hannah Peel ist Beautiful Blue" das Werk eines Künstlers, der seine Stärke im Stillleben findet und am lautesten schreit, wenn er flüstert. Die Songs auf diesem Album sind stromlinienförmig, ohne Fett und bieten ein komplexes akustisches Gitarrenspiel, das sich in und aus einprägsamen Melodien ('New Sky'), wogenden (das wunderschöne Titelstück) und umwerfend zarte Gesangsharmonien ('Everyday') einfügt.

2022 repress, 45 rpm
incl. download code

Second Woman is a new collaborative project featuring Turk Dietrich of Belong and Joshua Eustis of the renowned Telefon Tel Aviv. As one would imagine, Second Woman is a nonpareil debut of futuristic electronic music fusing the coveted genetics of the duos respective previous endeavors into an alluring new enigma of ASMR-inducing kaleidoscopic dub. Second Woman is a fully realized entity; a well-crafted sound world and a refreshing shared effort which is inspiring in its purity and painstaking in its design.

The opening "100407jd7" wastes no time exhibiting mastery in both sound and structure, contorting the frequency spectrum into a psychoactive mirage with its mutating tectonics and vaporous tone clouds. Cuts like "200601je6" and "700358bc5" are bar-raising examples of veteran craftsmanship and vision, refining and reengineering the blue prints of their early works to create an original and dynamic album. The deliberation and control over every particle is obsessive, but the end results of each individual track unfold with an organic temperament unparalleled in a grid-locked world of DAW shaped musics and rat's-nest modular aleatory. Words fail where essential sonics are concerned, and this vital new creation speaks for itself.

Still Life has been shaped by Katuchat's various musical influences: Arca, Vegyn, Sophie or Boards of Canada, artists who inspire him in the production of complex and detailed rhythms. For his first album, he wanted to experiment with more melodious sounds but also to diversify his music by collaborating for the first time with other artists (Chester Watson, Lia...).

Music being omnipresent in his daily life, his inspirations are as multiple as indefinable. We find them in what surrounds him, in the places, the interactions, the events which, unconsciously, directed the creation of the album. This idea inspired the artistic direction of "Still Life": the music is kind of a time capsule, which we can listen to again later to rediscover past moments of life, remembering the circumstances in which we first listened to it, and in his case, created it. Electronic music allows the listeners to attach their own interpretation and their own emotions, be they joyful or more melancholic.

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If you've ever had the feeling that things just don't make sense, that there's a hidden world of dark magic waiting in the dead spaces, the forgotten corners... well this is the music for you.

Dutchman Erik Griffioen's obsession with the esoteric is well known, and for some time his Lloyd Stellar alias has focused on this sense of the world just out of view.

Griffioen runs LDI Records as an outlet for his prolific creativity, but this release for Gated pulls from his early works, the tracks that almost got away.

This is one-strobe-in-a-dark-room electro, which rides the fine line that exists somewhere between euphoria and madness. It's relentlessly underground. And we love it.

The remarkable nine track debut from USELESS USERS is a lesson in style and eloquence. The band is comprised of former Sarah Records alumni, (members of Action Painting! and Secret Shine, and featuring Even As We Speak). This is sonically adventurous Pop Music, packed with melody, dreamscape swashes and élan. Bold and opulent, and brilliantly constructed, Useless Users are pushing the boundaries of preconception, poised to grasp attention and reward the listener. "Reminiscent of Pulp's Fire Records Years, in both chord choice and vocal delivery" The Quietus "..the odd twist or two along the way." Whispering and Hollering "... a real gem, a moody piece with debts owed to late Sixties psych" A Pessimist Is Never Disappointed RIYL - The Associates, Bowie, Dreampop...

This previously unreleased album by the Horace Tapscott Quintet was unearthed from master tapes in the Flying Dutchman archives. Recorded in 1969 and was intended to be a follow-up album to the classic 'The Giant Is Awakened' which was released that year.

The iconic pianist and composer Horace Tapscott was one of the most unique and important figures in LA’s jazz world. This lost recording was produced by one of the pivotal figures in jazz, Bob Thiele, a leading behind-the-scenes star who worked with many of the greats in jazz, such as Quincy Jones, Duke Ellington, John Coltrane, Della Reese, Shirley Scott, Gil Scott-Heron, the list goes on. His name can be seen gracing, arguably the best, Impulse! releases and those released on his own Flying Dutchman imprint set up in 1969.

Joining Horace for this three-track, deep, heavy, avant-garde session is the same stellar cast featured on 'The Giant Is Awakened'; Arthur Blythe on Alto Sax, Everett Brown Jr on Drums, with David Bryant and Walter Savage Jr. on Bass. Kicking things off we have 'World Peace’, which starts with an almost baroque-esque melody, leading to an eruption in sound, it then ends in the same manner it began. The beautiful 'Your Child' is the jewel in the crown, skirting modal, deep jazz and introducing elements of free jazz. 'For Fats' with its bow bass and piano intro takes you on a journey, dropping into, at times dark, stormy melodies and developing a driving energy as the composition progresses.

After recording this album, Horace was said to be wary of the music industry, so he retreated and distanced himself from this world, recording only for the independent labels UGMAA, Interplay Records, and Nimbus West Records. He set up The Pan-Afrikan People’s Arkestra and reintroduced the pan-African-roots sound back into the heart of jazz. He also developed and promoted the art form through performances and recordings.

Thankfully, this session from these wonderful musical pioneers was preserved and finally has its time to shine.

Featuring brand-new artwork by the illustrious artist/designer/musician Raimund Wong (Total Refreshment / Floating World Pictures)

Ghent based psych jazz collective Compro Oro, are set to release new album 'Buy The Dip' on the 2nd September via the groove-obsessed Sdban Ultra label. Having received critical acclaim for their 2020 album 'Simurg' - a collaboration with Murat Ertel, co-founder and frontman of Istanbul's cult psychedelic folk band BaBa ZuLa and his singer partner Esma Ertel - the band's fifth album is less ethno- and more techno-logy, both on a musical and conceptual level.

With tastemaker fans including BBC 6 Music's Gilles Peterson and Stuart Maconie alongside Jazz FM's Jez Nelson, the band's spontaneous quest for psychedelic sounds and jazz grooves has not stopped expanding since their formation in 2014.

After imaginative musical trips to Havana, Mogadishu and Istanbul for previous releases, Compro Oro went looking for sounds and inspirations from other corners of the globe for 'Buy The Dip'. Synthesizers and electronic effects spice up Compro Oro's distinctive musical marriage of vibraphones, electric guitars, jazzfunk rhythms, exotic percussions and dubby bass patterns. Band leader and composer Wim Segers created these new compositions often on piano or vibes in a more analogue way, leaving enough room for his band mates to colour each track when fine tuning the song.

Segers was inspired by the world of crypto markets and the specific concept of 'buying the dip': bitcoin diggers who play the markets at specific 'low' moments to gain higher profits when prices go up again. Are we all reduced to consuming creatures, seeking for nothing more than the thrill of pointless spending and endless profits? It's a fairly philosophical question - especially for an instrumental album - but it's key for the punchy and eclectic sounds on 'Ben Hur' and 'Bitcoins'.

Apart from those synths and fx, a fair bunch of neo-noir western vibes sprout up on this album as well - think detuned piano's, flamenco-like guitars, rattling snare drums, and imminent whistles. Add to that some laid back sunny pop sounds ('Kayak'), off-hook and swaying Turkish psychedelica ('Karsilama') and even some haunted, kraut-ish vocal parts ('Dungeon'), it's evident Compro Oro has a musical voice without any equal in Belgium and beyond.

Compro Oro released their first album 'Transatlantic' in 2015, an ode to jazz vibraphonist Cal Tjader, an icon of the 1950's Latin jazz movement. The release received critical acclaim back home, lauded in the press as a drunken mix of Buena Vista Social Club and guitarist Marc Ribot's, Cubanos Postizos. Subsequent live shows have been called a celebration for the hips, the ear and the soul.

2017 saw the release of 'Bombarda', a bold EP that sailed South and East of Cuba, incorporating different ethnic rhythms and melodies in elaborate jams. No palm trees and cocktails in Havana this time, but instead dingy basements and LSD in West African cities. The critically acclaimed 'Suburban Exotica' followed in 2019 with 'Simurg', released in 2020, earning the band global success.

In the gutter lie sun dried leaves, scraps of paper, burnt matches and cigarette butts. It is early morning; the sun rises with warm grace. you've come to the right party... you see, the body of a young man sitting by a pool, nobody important, really. Just a movie writer with a couple of "b" pictures to his credit. He always wanted a pool. Well, in the end he got himself a pool, but let's go back some time and find the day when it all started in “Hollywood,” the place where they pay a thousand dollars for a kiss and fifty cents for your soul.

Three years after he celebrated “Sketch of Japan” EP, Superpitcher returns to Mule Musiq, bringing an epic super-pitched 40 minutes trip named “Hollywood”, that perfectly works as the score for the above remixed opening scene of a famous movie on the trances of Hollywood, the cage, that catch our dreams. It’s a slow grower, incorporating some of core elements of the city of celluloid dreams: action, drama, romance - all epic noir and yet so flooded by light. As ever the producer and DJ from Paris garnished his long building up and going down voyage with se-ducing melodies, glamorous pop, and psychic rhythms, creating the hippy dance ambiences he is famed for. Even though the twelve inch comes in accustomed a/b chapters, “Hollywood” should be perceived in one go to feel the depth of Superpitcher’s tropical leaning story arc, that stretches the idea of a track into a dream of satin teardrops on flickering velvet lights. It paints sonic celluloid pictures of ghostly creatures, while a female/male voice is the music’s constant melodic companion, injection Janus-faced longing dream pop spheres on the overall tripping house melancholy. A heroic electronic drama, elegant as Tamara de Lempicka painting. It asks for endless rides on the Hollywood freeways. in the back the sun – a big orange ball – sinking slowly below the horizon.

You've come to the right party... you see, the body of a young man sitting by a pool, in the back a long, graceful bar, bathed in soft light, filled with elegant customers. There's nothing else, just us and the music and those wonderful people out there in the dark, ready for a divine dance in closeup.

Black Truffle is thrilled to announce Drumming Up Trouble, the first release of previously unissued music by Alvin Curran on the label. Collecting works recorded between 2018-2021 and a side-long epic dating back to the early 80s, as the title suggests, Drumming Up Trouble focuses on a hitherto almost unknown aspect of Curran’s encyclopaedic and omnivorous musical world: his experiments with sampled and synthesised percussion. As Curran’s wonderful, wildly sweeping liner notes make clear, his fascination with drumming belongs to the radical investigation of music’s fundamental elements that has marked his output since the beginnings of MEV, who aimed (as he says in a recent interview) to return ‘in some collective way to a non-existent start time in the history of human music’. Whatever kind of music our proto-human ancestors played, he writes, ‘drums were front and centre in the mix. Drums rule!’

In a paradox typical of Curran’s approach, Drumming Up Trouble interrogates this most ancient dimension of music with contemporary technology. On the first side, we hear recent pieces performed using the sampling software and full-size MIDI keyboard setup Curran has refined since the 1980s. Two of them are wild real-time improvisations, primarily utilising an enormous bank of hip-hop samples. Building from polyrhythmic layers of drum machine fragments to wild cacophonies of clashing vocal samples, scratching, and frantic pitch shifting, these energetic and at times hilarious pieces occupy a space somewhere between John Oswald’s Plunderphonics, Pat Thomas and Matt Wand in the Tony Oxley Quartet, and the propulsive Kudoro/Grime fusion of Lisbon’s Príncipe label. They are improvisations are accompanied by two austere, minimal compositions realised in collaboration with Angelo Maria Fallo: ‘End Zone’ for orchestral bass drum and high oscillator, and ‘Rollings’, where a snare roll is gradually stretched and filtered by digital means into ‘floating electronic gossamer’.

The incredible breadth of Curran’s output makes it pretty unlikely that a listener familiar with his work would be surprised to find it branching out in a new direction. But no degree of familiarity with his work can really prepare for side B’s epic and bizarre ‘Field it More’. It’s perhaps best to let the maestro describe this unhinged and infectious offering in his own words: ‘It features an 8 bar funky minimal riff à la James Brown, played on synth and an-out-of-tune piano, synced to a pre-paid patch on the Roland drum machine. Over this is laid a heavily processed track of the voices of dancer Yoshiko Chuma and movie-maker Jacob Burckhardt discussing an upcoming performance of theirs at the Venice film festival, capped by a track of my playing an increasingly out of control blues over the top of all of the above’. Only Pekka Airaksinen’s Buddhas of the Golden Light comes to mind as a reference point that might even vaguely compare to this wild home-brew of drum-machine funk, mad improvisation and squelching electronics, which eventually dissolved into a massive, layered cluster. Ancient and modern, synthetic and human, hysterical and rigorous, Drumming up Trouble is 100% Curran.

Following the »Minna Miteru« compilation, released in 2020, Morr Music announces a sequel, dedicated to Japanese indie music, overflowing with surprises and welcome discoveries. Like its predecessor, »Minna Miteru 2« is compiled by Saya of Tenniscoats, with the support of Markus Acher (The Notwist). It’s also another part of the Minna Miteru universe, alongside retrospective albums by The Andersens (»There Is A Sound«, 2020) and yumbo (»The Fruit Of Errata«, 2021). Taken together, these albums suggest a scene in rude health, sharing a unique vibration.

If its predecessor circled around Tenniscoats and their close friends, the second volume, though featuring a collaboration between Tenniscoats and Deerhoof as oneone, reaches far further afield, drawing from music old and new, far and wide. Consistent across »Minna Miteru 2« is a sense of wonder and a cheerful unpredictability: you never quite know what you’ll hear next. There are some gorgeous indie pop songs here, like Yuko Kono’s »Ginger« or HOSE’s »Baseball«, but there are other sounds too, like Kariu Kenji’s blue-hued electro-pop, or the wheezing pipe-organ ambient of FUJI||||||||||TA: »Minna Miteru 2« hints at new kinds of beauty.

Some of the more widely known names here contribute typically gorgeous melodies – Kama Aina’s »Wedding Song«, from 2005’s »Hawaii Hawaii« CD, is a reflective tune that combines a country-ish lilt with hints of slack-key guitar. Shugo Tokumaru’s »5 A.M.« is a delirious psychedelic pop mantra, drawn from his excellent 2005 album, »L.S.T.«. Many of the revelations, though, come from artists and groups relatively unknown outside Japan. The lovely, disorienting glitch-folk of Wasurerogusa features Aki Tsuyuko, perhaps best known for her albums on Thrill Jockey and Jim O’Rourke’s Moikai label, collaborating with psych-folk legends Eddie Marcon.

There’s also the delightful synth-pop of Jonathan Conditioner; the electronic dreamscape of Chaplin, whose opening »Out Cont« runs along several parallel paths at once; the twinkling, acoustic jangle at the heart of mmm’s luscious »Blue«; and a curious collection of miniatures, from acts like tenshinkun, Daisuke Tanabe and NNMIE, that embrace a childlike curiosity, essaying a kind of toytown pop-tronica.

The twenty-six songs on »Minna Miteru 2« repeatedly catch you unawares, upending your expectations and signaling both the breadth and depth of the Japanese indie underground. It’s a compilation of play and pleasure, but also of bold experiment smuggled into the everyday through pop music’s welcoming moods, magically creating a new world for the listener, spun out of the air and woven in between your ears.

Following the release of Netflix's inspiring documentary short 'Hold Your Breath: The Ice Dive', Galya Bisengalieva presents her official soundtrack. To accompany the gruelling journey of freediver Johanna Nordblad as she tries to break the world record for distance travelled under ice with one breath, Galya has crafted an expert ambient narration that highlights the rising intensity toward the films looming climax. She uses warped solo violin techniques and electronically manipulated strings to produce compelling and emotive compositions that induce complete submersion. Aiding in the use of the dive to make comment on both global warming and the pandemic, the soundtrack commands attention while giving the characters their own space to breathe. Galya explains; "Composing music to Joanna's story was a completely new challenge. Until now my writing has been based on more abstract concepts but now I had the opportunity to engage closely in a clearly defined journey of an individual. A story of the freediver and her attempt to break the world record (men's and women's) for distance travelled under the ice, no fins, no wetsuit, on a single breath. What Joanna achieved is truly inspiring and incredibly brave. It would have been extremely easy for me to focus on the jeopardy of her record attempt. However, the story that is being told is her love of the cold water, her sister, family, and the nature she communes with every day. My music needed to reflect the personality of an extremely determined and loving woman. In order to achieve this, I used the violin as her voice, high harmonic soaring melodies. This I juxtaposed against layers of low warped drone and nature sounds, using field recordings of underwater, cutting of the ice for the dive and the howling wind in extreme weather conditions in Finland. The music hints at danger and the power of nature but always comes back to Joanna's intimacy with the icy water."

Deluxe 180gram vinyl edition comes in a foil-embossed and die-cut cardstock jacket with printed inner sleeve and additional 12x12 art cards featuring the collages of Maciek Szczerbowski. All the art interacts with the die-cut jacket framing. Edition of 300. Rooted in a distinct and immediately identifiable sound_with the cello of Rebecca Foon (Saltland, Set Fire To Flames, Thee Silver Mt Zion) and the marimba of ex-Godspeed You! Black Emperor percussionist Bruce Cawdron at its core_Esmerine has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Multi-instrumentalist Brian Sanderson, who joined the group in 2012, has furthered Esmerine's melodic and ethnomusicological sensibility ever since, expanding the ensemble's palette as its third core member with guitars, ngoni, ekonting, hulusi, brass horns of all sorts, and more. Since 2003, six stately and filmic instrumental albums have inscribed compositional landscapes through epigrammatic miniatures, longform multi-movement chronicles, and all manner of evocative musical prosody between. Marked by an inimitably turbid yet tempered pastoralism, alternately lit by dappled dawn and disquieted dusk, Esmerine's musical narratives balance asceticism and romanticism, melancholy and hope, stillness and wanderlust. Esmerine now shares Everything Was Forever Until It Was No More, its seventh full-length album and first in five years. The band surprise-dropped the full album digitally on 06 May 2022, with the CD and Deluxe 180gram LP editions hitting stores on official release date 26 August 2022. Following an acclaimed run of mid-career records on Constellation through the 2010s_the last three of which have all been finalists or winners of Juno Awards for Instrumental Album of the Year and/or Album Packaging of the Year_Esmerine began working on new music at decade's end. Under the auspices of a grant from the Canada Council for the Arts, and a summer 2019 residency at Le Château de Monthelon (an artist commune in France where the band has cherished long-standing spiritual, creative, and personal connections), compositional seeds were planted_and then pandemic rooted everyone in place. In between lockdown waves, at the respective rural Québec homesteads of Cawdron and Foon, longtime co-producer Jace Lasek (The Bernard Lakes) began capturing the band in various stripped-down configurations with spartan remote equipment. More fulsome arrangement and overdub sessions at Foon's converted barn during the summer of 2021 brought the album to full fruition_where a notable increase in the use of acoustic piano also poured forth, with just about every band member having a go. The record also signals the definitive integration of bassist Philippe Charbonneau_having joined Esmerine as a touring member pre-pandemic, he plays throughout the album on upright and electric bass, with turns on piano and synth, as well as sound design contributions via tape echo and other processing. Everything Was Forever Until It Was No More grapples with the existential tensions between atmosphere and airlessness, seclusion and claustrophobia, forbearance and coalescence. In many ways it is one of Esmerine's most restrained records. Only a few passages are driven by full percussion. There is palpably less Sturm and Drang or overt crescendos compared to its recent predecessors. The new album roils with a different sort of dynamic intensity, where instrumental densities ebb and flow within an overtonal centre, melding into each other with gauzy timbral warmth, sometimes tracing fleeting tendrils outwards, but always rotating around a saturnine gravitational force. Everything Was Forever Until It Was No More is like a dark forest lit by a closely-orbiting opalescent planet; it could be the alternate score to Von Trier's Melancholia or Cormac McCarthy's The Road.

Over the past decade, the mysterious, London-based artist Moiré has perfected a syrupy, addictive brand of dance music via labels like Actress's Werk Discs and illustrious imprints like Ghostly and Rush Hour. For most of this period, Moiré seemed pramarily concerned in creating alternative universe club tracks. The beats were hypnotic, if wonky. The pads were deep before they were refracted through an oblique filter. In a discography bearing a surfeit of leftfield high points, Circuits, Moiré's latest album for the Berlin-based Avenue 66 (Lowtec, John Frusciante, Joey Anderson) is a massive creative leap that fully breaks with the strictures of a "conventional" dance music.

While there are still nods to the low-slung, slow house style Moiré's perfected in the past ("Circuit 1"), as well as the looming shadow of hardcore ("Circuit 8), Moiré's style now billows into a liminal, cinematic zone that recalls the canonical SAW albums, BOC or even Seefeel's enduring, genre-free experiments. Rhythms come and go at all tempos, from Hauntological four-on-the-floor to flickering downtempo and ambient house approximations. But the emphasis lies with the melodies. From the queasy orchestral style of "Circuits 1" to the glacial, "end credits"-style synths that close out the album, these motifs bear an uncanny familiarity, as though they always existed. You recognize them, not from a previous listen, but rather, some half-remembered dream, or, perhaps, a previous lifetime.

Joseph Thomas Escovedo, better known as Coke Escovedo, was an American percussionist who played in several genres, including jazz fusion, R&B, and soul. Escovedo played with great names such as Cal Tjader and was a member of Santana and Azteca.

In 1976 he released his second solo studio album Comin’At Ya!, which counts 11 Latin rooted tracks and was produced by the synthesizer pioneer Patrick Gleeson, who also did several successful soundtracks and worked with greats such as Herbie Hancock. The album features vocals by Courtial singer Errol Knowles and also a guest performance by tenor saxophonist Joe Henderson. The album became highly influential and was sampled many times, including by Eric B. & Rakim, MF Doom and Moby amongst others.

Often duplicated, never imitated: the power of Lauer! Albeit being no stranger himself to musical influences from the outside, the producer from Frankfurt managed to carve out a sound that is very much his own. Indie-dance, Italo, power pop and house music in its traditional sense get mixed up in a blender of happiness.
Lauer’s latest achievement for Running Back and welcome return is a mini-LP called Cyclone Days. Aptly titled and ably executed, it’s everything you would expect or want from him. A world of merry music, where melody is king.

On top of that , you get value for your money: Vocal blockbusters like the upbeat Somebody (instrumental included) and the more restrained Friends (both with frequent collaborator Dena), sit comfortably between instrumental hits. Resonator and Neway take the role of the proverbial keys to happiness, while the title track or Exterminate balance it out with joyful melancholy.
Just imagine Righeira signing to Factory Records or Durutti Column on holidays in Rimini and you are halfway there. The days might be like a cyclone, but as long as there are records like this, the shelter isn’t blown.

Baton Rouge sludge band Thou have released over a dozen LPs worth of music, collaborated with divergent artists like Emma Ruth Rundle and The Body and released covers that run the full gamut of genres. Continuing their practice of bucking typical metal tradition, their latest record, a split release with composer Gewgawly I, is a soundtrack created for the highly anticipated new video game NORCO.

Gewgawly I has created a master work of ambiance, not only reminiscent of some of the best game soundtracks from the 80s and 90s but also a stunning work of contemporary experimental music pushing the genre forward in exciting ways. Thou have rounded out the game’s grit with a wash of downtuned doom and drone. The band has previously been described as “For fans of: alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease,” and these themes
come to life vividly in Thou’s collaboration with the richly illustrated world of NORCO.

“Thou represents an aspect of Louisiana that’s close to my heart. The members know the suburbs of New Orleans and Baton Rouge well. They capture a kind of strange irreverence in their sound and visuals that’s specific to the region and has influenced the game NORCO,” says Yuts from Geography of Robots. ”We’ve been trying to collaborate for a while, and I’m just stoked it’s finally happening!”

Baton Rouge sludge band Thou have released over a dozen LPs worth of music, collaborated with divergent artists like Emma Ruth Rundle and The Body and released covers that run the full gamut of genres. Continuing their practice of bucking typical metal tradition, their latest record, a split release with composer Gewgawly I, is a soundtrack created for the highly anticipated new video game NORCO.

Gewgawly I has created a master work of ambiance, not only reminiscent of some of the best game soundtracks from the 80s and 90s but also a stunning work of contemporary experimental music pushing the genre forward in exciting ways. Thou have rounded out the game’s grit with a wash of downtuned doom and drone. The band has previously been described as “For fans of: alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease,” and these themes
come to life vividly in Thou’s collaboration with the richly illustrated world of NORCO.

“Thou represents an aspect of Louisiana that’s close to my heart. The members know the suburbs of New Orleans and Baton Rouge well. They capture a kind of strange irreverence in their sound and visuals that’s specific to the region and has influenced the game NORCO,” says Yuts from Geography of Robots. ”We’ve been trying to collaborate for a while, and I’m just stoked it’s finally happening!”

Mo Troper is truly one of a kind, and that’s never been more apparent than on his fifth full-length, the winkingly titled MTV. Arriving hot on the heels of his 2021 full-length, Dilettante, the album finds the Portland, OR-based power pop extraordinaire diving further into home-recorded immediacy to make a record that feels like a strikingly direct conduit to the world of Mo–where heartbreak, hilarity, and hooks all go hand-inhand.

MTV hurtles through 15 songs in just 31 minutes, with most of the tracks never even coming close to the three-minute mark. The sequence feels like a combination of a fever dream and a travel diary, intertwining tales of romantic longing with the ups and downs

of cross-country touring. Songs like “Across The USA,” “Royal Jelly,” or “Coke Zero” unravel the headaches and heartbreaks, often alternating between unflinching emotional details and legitimately funny one-liners. “I feel like I’m just in this mode of rebelling against the expectation for artists to be emotionally or aesthetically cohesive,” Troper says. “I think about all my favorite records and songwriters, and they’re often these people who would have really depressing stuff and then insane moments of levity that don’t get talked about as much. I want to make music that’s emotional but also campy or sarcastic or resonates in other ways. I’m like, ‘you know what, it’s all me.’”

Die dänische Melodic Death Metal Band DEFACING GOD steht mit ihrem Debütalbum The Resurrection of Lilith in den Startlöchern, das am 2. September 2022 über Napalm Records veröffentlicht wird. Die
2015 von Sängerin Sandie ”The Lilith” Gjørtz und Drummer Michael Olsson gegründete Band folgt mit ihrer harschen Musik skandinavischen Metal Traditionen und im Zentrum ihrer Texte steht der Mythos um den weiblichen Dämon Lilith, der Unabhängigkeit und unbeugsamen Widerstand symbolisiert. DEFACING GOD gelingt es mit ihren Erzählungen, ihrer Musik und der düsteren Ästhetik die Hörer in ein dunkles Universum von obskuren Mythen und uralten Geschichten zu locken. Gleichzeitig ziehen sie von diesen
Mythen subtile Verbindungen zu aktuellen gesellschaftlichen Themen, wie Unterdrückung oder auch inneren Dämonen. Auf klanglicher Ebene schließen DEFACING GOD an Bands wie Cradle of Filth, Carach Angren und Dimmu Borgir an und balancieren massive Melodien, die durch die grandiose Orchestrierung von Lars Vinther untermalt werden. Anstatt diese symphonischen Melodien mit Black Metal verschmelzen lassen, werden sie bei DEFACING GOD rohem Death Metal gegenübergestellt. Produziert wurde ihr Debüt The Resurrection Of Lilith von niemand geringerem als Jacob Hansen, der für seine Arbeit mit Fleshgod Apocalypse, Volbeat, Evergrey, Epica und unzähligen anderen bekannt ist.

Die Titanen des Thrash Metal sind zurück!

Megadeth veröffentlichen am 02. September ihr sechzehntes Studioalbum „The Sick The Dying… And The Dead!“ mit 12 brandneuen, unveröffentlichten Songs. Nach dem GRAMMY-gewinnenden Erfolgsalbum „Dystopia“ bleiben die vier Metalheads voll auf Erfolgskurs und lassen jedes Fan-Herz höherschlagen. Auch dieses Mal geht es um schmetternde Gitarren, fette Drum-Sounds und die markerschütternde Stimme von Frontmann und Produzent Dave Mustaine. Von nostalgie-getränkten Songs wie “Night Stalkers” mit
Mega-Feature Ice-T hinzu dem emotionalen und namensgebenden Song “The Sick The Dying… And The Dead” ist alles auf dem umfassenden Album vertreten.

Mustaine zeigt sich mehr als glücklich: „For the first time in a long time, everything that we needed on this record is in its right place. I can’t wait for the public to get hold of this!”.

Das Album erscheint als Jewel-Case CD und Gatefold 2LP

Big Crown Records is proud to present another strong 7" offering from the legendary Sunny & The Sunliners. Pulling two very in demand tunes from Sunny's Keyloc Records catalog and making one unstoppable reissue 45 that will put these tunes back in the mix around the globe. Since we released the first Mr Brown Eyed Soul compilation in 2017 the price of Sunny's records have skyrocketed. We are sure a lot of people will be happy to be able to get their hands on these tunes and it will be great to see them getting spins in a whole world of new circles. The A side, "If I Could See You Now" is a classic dance floor burner from Mr Brown Eyed Soul. From the first note of the organ intro those in the know will be grinning ear to ear, as soon as the beat drops and Sunny starts singing anyone who never heard this tune before will be hooked. "Give Me Time" is a bit of a sleeper in Sunny's catalog. Not one of the flagship tunes that everyone knows but absolutely worthy of reissue and becoming one of the classics alongside "Should I Take You Home", "Smile Now, Cry Later", etc. The band is as sharp as the man himself on this one, running through the beautiful arrangement while Sunny pleads for time to get over his lost love.