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Vigil is a (heavy & avantgarde) doom/death metal band from the Unites States, with an aggressive sound - yet emotional and obscure, but also beautiful and emotional. A dark doomy road of sorrow and anger. With two bass players and some influences of post-rock, thrash and progressive metal, Vigil is a showpiece of the apocalypse filtered through ears, hands and emotions. The songs range from old-school European styled doom, with an aggressive death touch, like My Dying Bride, Paradise Lost and Katatonia, all the way to current atmospheric post-rock/metal acts as The Ocean, Isis and Intronaut. There are slow tempos to drag you through the emotional pain, and there are blast beats and thrashy grooves occasionally to spice things up

Animals on Psychedelics welcomes Swiss/Tunisian producer Ish for its 9th release, with another suitably lysergic 3 track EP.

A1 kicks off with vintage Sci-fi mind exploration samples and quickly evolves into a pulsating and accelerated acid trance rumpus, with the sample weaving its way around the tracks main goan filtered synths and throbbing bass, for a perfect, reflective end of night closer.

Still keeping things pacey and sci-fi, B1 guides us into more traditional trance territory, with lighter 808 kick drums and a progressive arpeggiated synth line that links up with his paranoid friend half way through for some machine talk , before metallic bass and electric guitar mates comes barging in to abruptly end all chat.

B2 continues the trip and lands us on an unexplored planet deep in the outer universe. Pensive, melancholic and breaksy IDM frequencies transmit through our vessels radio, whilst a woman reminds us that we still have our 'Body's' as we float in space.

In Flames gehören zu den Urvätern des Götheborg Melodic Death Metals. Mit Alben wie Lunar Strain oder Colony hat sich die Band in den Metal Geschichtsbüchern verewigt. Aber auch die späteren Alben, auf dem In Flames einen deutlich größeren Groove Metal Einflusse an den Tag legen, sind Werke, die man im Regal stehen haben sollte. Ingesamt erscheinen 4 In Flames Alben im Juli 2024 als farbige LP Neuauflagen: Lunar Strain (1994), Colony (1999), Soundtrack to Your Escape (2004) und Siren Charms (2006)

Esteemed musical chameleon Brendon Moeller, renowned for his highly respected work in Deep Ambient, Dub Techno and a myriad of variations on these themes - turns his hand to 170 for Samurai Music.
Vacuum is the first fruits of this collaboration and encompasses a cross section of his approach to the tempo. Dub-wise 170 that hints at a deeper version of autonomic, but ultimately invents a new sound that only Brendon and his analogue dungeon could conjure. 30 years of mastering the art of the deep filtered through an all new tempo lens.
Vacuum is a gentle 6 track record that will become a close companion to those tuned to, or open to embracing the rewards of Brendons impeccable sound design and mastery of immersive, minimalist warmth.
Breathe it in

A1 - Tensor
Opening with an earworm minimal old school melody which lives long in the mind, Tensor sees JLM Productions kick off his latest Spatial EP in style, flexing his versatility in the genre with an exquisite Hot Pants break pattern in delightfully laid back fashion. Showcasing sublime filtering techniques, a lush 808 bassline and a nominal usage of kicks, Tensor lives long in the memory - and rightfully so.
A2 - Pseudovector
A real treat in store for fans of clean, edited breaks as JLM Productions immediately drops the crispest assortment of drum samples which will delight the ear and the feet in equal measure. Pseudovector is a real treat for the senses with an immense high note melody punctuating the track as the breaks build and build, adding layers of punchy detail which combine beautifully with cymbals, bongos and gentle atmospherics.
AA1 - Helios Drift
A more laid back piece that harks back to a special bygone age of slower atmospherics - as is Spatial's speciality - Helios Drift offers a feast of breakbeats with distinctive tribal maracas jubilantly shaping a unique vibe. Soothing padwork provides an elegant backdrop to the beats with rolled chords and sci fi melodies draped throughout, deconstructing towards a polished outro to this memorable mid-set breather.
AA2 - Wavefunction
Instant rolling 2-step vibes unfold as Wavefunction sees JLM Productions close the EP in style with a track which won't fail to move the discerning dancefloor. Immense 80's synthwave vibes tell a tale of cyber dystopia, highly evocative notes washing harmoniously with the breakbeats while a superb bassline solo in the breakdown invites contemplation from the audience before the beat rolls on to a reflective conclusion.
Words by Chris Hayes (Spatial / Red Mist)

A1 - Wireframe
Label stalwart Aural Imbalance returns to Spatial with the dreamy Wireframe, opening with a sea of beautiful ambient padwork which ushers in a sumptuous, brisk Circles break pattern to the forefront. A myriad of light touch samples & effects twist and twirl over the composition with a fantastic 808 bassline that complements the show-stealing breaks, completing another exquisite collage of atmospheric bliss.
A2 - Hollow Sun
Another fine exploration in atmospheric serenity, Hollow Sun opens with light hats and high-pass filtered breaks which develop into a thick, weighty slice of breakbeat bliss. Like a gentle breeze on a warm summer night, the tapestry of airy melodies beckon the listener into a realm of sonic wonder, the breaks, bass and effects crafting the kind of inimitable soft yet danceable atmosphere Aural Imbalance has truly mastered in his Spatial guise.

AA1 - Distant Stars
Mixing up the vibe with flowing keys and metallic undertones in the intro, heavy old-school breaks with a dense analogue kick drum seize the limelight as Aural Imbalance showcases an impressively subtle break editing skillset with Distant stars. While a knowing aura of elegance and grace build an ethereal soundscape with the padwork, the breaks playfully jostle in the mix towards a clean DJ-friendly outro. Sublime.
AA2 - Eclipse
Low-pass break filtering and an introspective, slightly tense atmosphere introduce Eclipse, before a real treat to the senses unfolds as heavy breakwork thunders hard into the mix with crisp snares and rolling drums. It's a symphony of light and shadow, of tension and release as Aural Imbalance continues to expand his incredible repertoire of sound on Spatial, rounding off another superb explorative EP
Words by Chris Hayes (Spatial / Red Mist)

Everyone’s favourite Instagram music account is now a label!

Belters4u has been sharing a steady stream of forgotten club bangers over the past few years and now arrives with original material. The inaugural release sees Tre Turner serve up three belting hardware jams straddling 90s euro-house, trance and early prog with a subtle nod to Scotland’s notorious old-school rave scene.

First dropped by Job Jobse at last year’s Nachti Festival, title track" Can’t U Feel" is a feel-good party pumper resplendent with galloping euro bass, gated filter sweeps and catchy pitched vox destined for a festival near you. The two mixes of “Mixed Emotions” on the flip take a hazy, trancier path, keeping the emotion and euphoria running high.

Available on vinyl via One Eye Witness and digitally via all decent platforms.

Info: The soulful power of Asabi Goodman's vocals is finally on vinyl! Blunted Stylus ft. Asabi Goodman s' "Rhythm's Got Soul" has "groove and style" reminiscent of the back-to-back, wall-to-wall packed dancefloors of the fever-pitched disco era, steady spinning in at 115 BPM. The highly anticipated collaboration between the renowned singer/ songwriter Asabi Goodman, and producer/arranger Geoff Boardman A.K.A. Blunted Stylus brings authority and intrigue to the dance floor, with soul.... "Free your mind and the mirror ball will follow".

Side A "Rhythm's Got Soul bursts through the stratosphere 'all frequencies blazing!"

Treating the listener to pitched horns, filtered drums, those sultry Asabi vocals, reinforced by the everlasting bass from Andrew 'Bigfoot' Leslie.

Momentum steps up with the rhythm guitar of Dave VHS, accompanied with vamp keys and hectic percussion.

The SOULICITORS are the band on this release 'sitting in the groove', syncopated and loose after the MPC4000 sample treatment, a sort of new paradigm of band-samples soul-fusion exploration!



Side B "Rhythm's Hot" (Afro Instrumental) is a monster cut on the flip, a relentlessly persuasive percussion groove, well timed transitions spread smooth like butter, akin to Midnight Marauders chords, styled across 'A Taste Of Honey' bassline for example, on an Afrocentric trip building up to the disco-fever instrumental strut.



Asabi Goodman is an American born (Oklahoma), entertainer now calling Australia home, consistently performing in stage and screen productions, and touring with bands and Broadway musicals (Hairspray! The Musical, CHICAGO). Asabi's vocal ability effortlessly elevates from 'sweet and soulful' to 'commanding and powerful', all the while showing unmistakably that her passion for the audience, and respect for the song is at the heart of every performance.

Geoff Blunted is an Australian producer, avid record collector, and co-founder of the ground breaking sample-funk group the 'RESIN DOGS' (1996-2005) extensively touring and producing. From the early days in the 80's of cutting his teeth in mixtapes, and volunteering at community radio at 4ZZZ in 1988 (arguably the golden era of hip hop) hosting Australia's first dedicated Hip Hop show "Just2Def" that aired for 1 year. Four Jazz-funk sample albums under his belt, 'Rhythm's Got Soul' arrives cued-up ready! The track highlights Geoff's ability to blend his time proven sample ethic into a resonating dynamic disco experience.

Over the past decade, Kasra V has blossomed as a prominent figure in the music industry, particularly through his renowned residency on NTS Radio which has expanded his profound knowledge and expertise in music. Since landing his radio residency in January 2014 he has successfully broadcast over 200 radio shows, making use of the format to explore a wide array of sonic attitudes, styles and systems. To celebrate his achievement Kasra V launches his own imprint V-Sion which he will not only use for his own release output but also to propel his vision of contemporary dance music. To kick things off he presents a stunning 9-track compilation '10:10 Kasra V presents 10 years on NTS Radio' featuring unreleased tracks from some of his most revered guests who have graced his show throughout the years. Each contribution is wholly in line with Kasra V's genre-spanning approach. Over the years some periods have seen him playing straightforward club music, others featuring an extended notion of listening music. One hears a whole breadth of influences in his releases on acclaimed labels such as Radiant Records and Shaytoon Records: collected strands of rave, acid house, San Francisco breakbeat, new beat, ambient, oddball pop from 90s and 80s, UK bleep and so on. The regularity of a broadcasting residency pushed him to carry out a constant study of the history of dance music, and he envisions V-Sion as an output to curate musical output, contributing to the ongoing dialogue between past, future and the ever-changing fulcrum of the sonic present. The tracks presented on 10:10 are also emblematic of this historically-informed approach to dance music. They are all tuned for the floor, but present a range of possible floors to conjure: Fantastic Man's progressive opener, "Neural Filter", is airy and laced with delicate breakbeats, while "Archangel Waltz" by Sepehr presents a shadowy drama of string samples and throbbing bass swells."Qadak" by 500SEC lays an anthemic Arabic melody over bubbling electro; 2 tracks prior, Angel D'Lite circulates a whisper and moan through the mix of a euphoric, rave-stabbed anthem. The latter encouraged Kasra to put out this very compilation, which is just a testament to the value of the company we keep.

In the flow of the success of their first vinyl record, MEUK Collective releases their new EP Tijdloos. A killer 4-tracker solo album by Denn Punk this time. The title of this EP refers to the timeless sound of old school techno that MEUK stands for. And all four tracks are full of Denn's signature sound, with reverse kicks, groovy drum fills and creatve filter effects. If you're into the hard groovy techno, you don't want to miss this one.

Two years after her debut on SPFDJ's Intrepid Skin, Valerie Ace is already counted as a quickly rising voice in techno, her work featuring on Anetha's Mama Told Ya, Mala Adh, Haven, and more. In 2023 she founded her own Hardwon imprint, now on its 8th release and featuring established and upcoming names like Ryan James Ford, WTCHCRFT, and others. Now Rant & Rave offers her third vinyl full EP, Givers & Takers, confirming her premier place in contemporary techno. The title track starts ominous, pensively drawing tension over a slow breakbeat as busy percussion patterns interlock, leading into its intense second half, where heavy bass doubles down and pushes to a bruising climax. 'Eat Dirt' takes after its title, grinding faces into grit as it switches between breaks and straight sections while pounding the floor into submission. 'A Moment Lost' loses no time charging out of the gates, ratcheting tension with quickly evolving snares, the filtered bass punches driving the track over steadier, atmospheric background sounds. The afternoon or afterhours vibe of '3PM' is accentuated by seasick synth layers contrasted against malignant drums, unsure if the drugs are wearing off or kicking back in for another trip.

Here is the next vinyl release of The Relic.

Leeds' finest reggae rhythm constructors are back with an industrial strength combination enlisting two of Jamaica's top lyricists.
Following the success of their last 12 inch release,
Up Deh with Mark Iration, the duo have laid down two heavy duty slabs of pure sound system mayhem.

Mercy features the unmistakable voice and flammable lyrics of ferocious rockstone deejay Capleton. Thunderclap gives a similarly hard stepping backdrop to the younger brother of Supercat, Junior Cat, who carries the hypnotic family style. The Capleton vocal comes with a pair of spiky, heavily filtered dubs, making mass movement a must.

This release was originally due to come out in 2020, but got locked down in the lockdown and is now back due to popular demand.

Info: The soulful power of Asabi Goodman's vocals is finally on vinyl! Blunted Stylus ft. Asabi Goodman s' "Rhythm's Got Soul" has "groove and style" reminiscent of the back-to-back, wall-to-wall packed dancefloors of the fever-pitched disco era, steady spinning in at 115 BPM. The highly anticipated collaboration between the renowned singer/ songwriter Asabi Goodman, and producer/arranger Geoff Boardman A.K.A. Blunted Stylus brings authority and intrigue to the dance floor, with soul.... "Free your mind and the mirror ball will follow".



Side A "Rhythm's Got Soul bursts through the stratosphere 'all frequencies blazing!"

Treating the listener to pitched horns, filtered drums, those sultry Asabi vocals, reinforced by the everlasting bass from Andrew 'Bigfoot' Leslie.

Momentum steps up with the rhythm guitar of Dave VHS, accompanied with vamp keys and hectic percussion.

The SOULICITORS are the band on this release 'sitting in the groove', syncopated and loose after the MPC4000 sample treatment, a sort of new paradigm of band-samples soul-fusion exploration!



Side B "Rhythm's Hot" (Afro Instrumental) is a monster cut on the flip, a relentlessly persuasive percussion groove, well timed transitions spread smooth like butter, akin to Midnight Marauders chords, styled across 'A Taste Of Honey' bassline for example, on an Afrocentric trip building up to the disco-fever instrumental strut.



Asabi Goodman is an American born (Oklahoma), entertainer now calling Australia home, consistently performing in stage and screen productions, and touring with bands and Broadway musicals (Hairspray! The Musical, CHICAGO). Asabi's vocal ability effortlessly elevates from 'sweet and soulful' to 'commanding and powerful', all the while showing unmistakably that her passion for the audience, and respect for the song is at the heart of every performance.

Geoff Blunted is an Australian producer, avid record collector, and co-founder of the ground breaking sample-funk group the 'RESIN DOGS' (1996-2005) extensively touring and producing. From the early days in the 80's of cutting his teeth in mixtapes, and volunteering at community radio at 4ZZZ in 1988 (arguably the golden era of hip hop) hosting Australia's first dedicated Hip Hop show "Just2Def" that aired for 1 year. Four Jazz-funk sample albums under his belt, 'Rhythm's Got Soul' arrives cued-up ready! The track highlights Geoff's ability to blend his time proven sample ethic into a resonating dynamic disco experience.

Rising from the fiercely DIY Philadelphia underground, CARLY COSGROVE graft achingly vulnerable lyrics atop a bed of mathy rhythms, intricate guitar work and a penchant for indie-rock cool meets emo authenticity. Their debut album, 2022's See You In Chemistry, was the sound of figuring life out in real time, tracing personal growth through anxiety, depression, and self-actualization - heavy subjects for a band originally formed as a low-stress side-project stopgap in 2018.

The quest for the answers to life's big questions is once again front and center on the band's second album, THE CLEANEST OF HOUSES ARE EMPTY, as Naylor, bassist Helen Bars and drummer Tyler Kramer find themselves face to face with the chronic emotional struggles of life in the modern age.

From the stop-start polyrhythms of first single "You Old Dog" and garage-rock sheen of "Random Dancing" and "What Are You, A Cop," which sounds like Motion City Soundtrack filtering "Everlong" through their idiosyncratic rock tilt, The Cleanest Of Houses is the type of record Carly Cosgrove simply couldn't have made last time - not musically, and certainly not emotionally. They needed to live, through hard touring and harder life experiences.

A Haunted Tongue is the third album by Colossal Squid, the solo project of producer/virtuoso drummer Adam Betts (Goldie, Squarepusher, Melt Yourself Down, Jarvis Cocker). The first self-titled Colossal Squid album (2016) was intended by Betts as a way of exploring the process of creating music from purposefully limited tools (a drumkit and electronica) and finding a place where technology and live performance could happily meet. In comparison, the second album Swungert (2019) acted as a chance to see if the music written from that same process could be moulded (via collaboration and editing) into something more traditionally recognisable as a ‘song’. A Haunted Tongue moves things on one step further, letting the process and approach fade into the background, freeing Betts to balance a million inspirations (early 90s Warp, rave tapes, Nubian drumming, Indonesian gabba…) and filter them through an anything-goes punk aesthetic that results in a feeling of freedom that is both refreshing and rare. Betts has spoken of “a recurring dream of a stranger trying to get across an important message but not talking in any discernible language” that guided these recordings. This feels appropriate to the listener – the language of A Haunted Tongue isn’t straightforward or easily classified but yet the message is clearly understood and embraced by the listener at a primal level. That message is one of hope - channelling the shared euphoria of communal musical experience and searching for an uncynical and personal expression of positive energy that can move people and resonate with them. “A while back we had a chat with JR Moores, he was doing a Bandcamp piece on the label. We mentioned we wished we did more rave-related releases. Within seconds we had the Johnny Broke album in our inbox. Johnny Broke is actually Wayne Adams. Wayne messaged and told us about Adam Betts (AKA Colossal Squid). And here we are, dealing with someone who drums for Squarepusher and Goldie. Both Chris and I have the biggest love for 90s rave music. For me (Joe) I'm listening to an alternative world that I was old enough for but missed out on. I knew the music but didn't have the knowledge to drive around the M25 looking for the fields. It's a history I don't quite have but feel like I do. It's like the Beatles: known all my life but no idea why. It's cut into our DNA. It was our punk rock but we missed it. This Colossal Squid album, no matter how many times I listen to it, brings something new every time. And it makes me feel like I'm finally there” – Wrong Speed HQ

As the winds of music blow, a wise heart navigates the spiral, finding wisdom in each of its twists and turns.

As the releases of DUBBLACK’s catalogue pile up, the novelty and exploration for new music keeps on thriving.


A brand-new record is approaching, as always available both on a 12” vinyl – limited to 300 copies – and in digital format, featuring the presence of two Masters from the Electronic Music scene: A2 Abd El Monim and Tocchitek.


The two-track EP baptised “Dark Side” includes the gems “Euriale” and “Steno”; two expansive compositions that, also due to their length, masterly observe the task of narrating two complementary stories, each with its distinct moments, yet marked by a strong rhythmic temper. Both tracks are planned to share similar sonic elements: a pulsating 160 bpm kick drum, ghostly pads serving as an inevitable backdrop, and indispensable rhythmic details enriching the whole structure and arrangement.


A2 Abd El Monim, born Alan Abd El Monim, is an Italian-Egyptian artist/composer. He expresses himself through the creation of music ranging from electronic to purely instrumental, and through the interaction between the arts. His poetics opens in a “dark” dimension that considers and interprets the facts through the notion of shadows and darkness but also through penombre. His “dark” vision stands as a filter through which he reads the world and its interactions, therefore using also the notion of light. His music has been performed in Festivals including Musica d’arte (Riccione – Italy), Luci d’Artista (Salerno – Italy), GAMO (Firenze – Italy), Spazio Musica (Cagliari – Italy), On Air – On site (Den Haag -Netherlands), Sound Spaces (Malmö – Sweden), etc.


He composed songs for the solo exhibition “La pelle degli oggetti” and for works Lui&Lei by the artist Giovanni Oberti. In 2020 he undertook a collaboration with the poet Milo De Angelis , putting to music the lyric “A volte , sull’orlo della notte, si rimane sospesi”. He wrote music for several theatre performances by director Emily Tartamelli and has written music for several directors films including Reto Gelshorn, Enea Francia, Paola Piscitelli and Fabio Corbellini. He collaborated with the London based fashion brand B DODI and was invited as an artist to participate in the collective exhibition “Instructions to Light-Keepers” (Milano – Italy). In March 2023, “Periodo Nero”, its interactive and generative installation music and video, was selected for the tribute to Picasso in the city of Florence, will be presented at the Certosa of Florence in September of the same year. In 2017 he won the International Competition of Composizione Silenzio Musica, in 2020 the diploma from President and Artistic Director of Winterreise International Composition Competition Moscow, in 2021 the Call For Scores banned by the Cultural Association Esecutori di Metallo su Carta. A2 Abd El Monim is signed to international label F.M.T Records and Dubblack Records, with which he regularly publishes his electronic music.


Tocchitek is an underground Tekno producer and performer born in Milan, Italy. He started playing live in 2007 as part of the “Approdo Caronte” sound system based in Milan. His first significant appearance as a live performer was at a “Mayday Parade” in 2008 in Milan. In 2009, he joined the “R909 Records” chapters crew based in Milan, bringing his live set to many local club dance floors. Meanwhile, he collaborated and played with many crews around Europe, spreading his music in the free Underground Tekno movement. In 2021, in Milan, he launched “F.M.T Records”.


Simplicity is often the hardest thing to achieve when producing this type of music, primarily designed for uncompromising dance-floors, but the duo successfully channels their message with purity and truthfulness.


The visual aspects of layout and design are once again entrusted to Vittorio Valigi, who puts a greyscale spiral at the center of the cover. A spiral within which one an eye can be glimpsed – the eye of the musical soul of DUBBLACK harmoniously fused with that of A2 Abd El Monim and Tocchitek, who become worthy ambassadors of the Dubblack’s sonic mission.

Keith Hudson was a one-of-a-kind musical innovator with an impeccable track record from the start: his first studio recording involved former Skatalites, and his earliest releases provided solid-gold hits for Ken Boothe (“Old Fashioned Way”, 1967), John Holt, Delroy Wilson, U-Roy and the others.

With Pick A Dub Hudson produced one of the best dub albums ever, and with The Black Breast Has Produced Her Best, Flesh Of My Skin, Blood Of My Blood he released the first concept album in reggae history, bringing his all-around talents to full fruition as early as 1974. Thematically dedicated entirely to Black history, the latter of these two albums is a masterpiece that captivates with an atmosphere that is as dark as it is deeply spiritual, charged by Hudson's eccentric vocals. Like Lloyd Bullwackie Barnes, his splitting from tradition was dynamic and all his own.

As his career moved on, Hudson found himself working outside of Jamaica, more frequently in London and New York studios and for transatlantic audiences, his dark experimentalism becoming increasingly better suited to the LP than the cardinal 7” reggae format.

Playing It Cool & Playing It Right was released in 1981 on the Joint International label, in NYC, with Lloyd Bullwackie Barnes as the executive producer. The Love Joys and Wayne Jarrett, stalwarts of Barnes' record label, Wackies, would also inimitably feature Hudson at the microphone. Like Bullwackie, Hudson was a devotee of Coxsone Dodd’s Studio One and Playing It Cool & Playing It Right follows Dodd’s then strategy of overdubbing his signature rhythms. The Studio One sides were aimed at the dancefloor and Hudson’s reworkings of tracks like “Melody Maker” are more psychological. Here, deep Barrett Brothers rhythms are made deeper with reverb, filters and distortion; everything pitched down and overlaid with new recordings of guitar, percussion, keyboard, and voice, often heavily treated.

Playing It Cool & Playing It Right continues Hudson’s psycho-acoustic journey into the abysses of existence, and overwhelms with the beauty of artistic self-empowerment. "Too much formula," sings Hudson, whose voice is occasionally reminiscent of Sly Stone or even Tom Waits. "Darkest night," answers an echoing background choir elsewhere. Even more fascinating is Hudson's production, which reflects Black history in even the smallest sound detail, the flashing whip of the slave driver still echoes in the sound of the snare drum. Rarely has a roots sound been made so electrifying, so expansive in all directions, so crystal clear, so bass-warm and echophonic as on these 30 minutes of music.

Playing It Cool & Playing It Right is legendary, strange, utterly compelling music that has possibly never been more topical than it is today.

A1 - Permeate
JLM returns to Spatial with another superb selection of old school inspired tracks. Kicking us off is Permeate, with anxious melodies evocative of 90's sci-fi introducing proceedings before filtered old school breaks slowly rise into the mix. An early breakdown with the playful bassline flying solo for a spell precedes superbly executed amens adding a thick layer of detail to an eclectic beat pattern.
A2 - Orogeny
Orogeny opens with a lush old school riff, classically off-key melodies and echoing pads as the varied beats takes shape - effortlessly navigating a range of breaks to create a unique, bouncy pattern evoking a dynamic mid 90's energy with a captivating rhythm. Tuneful synth work and jazzy drum samples deliver an entertaining breakdown before the breaks resume for the latter half, airy pads adding further texture to the track.
AA1 - Subsidence
A contemplative, introspective tone is set by a delicate melody in the introduction to Subsidence, a track which showcases the variety of atmospheres JLM Production scan glean from his unique brand of drum & bass on Spatial set to the usual high standard of classic breaks and bass. Majestic pads and synths envelop the listener in a solemn haze, while a more intense, darkly melody counters, creating a divergent synergy to the vibe.
AA2 - Laminar Flow
Closing the EP in style, we are treated to a jazzy, melodic introduction to Laminar Flow with rising strings and vocal samples, before inspired 80's style synth sounds zip around the mix to a subtle, clean 2-step breakbeat. JLM ups the ante with a crisp Hot Pants break layered over the top while the jazz-inspired Rhodes key shifts craft a tuneful aura as cow bells ring throughout, rounding off another sublime and varied experience for the ears.

Words by Chris Hayes Spatial/Red Mist

Dr. Dog ist definitiv keine HipHop Band, Dr. Dog kommen aus Philadelphia und sie spielen eine sehr abwechslungsreiche Mischung aus 60er Jahre-Pop und Psychedelic Rock. Bevor Ihre Fanbase im Jahre 2004 richtig groß geworden ist, nachdem sie zusammen mit My Morning Jacket auf U.S.Tour gegangen sind, haben sie auf ihren eigenen Label 2 schöne Alben veröffentlicht - Psychedelic Swamp (2001) und Toothbrush (2002). Es folgte ein Deal mit Rough Trade Recs., 2 weitere, sehr gelungene Alben (Easy Beat und We All Belong, das es gar in die US Charts auf Platz 30 geschafft hat!) und Tourneen mit Clap Your Hands Say Yeah, Strokes, Raconteurs und auch mit The Black Keys. Nun bringen Dr. Dog auf Park The Van ihr neues Album mit dem Titel FATE heraus. Und dem Quintett ist es tatsächlich gelungen, auf diesem neuen Album eine Quintessenz der amerikanischen Popmusik heraus zu filtern: Songs wie Hang On oder Uncovering The Old tauchen tief in die amerikanische Seele und Mysterien des Lebens und der Liebe und bieten darüber musikalisch vielschichtige, bittersüße Reflexionen an. Dabei bewegt sich Dr. Dog auf den verschlungenen Wegen irgendwo zwischen The Band, Beach Boys und aktuellen Bands wie Spoon oder Guided By Voices.

Guzzle the momentum. Slap the door behind you. Run faster. The feeling pure. The attention fried. Rush from left to right. Repetition. Doorbells ringing. Where do I stand? Organizational chaos is a theory that predicts the here, the now, the never before seen or known. My attention is as pure as it is fried. Thrilled to announce that Thrills In +41 welcomes us with sheer brilliance. Let's Purifry The Attention. Solidified action. Embrace the filter. You feel it? Kicks and incredulous rhythmic action. Stuttered chopped vocals. A dash of madness and you're there. Open the door. National discoveries are about to be found. Discovery 70D is a gateway to a new portal known as... Skipman. Pull it in. Acidic drops drop harder than acid drops when you drop it because it's hot right now in the midst of this after-summer delight. Long sentences stretch like honey clinging on to your buttered knife as you make yourself toast because we're all toasted and we wrote a poem called d'Ache together that one night. Ahhh, the beat goes on. It's basically a Visual Illusion. An ambient setting wraps up this rap. Imagine tender vocals summoning the night over the howls of dusty vinyls and the digital embodiment of contemporary music making machines. We are a music making machine.

Tangential Music is pleased to present the new album from veteran Spanish DJ and producer, Dj Toner (aka Antonio Herrera). Alongside his co-writer/arranger Daniel Molina and with guests that include the legendary Blue Note Records innovator Erik Truffaz and Grammy winning flautist and saxophonist Jorge Pardo, he has created a 10 track collection of slow-burning instrumentals that straddle the worlds of hip hop, jazz and electronica.

With a personal, precision tooled approach to his craft, the Andalusian has offered up an album of finely modelled downbeat moods.

At first glance, ‘Out Side’ is made up of recognisably superior hip hop instrumentals but if you listen carefully, and with patience, one can hear a craftsman at work. A wooden box is just a box until you look closer. The hidden joints, the perfect lining up of the grain, the years of artisanal graft and laser-focussed attention to detail that go into making something that has nothing present, that doesn’t deserve to be there. This is how Dj Toner operates.

The two singles that preempt the album’s release reveal different sides of his craft. ‘Camina’ struts with tough intentions. Soundtrack-y in an exploitation police drama manner, the get-out-of-my-way drum break and tension-filled chords suggest the bad cop, Erik Truffaz’s piercing lyrical trumpet lines, the good. The Afro-jazz horns led second release ‘Surprise’ is an altogether more playful, sunbaked affair. Sensual and slow-burning, there’s still an edge but it’s too hot to quarrel.

Dj Toner’s minimalist attitude to creation is shared with his co-composer Molina - an individual’s contribution may be cut to the bone, leaving just its aura or tone. The echo of a piano, a single blast of tuneful wind from a flute, a perfectly positioned drum hit.

Since the Wu-Tang Clan’s RZA began applying his beatmaking prowess to movie soundtracks, the hip hop instrumental has been acknowledged as something to listen to, as much as being used as a DJ tool or backing for an MC. Dj Toner’s instrumentals can, therefore, be seen as soundtracks. Soundtracks to his life and craft, vignettes of his environment in both the urban sprawl and the wider and slower spaces of “el campo”.

The sweet-tempered jazz-blues of ‘La Rimosa’ is a gentle welcome to the album. A simple, laid back groove with the most romantic of piano hooks that one could imagine Common dropping rhymes on. You’re kept on your toes with the odd purposeful moment of discordant interruption but the tender heart of the composition is never far away.

‘O’Beat’ hints at John Coltrane with the sparse but full-sounding upright bass before a head-snap break leads into a curious piano groove, a vintage organ swirls into a psychedelic fractal, whilst the bluesy female vocal snippets add the spice, that zing in the Granadan gazpacho.

The flamenco guitar driven ‘Flama’ is an excellent example of intricate sample placement and musicality. Old school (school yard) scratch interludes, sweet piano hooks, a minimalist but knife sharp flute contribution from Jorge Pardo, and the crunchiest of drums taking us for an intriguing walk round the corner.

We’ve mentioned them before but it’s on ‘Sweetband’ that we can feel that Wu-Tang dread hanging off its shoulders. A brooding orchestral number with powerful horns and a cavernous piano hit. The title of the piece is in stark contrast to the dark shadows of the tune.

Erik Truffaz returns in fine form on the super lethargic jazz-funk-hop of ‘The Day’. His instantly identifiable muted trumpet sound paints dazzling colours over the more earthy tones of the filtered down keys as a rubbery upright bass keeps the forward momentum. Dj Toner’s ‘Blessed Are The Weird People’ album, was rated in Jazz Magazine as one of the 20 jazz albums of 2021, so he isn’t some dilettante when it comes to playing with the complex hues of jazz but he does like to strip it to its bare essentials.

‘Fanega’ sees a gorgeous flute contribution from Jorge Pardo. An eerie boom-bap groove with sprinkles of electronic pulses and washed out chords is the canvas on which the award-winning multi-instrumentalist evokes the heat shimmer of the savannah.


‘Esperanza’ translates as ‘hope’ in English and this lovely slow, swinging jazzy groove really does provoke feelings of positivity and belief. Sublime vibraphone and another stunning trumpet offering from Erik Truffaz, take us on a journey of warm days and possibilities, the shuffling drums and sweet chord patterns are nicely finished off by a tranquil horn chorus towards its unhurried end.

‘Under Beat’ ends on a beefy boom-bap groove with a liquid funk bassline, elegant synth strings and old school scratching. Again, there’s that undisputable soundtrack edge, action and motion, the smell of the city.

There you have it, 10 tracks that go beyond the surface, deep into the dedicated craft of Dj Toner. Decades of experience and collaboration purified and refined into beat-heavy emotions, listen closely or crank it up, it’s down to you!

2024 Repress

Straight in the wake of their eponymous debut LP released on the label back in 2016, Weval return to Kompakt this year with their sophomore album, 'The Weight', breaking their pop-mellow, nostalgia-friendly facet further out in the open as they arrive "at this place again were everything felt spontaneous, new and exciting, like we had in the beginning". Orbiting around that ever luminous yet wistful melodic halo that surrounds their music, this second full-length effort sweeps an extra-wide and languidly woven palette of emotions and moods, making for a uniquely ambitious and generously coloured mosaic of sound. If the recording sessions "often started grumpy and emotionless" by Harm and Merijn's own admission, the pair was "surprised by the joy it gave us, which can be compared to the emotions we felt back in the first days of making music together"; subsequently reconnecting with that fresh, naïve feeling of "absolute creative freedom" they were after. The album is also the fruit of a whole new working process for them - more playful and unpredictable - which saw them switch from "guitars lying around to piano, onto our own synths and the most cheap quirky toys synths you can imagine", and involved "recording all of our own samples, voice and almost every instrument out of the box - which for us was a totally new way of working". "We've always wanted a narrative for the album, and finding the right order perhaps took the most effort" they explain; "we felt anxious, felt insanely positive, felt heartbroken again, felt in love again, and there was death, and even suicide around us. It was quite chaotic. As a whole, 'The Weight' breathes with that transformative richness, free of limits and rules, except perhaps to "do quick and not think too much". Amidst this collection of songs and instrumentals that live by Weval's singularly positive take on music - one that can "lift you up, and make you feel hopeful without being necessarily straight out 'happy'" as they define it, the title-track and lead single stays true to the duo's dynamic approach, putting on a fine balance of floor and dream inducing adaptability that sound engineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.) subtly made palpable. There's heavy showers of funk drops pouring from endless bars of thunderstorm clouds and laid-back riffs beating a restrained poolside-party kind of pulse, but also sensual vocals rising from beneath the sheets and rueful polaroid-filtered ambiences to soundtrack all possible moments in life - from the most euphoric to those when music seems the only viable healing potion. More on the post-KLF, BoC-inflected electronica side of things, 'Are You Even Real' takes its listener for a round-trip across the star-studded dome and beyond, before songs like 'Someday' and 'Same Little Thing' head back down to a state of pulsating, earthly organicity, tense and mercurial as get. An arpeggiated slice of piano-strewn kosmische, 'Heaven' is another invitation to an epic-scale odyssey from the inner-spheres into the distant fringes of the outer-world. Weightless and airy, yet texturally dense and widely magnetic overall, Weval second LP is a synthesis of the duo's multi-angle take on electronics: blissed-out, heartening and infinitely free.
Nur zweieinhalb Jahre nach der Veröffentlichung ihres selbstbetitelten Debutalbums finden sich WEVAL zurück "an jenem Ort, an dem sich alles spontan, neu und aufregend anfühlt - so wie als wir anfingen zusammen Musik zu schreiben". An diesem Ort entstand "The Weight", ihr zweiter Longplayer, auf dem Weval sich ganz den Pop-verliebten, Nostalgie-freundlichen Facetten ihres Sounds öffnen. Stetig um den sehnsuchtsvollen Strahlenkranz ihrer Melodien tanzend, legt diese Platte noch vielschichtigere, mit feinster Präzision gewobene Gefühlswelten frei.

Obwohl die Aufnahmesessions nach eigenem Bekunden oftmals "miesepetrig und emotionsarm" begannen, so war das Duo überrascht darüber, wie schnell sich bei der Arbeit jene Freude einstellte, die sie aus ihren künstlerischen Anfangstagen kannten, eine Woge des frischen, naiven Gefühls der "absoluten kreativen Freiheit". Dieses Album ist die Frucht eines verspielteren und unvorhersehbareren Arbeitsprozesses innerhalb der Band, in welchem alles zum Einsatz kam, was ihnen in die Finger kam - von der ollen Gitarre, die in der Studioecke stand, über ein Piano und den bandeigenen Sythesizern und den sonderbarsten Spielzeuginstrumenten, die man sich vorstellen kann. All dies sowie zahlreiche Vocalaufnahmen dienten als alleinige Samplequelle - "was für uns eine völlig neue Arbeitsweise war". "Es war uns wichtig für das Album den perfekten Erzählbogen zu spannen. Die richtige Reihenfolge zu finden war ein extrem aufwendiger Vorgang", erklären Harm und Merjin. "Uns war bange, wir fühlten uns total selbstsicher, uns zerbrach das Herz und wir verliebten uns erneut. Wir waren sogar von Tod und Selbstmord umgeben. Alles war Chaos. Insgesamt atmet "The Weight" die Reichhaltigkeit dieser sich ständig verändernden Gefühlslagen, frei von Einschränkungen und Regeln - außer vielleicht "mach es schnell und zerdenke die Dinge nicht." Inmitten dieser Ansammlung von Songs und Instrumentals, die aus Wevals einzigartiger, von Zuversicht geprägter Herangehensweise entstanden sind - "Musik, die dich hochzieht und Hoffnung spendet, ohne dich notwendigerweise happy zu machen. Der Titeltrack "The Weight" steht exemplarisch für Wevals ambivalenten Ansatz, die feine Balance zwischen Dancefloor und Traumzuständen, perfekt in Szene gesetzt von Soundengineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.).

Der schwer aus gewaltigen Gewitterwolken tropfende Funk, die eine verhaltene Poolparty suggerierenden Riffs, die sinnlichen, geisterhaften Vocals und ein verwaschenes Ambiente, das wie ein Album alter Polaroidaufnahmen alle erdenklichen Momente des Lebens festhält - von den euphorischsten bis hin zu jenen, in denen Musik der einzige Trank ist, der Linderung verheißt. Das post-KLF und Boards of Canada evozierende "Are You Even Real" führt den Hörer auf einen imaginären Flug ins Sternenzelt, während organisch-klingende Songs wie "Someday" oder "Same Little Thing" wie Quecksilber am Boden haften. "Heaven" ist eines jener "kosmische" Stücke mit wilden Arpeggios und Pianosprengseln, die Weval in den vergangenen zwei Jahren zu einer Live-Sensation werden liessen. Wevals Musik ist schwerelos und luftig, aber gleichermassen von dichter Struktur und von einer magnetischen Anziehungskraft. Ihr zweites Album "The Weight" ist eine Synthese aus dem multi-perspektivischem, kaleidoskopischen Verständnis von elektronischer Musik: Herzerwärmend, alles umschmeichelnd und unendlich frei.

“Not a lot of people talk about the true origins of bluegrass music,” says Swamp Dogg, “but it came from Black people. The banjo, the washtub, all that stuff started with African Americans. We were playing it before it even had a name.” Blackgrass, Swamp Dogg’s remarkable new album, is no history lesson, though. Produced by Ryan Olson (Bon Iver, Poliça) andrecorded with an all-star band including Noam Pikelny, Sierra Hull, Jerry Douglas, Chris Scruggs, Billy Contreras, and Kenny Vaughan, the collection is a riotous blend of past and present, mixing the sacred and the profane in typical Swamp Dogg fashion as it blurs the lines between folk, roots, country, blues, and soul. The tracklist is an eclectic one—brand new originals and vintage Swamp Dogg classics sit side by side with reimaginings of ’70s R&B hits and timeless ’50s pop tunes—but the performances are thoroughly cohesive, filtering everything through a progressive Appalachian lens that nods to tradition without ever being bound by it. Special guests like Margo Price, Jenny Lewis, Justin Vernon, and The Cactus Blossoms all add to the excitement here, but it’s ultimately the 81-year-old Swamp Dogg’s delivery—sly and playful and full of genuine joy and ache—that steals the show. The result is a record that’s as reverent as it is raunchy, a collection that challenges conventional notions of genre and race while at the same time celebrating the music that helped make Swamp Dogg the beloved iconoclast he’s known as today.

Co-founded by Detroit natives Rahill Jamalifard and Lenny Lynch, Habibi got its start in Brooklyn in 2011, earning early raves every- where from Pitchfork and NME to All Things Considered and The New Yorker, who praised the band for infusing “the Colgate-white glisten of sixties-girl-group pop with an uncensored edge.” Dreamachine, Habibi’s mesmerizing new record releasing on Kill Rock Stars, marks a major sonic evolution for the band, rising beyond the critically acclaimed five-piece’s garage rock roots to arrive at a singular swirl of analog and digital elements that underpin their search for spiritual and physical transcendence. Produced by Tyler Love and longtime collaborator Jay Heiselmann and featuring MGMT multi-instrumentalist James Richard-son, the collection draws on a mix of post-punk, experimental pop, and vintage disco, calling to mind Tom Verlaine, Diana Ross, Kate Bush, and Kim Deal, all filtered through the band’s shared love of Middle Eastern psych music. The songs here are their own distinct worlds, each an immersive quest in pursuit of something greater, and the band’s performances are relentless and hypnotic to match, driven by lush synthesizers, sinewy guitars, and a muscular rhythm section. The result is a record as fearless as it is enthralling, an alternatingly fierce and joyous work that ascends to new heights as it reckons with desire and escape, love and surrender, rebellion and reality.

DJ Support: Gilles Peterson, Sean Johnston, Jaye Ward, Max Essa and Francois K

Limited to 300 copies

Having been long-time admirers of one another from afar, Hell Yeah and Michele Mininni finally come together for Pop Archetypes. It is a multifaceted debut album that collides broken beats, worldly rhythms, jazz, eastern melodies, live drums and much more into one thrilling 15-track opus that arrives on May 31st.

Italian artist Mininni has always had a leftfield take on electronic music and imbued it with rhythms, melodies and instruments from around the globe. He has released it on cult labels like R&S, Optimo Trax, Internasjonal and Curle Recordings but has saved his magnificent debut album for Hell Yeah. It is much more than a collection of sounds he has already explored and instead finds him heading off into all new territory without losing his signature sense of inventive and beguiling rhythm and melody. It is a multicultural journey that takes in heterogeneous styles and diverse influences but distills them all into one cohesive album with its own unique storyline.

Says Mininni of the record, 'I wanted each track to be like pieces of a unique, multifaceted picture, like walking through train cars or progressing through the levels of a video game, all filtered through my own vision and concentrated into 36 minutes. I wanted a pop album rooted in the extraordinary richness of popular music and projected into the future, a continuum where pieces communicate with each other and are received by the ears in symbiotic balance.'

Despite that concept, the album is a spontaneous listen full of surprises, left turns and original ideas that all hold together in thrilling fashion. It kicks off with the tumbling jazz drums and swirling synths of 'Spinning Around Cotton Candy', takes in mellifluous melodic layers and broken beats on 'Golden Room' and 'Slipped Air' casts you adrift amongst gorgeous piano keys and refracted vocals on the suspensory 'Vertigo'. There are jungle interludes with Eastern string melodies like 'Bangkok Tempo', lavish fusions of organic and synthetic sounds on 'Kundalini' and more charming Far Eastern rhythms on 'Muting Cat'. 'Congoflash' brings electrifying cosmic rays to busy hand drum patterns, 'The Magic Of Synesthesia' combines dark amen breaks and bright and uplifting flutes while 'Carousel Of Tears' douses you in watery melodies and celestial pads that awaken the soul.

Pop Archetypes is an adventurous work packed with meticulous and infinite details but all with an overarching narrative that makes it far more than the sum of its parts.

Matt delivers 4 modern Acid tracks A1. Hallucinations in Pilsen - A Latin Acid Nu-Jazz piece complete with hypnotic synths, Latin guitar, a grooving Acid line and backed by TR909 Bass Drum and Hat Cymbals. A2 Water Energizer - Features Broken Breakbeats with a TB303 Bassline and Haunting Jazz and Funk keyboard melodies.

On the B Side keeping with the theme of Futuristic Acid never heard of before. comes Reciprication - A MachineDrum driven track with TB-303 stabs in a more traditional style along with Acid from a modern Synth famous for making Acid. It builds into filtered atmospheric synth melodies. Closing out the EP is Gamma Ray - Another driving track made with the MachineDrum complete with more Acid basslines, it builds into more atmospheric madness with a unique placement of a second kick drum that bumps a higher low-end frequency.

Warehouse Find!

Last month saw the re-release of the this stone-cold classic from 1988. Now we give you the re-edits from The Black Madonna, Adjowa and Jimpster. The Black Madonna should need little by way of introduction seeing as she is almost singlehandedly regenerating Chicago's House music legacy through brilliant
her brilliant productions as well as her position as booker and resident at the legendary Smart Bar. It seemed only right and proper to have the youngest generation of Chicago native revisit such an infuentional classic from the first wave of House. With only the stereo track to work with she stretches things out
and teases with a filter-frenzied arrangement and plenty of twists and turns to bring a fresh new spin to In The Heat Of The Night.
Adjowa grabbed our attention after his amazing Science And Soul 10' last year and seemed the perfect choice to bring some seriously raw warehouse vibes to the release. He certainly goes for the jugular with a more in depth remix adding extra bass and beats with plenty of grit and dirt. Finally, Jimpster gives us his Stretchdit, keeping the vibe of the original intact but offering up an extended DJ friendly version with extra hats, FX and a
sprinkle of pixie dust adding sizzle and drama. We hope you agree that with club music like this sounding every bit as mind-
blowing today as it did in 1988 it seems only right to help introduce such innovative, influential and timeless music to a wider audience.

Warehouse Find!

As we hurtle towards our 200th Freerange release the quality output you've come to expect from Freerange shows no sign of faltering with Bas Amro bringing you an absolutely stellar EP entitled You And Me. Dutch wunderkind Bas has built himself a solid reputation through only a handful of releases on labels such as Wolfskuil, Kutchuli and most notably his 2011 EP Ten on Freerange which has gone onto become a stone-cold classic in the deep house mecca of Johannesburg. This long awaited follow up delivers on every level and if early feedback and crowd
response is anything to go by looks set to push Bas further into the spotlight where he deserves to be.
You And Me starts in a deceptively understated manner wrapping you in a shroud of warm, dubby stabs underpinned by a rolling groove that can't fail to draw you onto the dancefloor. Things stay deep with hints of Chandler and echoes of Basic Channel until the breakdown arrives, the filters roll up and the whitenoise
shines through bringing a new energy and dynamic to the track. A classic, timeless vibe which we're proud to be bringing you on Freerange. As with his previous release Ten, Bas works hard to deliver not one but two faultless originals so flip over for Across The Street featuring the vocals of Jennifer and you won't be disappointed. A simple, repeating six-measure synth hook drives the track and brings with it a lovely looseness and lack of obvious
structure. Kennifer's sparse, almost improvised sounding vocal drops heighten the sense of space and freefall effect making such a refreshing change to most of todays formulated and conventional house music. Last up is an amazing remix of You and Me from rising start Matt Karmil who brings his own unique and refreshing sound to the EP. Karmil's recent LP on PNN
won rave reviews from all corners and with just two other releases on Beats In Space and International Records Recordings he seems to have burst from out of nowhere but has certainly become hot property in the last 12 months. His forthcoming remix for John Talabot and Axel Boman under their Talaboman is immense and here he treads a similar path focusing on a raw percussion-heavy sound with very minimal tweaks and effects adding subtle colour and interest. These days it's very hard to breakthrough with an original, new approach to house
but Matt Karmil seems to have done it with ease.

Warehouse Find!

You Lost It brings the undiluted filter funk - loose, rolling disco beats with a weaving synth string bringing the tension and build. Doughnut Jam (Who Took It Out) sees Guillaume in playful techno mode as he weaves his magic across a jacking groove, subtly tweaking as things progress, little sounds and motifs appearing and disappearing before you've noticed. We
absolutely love this. Finally, Sutra goes super deep. Seriously deep. It's 11 minutes long and you'll find yourself wishing it was twice that. It's that good.
As Freerange hits number 201 we couldn't wish for a better release to encapsulate and sum up where we've come from and where we're going. Enjoy.

Melbourne pop eccentric Gregor releases his fourth album Satanic Lullabies, his deepest and darkest record yet. In the years since his first album, 2016's Thoughts & Faults, Gregor's music has got progressively odder, more challenging and more rewarding. The spacious, acerbic pop of Silver Drop (2018), featuring touching single A Song About Holding Hands, was followed by the lovesick Destiny (2020), which put Gregor's inquisitive pop through a warped filter. Now Satanic Lullabies has polar extremes of wide-eyed innocence and deep despair. There are moments of great musical beauty that segue into harsh, bleak soundscapes. "I'm seeking to draw attention to the similarities between heaven and hell," says Gregor, "and to comfort anyone who recognises these." Satanic Lullabies is a modern epic, a bedroom odyssey, like if pre-MAGA Kanye made a Disney soundtrack. Gregor's live show ranges from solo mode up to a ten piece band, and he has played festivals such as Golden Plains, Dark Mofo, Inner Varnika, Boogie and The Others Way (NZ). He was nominated for Best Album and Best Solo Artist in the 2019 Music Victoria Awards, and Best Pop Act in 2021.

Sol Power Sound is back in a big way with a reissue and remix EP from the legendary Nigerian Ju-Ju king, Chief Commander Ebenezer Obey. The double A-side EP features 'Eyi Yato' a tune from 1981 that captures Chief Commander and his band at their absolute funkiest, with a driving drum and bass groove, wah-wah guitar, and signature call-and-response vocals. Remixers include the legendary dub producer Mad Professor, the disco don Eddie C, and the Sol Power All-Stars themselves.

The Sol Power All-Stars keep things organic with chugging drums, heavy analog synth bass and sequences, as well as Daniel Meinecke’s additional keys and solos. The Canadian disco don Eddie C goes a little electro and a little acid with his analog bass-heavy flip.
Like a good dub should, Mad Professor’s version accentuates the drum and bass groove and drenches everything in vintage sounding Mad Professor delay, reverb, and filtered dub-sauce, live and direct from his classic mixing desk. Alongside an extended edit of the original, the Eyi Yato EP is sure to find a permanent spot in DJ record bags around the world.

Warehouse Find! - Test Pressing!

It seems like ages since we last had Roberto Rodriguez on the label with his excellent Be Somebody back in 2008, so we're plenty happy to welcome him back for a long overdue follow up. Roberto clearly hasn't just been sitting on his arse the last 4 years however, having established the Serenades label which released his own LP Dawn last year, as well as putting out the killer Thinking Of You release on Fina plus numerous remixes for rock solid labels such as Let's Play House, On The Prowl, Moodmusic and 2020 Vision. Those familiar with Roberto's productions and credentials will know he has a fine ear for disco and 90's house born out of years collecting records and DJing in the best clubs in his native Helsinki.
Kicking off with Dance Like Nobody's Watching, we see Roberto tread confidently into pure, unadulterated retro house territory with NJ organ stabs, swinging 909 drum groove and choice vocal hits.
Oxymoron keeps things a little deeper with tracky filtering chords and driving drums resulting in a garage-influenced feel with bucket loads of raw attitude.
Finally we have The Black Madonna on board for a remix of the title track. The Chicago producer impressed us recently with her brilliant disco-infused tracks on Stripped & Chewed and Home Taping labels and thought her the perfect choice to contribute to the release. Here she delivers a lesson in stripped back Chicago warehouse vibes keeping everything to a bare minimum for maximum club bump. Kick, claps and piano stabs form the basic groove as she confidently develops the arrangement slowly and surely.

Warehouse Find! Test Pressing!

Time for one of Freerange's longest standing regular producers to return to the label for his first EP in three years. The Stepping Tones EP is absolutely classic Shur-I-Kan from start to finish with two original tracks plus a remix from the very excellent Berlin newcomers Kim Brown.

The title track opens with a big, bold, bouncing bassline and driving groove but as we hear the arrangement unfold the layers of keys build and drop bringing the trademark Shur-I-Kan musicality and energy to the track. In our opinion this is one of his strongest tracks yet and we're pretty sure this will be a firm favorite this summer, set to be heard everywhere from Croatian boat parties to Dalston basements and beyond.

Up next we have Kim Brown with their remix of Stepping Tones and what a job! The Berlin duo have made a big impact the last couple of years with their incredibly deep and beautiful Spring Theory and People's Republic releases on Just Another Beat. Completely sublime downbeat deep house is the key here, owing as much to ambient and orchestral music as to the rough and raw lo-slung club beats we're hearing from labels such as Dial and Smallville. Their remix brings rugged drums, dubby keys and lush strings to the fore with the addition of a twisted, filtering vocal enhancing the warm glowing sunrise vibe which emanates from this track.

Conundrum closes the EP with another deep, jazzy and cinematic Shur-I-Kan masterpiece and once again he layers up the textures and harmonic elements slowly and expertly, introducing the little hooks over time until before you know it you're bathed in a warm shower of lushness with tingles running down your spine.

Repress of the 2020 album on aqua blue vinyl. The power of a Winter song is hard to describe, like how the delicate world building of a good book can be more compelling than real life. There's a make-believe, fairy tale surrealism that sets Winter's blend of shoegaze and psychedelia apart while existing in the same universe as the ethereal dream pop of Cocteau Twins and Melody's Echo Chamber. Samira Winter grew up in Curitiba, Brazil, where her Brazilian mother filled their home with the gentle melodies of MPB (música popular brasileira), and her father introduced her to the distorted sounds of American punk. At 18, she moved to Boston where she first released music as Winter, eventually moving to LA's Echo Park. Winter has built a cult following with a stream of bilingual releases and national tours supporting Boogarins, Broncho and Cherry Glazerr, not to mention dates in Mexico, South America and Europe. Three videos to promote album. First digital single premiering on Fader 4/17. Features guest vocalist Dinho Almeida from South American psych legends Boogarins. “Winter’s breathy voice is pretty magical.” Brooklyn Vegan // “Winter makes cosmic dream-pop fit for stargazing. The languid motion of their soaring tunes are filtered through fuzzy sounds of slowly writhing guitar work

Warehouse Find! Test Pressing

Pattern Select aka Milton Jackson and Show-B have gone well and truly back to the raw on this, their first collaborative work together and debut EP for Delusions Of Grandeur. Both producers have been busy on some top quality projects just recently with Milton Jackson remixing Recloose for Planet E and Show B producing for Robert Owens on Compost. The pair met at a party in Munich, promptly fell in love, and soon enough Pattern Select was born.

Kicking off Tale Of The Tape sees the pair go deep n dark on this low-slung groove where demonic laughter rides the driving hats and insesant crashes until the filtering arpeggiated synth line joins the fun. Tale Of The Dub gives us a stripped back, dub-infused version which goes a little lighter on the craziness of the first version but without losing any of the deep, hypnotic funk.

Cottam is a producer who will need little introduction seeing as he's been getting hyped from all corners of the electronic scene following a series of untitled vinyl only EP's on his own Cottam label. Brilliant releases on Story and Use Of Weapons followed, and now we're very happy to have him bring his own unique take on house music here on this remix of Tale Of The Tape.

Finally, another original entitled Matrix drops the bpm's further for a lazy, hazy, hiphop inspired jam with deep atmospherics and simple rolling groove.

The opening line of Emily Dickinson’s short poem ‘‘Hope’ is the thing with feathers’ inspired the central image of Emily Barker’s new single ‘Feathered Thing’, written while she navigated cumulative grief.

When Barker was first introduced to producer Luke Potashnick (Gabrielle Aplin, Jack Savoretti, Katie Melua) in May 2022, she brought with her a full album’s worth of songs. But after visiting Potashnick’s storied studio, The Wool Hall and hearing his ambitious production ideas, she was inspired to write one more song.

“I also needed to process some heavy news” she comments. Barker and her husband Lukas Drinkwater had been trying to start a family. Following a couple of failed IVF cycles (and other “starts that we’d lost”), they investigated adoption and had decided to relocate to Australia to be closer to Barker’s family.

“It felt like we couldn’t work out what we wanted, but we finally reached a point where we both felt at peace with not having kids,” Barker recalls. “It had been an incredibly intense time, coinciding with a house move and the pandemic.”

And then Barker found she was pregnant. “We’d done all these things to try to make it happen, and then it happened naturally (and against all biological odds). Having previously navigated losses throughout our pregnancy journey, we now had to get our heads around what having this new person in our lives might look like - emotionally and practically.”

Soon after work began on the album, Barker had a miscarriage.

“Songwriting has always been a way of processing throughout my life.” Barker reveals how the new song came quickly as she sat at her piano at home. She shared an early version with Potashnick and remembers him politely asking, “Do you mind telling me what this is about?”

“I think I’d left it too abstract, initially,” she reflects. “It was difficult to open up about the miscarriage, but Luke was very supportive and encouraged me to dig a little deeper without necessarily being specific. I revisited the lyrics, and the result is much stronger.”

“I went to the burnt-out woods/ A tourist with some damaged goods/ Remembered how the trees withstood fires before…”

“The opening line is a metaphor for knowing that I’ll get through this,” Barker clarifies. “It’s about recovery and hope, allowing yourself both the space to grieve and permission to move on”. But Barker’s optimism is never misplaced – she knows the imprint of imagined futures and lost children are carried in hearts and minds forever:

“It’s so hard to let go, wanted to know wanted to know you …”

“I think that it's important to share and normalise these stories, which are all too common, yet not openly spoken about. People hide their pain and don’t want to burden friends and family. I think behind all this anguish, there’s a deep, often untold story.”

Now that Barker is settled back in Western Australia, she’s embracing being an auntie. “I’ve got three younger siblings over here who I’m close to, and they all have kids,” she enthuses. “I look after my brother's kids, aged two and five, one morning a week.”

Recorded - along with the entirety of the new album - at The Wool Hall, ‘Feathered Thing’ begins gently, with oscillating piano and distant drums, until the arrangement gradually transforms into an instrumental dervish of vibrant strings, bass drones and cymbal crashes. Throughout, Barker’s vocals float tantalisingly like a slipstreaming feather.

Watch the video, filmed at The Wool Hall here. The Wool Hall is a studio in Beckington, Somerset, set up by Tears for Fears in the 1980s and used by artists including The Smiths, Pretenders, Joni Mitchell and many more.

Emily Barker is an award-winning singer-songwriter, best known as the writer and performer of the theme to the hugely successful BBC crime drama ‘Wallander’ starring Kenneth Branagh.

Her last album, 2020's ‘A Dark Murmuration of Words’, was produced by Greg Freeman and recorded at StudiOwz, a converted chapel in the Welsh countryside. Lyrically probing, by turns both dark and optimistic, Barker searches for meaning through the deafening clamour of fake news and algorithmically filtered conversation, delivering a timely exploration of the grand themes of our age. It garnered widespread acclaim, with Uncut calling it “…a kind of Australian equivalent of PJ Harvey’s Let England Shake”.

Barker has released music and toured as a solo artist as well as with various bands and collaborations, most notably her long association with Frank Turner, and has written for TV and film, including composing the soundtrack for Jake Gavin’s lauded debut feature ‘Hector’ starring Peter Mullan and Keith Allen.

‘Fragile as Humans’ is scheduled for release on May 3rd 2024 through Everyone Sang/Kartel Music Group. The album will also feature earlier singles: the vast, cinematic ‘Wild to be Sharing This Moment’ and the meditative, crestfallen ‘Loneliness’.

EN

DJ HS is undoubtedly one of the most emblematic figures on the nightlife scene in Belgium and Northern France. With a career spanning over 35 years, he made his mark as Lagoa's legendary resident for 8 years (1994 to 2002). His unique musical style, a skilful blend of Tek, Hardtek, Electro, Tekclub and Jumpstyle, has made him an essential reference. Always passionate about his work, he sets the dancefloors of the biggest clubs and festivals alight every weekend.

We're delighted to present the very first Best Of from DJ HS (The Anthems) on Serious Beats Classics, featuring no less than four of his best tracks on a single vinyl! These are no less than must-have classics in their respective genres. A must-have for all DJ HS fans. All tracks were composed and produced in collaboration with Frédéric de Backer (Ba-Back / Fred Baker), one of the most prolific producers of the last 30 years.

This previously unreleased Best Of is available as a limited edition. We strongly recommend that you order it as soon as possible, before it's too late...


FR

DJ HS est incontestablement l'une des figures les plus emblématiques de la scène nocturne en Belgique et dans le nord de la France. Fort de plus de 35 ans de carrière, il a marqué les esprits en tant que résident légendaire de Lagoa pendant 8 ans (1994 à 2002). Son style musical unique, un savant mélange de Tek, Hardtek, Electro, Tekclub et Jumpstyle, a fait de lui une référence incontournable. Toujours passionné par son métier, il enflamme chaque week-end les pistes de danse des plus grands clubs et festivals.



Nous sommes ravisde vous présenter le tout premier Best Of de DJ HS (The Anthems) sur Serious Beats Classics, comprenant pas moins de quatre de ses meilleurs morceaux sur un seul et même vinyle ! Il s'agit là non moins que de classiques incontournables dans leurs genres respectifs. Un "must have" pour tous les fans de DJ HS. Il est à noter que l'ensemble des morceaux ont été composés et produits en collaboration avec Frédéric de Backer (Ba-Back / Fred Baker), l'un des producteurs les plus prolifiques des 30 dernières années.



Ce Best Of inédit est disponible en édition limitée. Il vous est donc fortement recommandé de le commander dès que possible avant qu'il ne soit trop tard...