Suche:focus

"2" A Jungle Brother The Jungle Brothers' 1988 debut, Straight Out The Jungle, was important for many reasons. It was sloppy and goofy but had moments of real focus and social consciousness. It was a true kitchen sink' record, that caught a rap fanbase enraptured by Eric B. & Rakim, Public Enemy and Boogie Down Productions a bit off-guard. Also of note, beyond the excellence of the album itself, the Jungle Brothers were the fulcrum for what would become the Native Tongues movement - they came first, De La Soul and A Tribe Called Quest followed, under their guidance. By 1989, the group had even more confidence, plus a Warner Bros. contract and advance in their back pocket. They used it to great advantage on the self-produced and criminally underrated Done By The Forces Of Nature, expanding their sonic palette and continuing their Afrocentric approach to music and life. Singles like What 'U' Waitin' 4' and Doin' Our Own Dang' (with De La and Q-Tip, alongside Monie Love) showed the group's fun side, which has also lead the way in the hip-house' movement. But things weren't all fun and games, as deeper, more pensive album tracks like Black Woman,' Beeds On A String,' and Acknowledge Your Own History' show. It was another accomplished mix of fun, frolic and knowledge-of-self, proving that you could be serious in the rap game but still let off steam and fill the dancefloor. Done By The Forces Of Nature stands as one of the most cherished hip-hop documents of the late '80s among true-school heads, and this edition is the perfect way to revisit this classic thinking-man's (and woman's) rap platter. Issued for the first time ever on 2-LP with the original picture sleeve artwork, it also comes with a reproduction of the original insert, with credits and lyrics.

"One of the best bands to come out of NYC since who gives a shit." -CVLT Nation. When you enter White Hills' lair in Brooklyn, the duo's insatiable desire for music and art is immediately palpable. Crates of vinyl from floor to ceiling line the long hallway. Guitars appear at every angle, one lying across a sofa in obvious mid-play with others in cases tucked beside amplifiers into every conceivable corner. Synthesizers and cables cover the purple satin bed while gouache paintings in various stages of progress strewn the floor. Album covers, movie posters, books, paintings, prints and souvenirs of subversive culture occupy the remaining wall space. A sanctuary of adoration, creation and imagination, it's also the nerve center of their record label Heads on Fire Industries and the site where the final mixes of their latest album Beyond This Fiction took shape. For nearly two decades, White Hills have been blowing minds with their sonic alchemy: a unique mix of neo-psychedelia, art rock, and post-punk- at once original and recognizable. Their cult reputation emblazoned in celluloid following their performance in Jim Jarmusch's sultry vampire romance Only Lovers Left Alive, the duo has toured vigorously since their inception. With a vast catalogue that astounds and a relentless punk ethos, time seems to energize the duo, making them increasingly daring and prolific. "Music creates a bliss beyond sex and drugs," professes one-woman rhythm section Ego Sensation. "We'll never stop making music. It's the highest high to be had in life." Founding member Dave W, whose signature other-worldly guitar sorcery defines the White Hills sound, grabs his Les Paul to record a melody lingering in his head from last night's dream before it escapes. Outside, the sound of passing sirens, honking horns and bits of conversation remind you that you're in the middle of New York, a city so flush with rock legacy and artistic innovation it would take lifetimes to drink it all in. A voice from outside shouts, "This shit is going for 3! These people got to be out of their fucking minds!" Dave shakes his head and laughs, "There's no place I'd rather be." Committed to a vocation marked by extremes, doubt, struggle and moments of ecstasy, Dave and Ego continue this torrid affair with music bearing their latest fruit Beyond This Fiction. Inspired by the ideas of Joseph Campbell, the writer/philosopher known for the book The Power of Myth, the album explores the idea of "riding between opposites"- forging one's own path unrestrained by the dualistic constraints of society. It's a cry to all the seers among us- call us outsiders or rebels- who feel smothered by convention and see nonconformity as the gateway into divine mystery. Recorded with Martin Bisi, known for his iconic NYC sound developed through his work with no-wave titans Sonic Youth, Swans and Lydia Lunch, Beyond This Fiction sees Dave W (guitar/vocals/synths) and Ego Sensation (drums/bass/vocals) orchestrating their distinct guitar heavy meditations into songs with a stronger focus on vocals than previous albums. Opener "Throw It Up In The Air" and closer "Beyond This Fiction" both have a lush quality that flirts with shoegaze. "Killing Crimson", a song that takes inspiration from Killing Joke and King Crimson, has a driving beat and a catchy hook that begs for a sing-a-long. "The Awakening" plunges into the meditative ambient abyss the band is well known for, featuring the unique voice of frequent collaborator poet Dan McGuire to deliver the meaning behind Beyond This Fiction. The album harnesses the seductive accessibility of 2015's Walks For Motorists while evoking the tempestuous soul of the band's seminal 2011 H-p1. Notorious shapeshifters, White Hills make Beyond This Fiction a familiar surprise. Back in the lair, Dave draws eyes on his hands in preparation for the day's video shoot. Ego reaches in the closet pulling out the red velvet jacket she wears on the cover of Beyond This Fiction where she stands in a NYC alley holding a glowing orb. "That's the portal- the gateway into the mystery. The music will take you there.".

Qwälen became what it is in 2017. The band members share a passion for playing music in its various raw manifestations and their band backgrounds include Küroishi, Nistikko, Dumathoin and Akma among many others. Punk background bleeds into the music connecting Qwälen's interpretation of black metal into how the genre started decades ago. Simplicity, rawness, speed and honesty. These values were present in the beginning and the same values still hold true. Punk background especially shows live as the chaotic energy of hardcore punk clashes with the ritualistic nature of black metal. Lyrical themes in the first album focused on self-portrayal, dealing with loss, building anew along with finding alternatives in abandonment, misanthropy and Satan. The second album ponders the sheep-like nature of humanity, the inevitability of destruction, the acceptance of being faulted and surrendering to a greater force. Syvä hiljaisuus was recorded at Waiting room recording studio in Tampere with Mikael Neves who has worked with the likes of Death toll 80k and Tryer. Mikael also handled mixing duties. Mastering was done by Will Killingsworth at Dead air studios.

Solid green vinyl. Qwälen became what it is in 2017. The band members share a passion for playing music in its various raw manifestations and their band backgrounds include Küroishi, Nistikko, Dumathoin and Akma among many others. Punk background bleeds into the music connecting Qwälen's interpretation of black metal into how the genre started decades ago. Simplicity, rawness, speed and honesty. These values were present in the beginning and the same values still hold true. Punk background especially shows live as the chaotic energy of hardcore punk clashes with the ritualistic nature of black metal. Lyrical themes in the first album focused on self-portrayal, dealing with loss, building anew along with finding alternatives in abandonment, misanthropy and Satan. The second album ponders the sheep-like nature of humanity, the inevitability of destruction, the acceptance of being faulted and surrendering to a greater force. Syvä hiljaisuus was recorded at Waiting room recording studio in Tampere with Mikael Neves who has worked with the likes of Death toll 80k and Tryer. Mikael also handled mixing duties. Mastering was done by Will Killingsworth at Dead air studios.

Hot off the heels of an active summer tour across the festival circuit, South London Samba present their debut EP "Tempo!". Across 5 tracks, band leader Adam Ouissellat drives a tight rhythmically focused sound, with influence from Brazil and across the African diaspora.

"We have been performing these tunes for a long time and it felt right to archive them when we came up to our 10 year anniversary (the band started in April 2013).

We recorded them at Midi Music Company which is where we have rehearsed and ran classes since the beginning! These tunes have stood the test of time and are loved by audiences wherever we play."

Recorded in Deptford in single takes without overdubs, and expertly engineered by Ahmad Dayes (brother to Yussef).Tempo!is a vignette of their live performances. It encapsulates the raw power of a drumming orchestra carefully disposed to drive a unique interpretation of samba rhythms.

Adam says"The idea was to capture the spirit of carnival whilst adding to the rhythmic culture of drumming ensembles. Each piece has melodies and motifs running throughout which makes it a listening experience as well as something anyone can groove to."

Tempo!collects global inspiration from the Caribbean, Dutch Brass bands and Latin America and represents a desire to grow their community, and to "push the genre into new territory".Having already supported the likes of the Black Eyes Peas, Disclosure and performed at the O2 arena and regulars at Notting Hill Carnival, SLS are cementing their prowess with a technical dexterity that is immediately profound.

Subb-an, Kepler & Wickham team up as 'Complex Phantasy' for an ep of warm club focused house music on leipzig's R.A.N.D. Muzik imprint.

"Even God Has A Sense Of Humor" is the long-awaited follow up album to Maxo's critically acclaimed 2019 release Lil Big Man. Across the 14-tracks, Even God Has A Sense Of Humor pays tribute to the mercurial nature of life and includes features from Liv.e, keiyaA, LastNameDavid, and Melanie Charles along with the previously released singles "Free!," produced by Dev Morrison and "48," produced by Madlib and featuring Pink Siifu. The FADER recently sat down with Maxo to discuss the album, which they described as having "a defiant glow, like a bronze statue still standing after an intense tornado."

Born Maxamillian Allen, Even God Has A Sense Of Humor finds Maxo earnest, full-hearted, and lyrically agile. His delivery punches as he poetically unpacks the trials and blessings that have marked the last three years since Lil Big Man, his stirring and meditative debut album. “Life is always gonna be life-ing,” Maxo says, speaking to the spiritual lessons that inspired this new project and an album process that has revealed to him the many ways in which he’s divinely protected.

The album’s striking cover features three casted sculptures of Maxo by legendary NYC-based artist artist John Ahearn, photographed by the rapper’s friend Steven Traylor. The image both preceded the music and set the tone for the record’s overall aura. Experiencing the casting process—which required long periods of stillness for form, and breathwork to avoid claustrophobia—became a metaphor about ego death for Maxo. “I had to go to a space where I was just not there,” he says. As the molding was poured over his body and the voices of those in the room became distant, Maxo’s inner world came into focus. “By the time it hardened, it seemed like the sculpture had risen to be 20 feet above where it was first— almost like it grew tall,” he explains. EGHASOH, in its aural ebbs and flows, honest questioning, profound revelations, and elegant verse, is Maxo standing spiritually tall following a period of challenges with family and friends.

Maxo’s writing process has always been rooted in imagery, observation, and capturing moments. Growing up in Southern California, Maxo spent a lot of time combing through old family photo albums, some of whose contents have become the artwork for prior releases. But his fascination with visual memento is less about nostalgia or remembering, and more about exploring concepts of growth, healing, and cycles. His artistry is intentional and deeply sensitive: “If I’m not feeling it, I’m not gonna record.” While his past records openly grappled with emotional turbulence, anger and depression, EGHASOH is Maxo’s acceptance stage: “I can't really judge nothing. I can't sit up and be mad at shit because everything is, everything is kind of coexisting,” he says.

Musically, EGHASOH is an impressive evolution from Maxo’s earlier, unornamented lo-fi projects. With an emphasis on jazzy instrumentalism and soothing, intricate vocals from both the artist and featured chanteueses Liv.e, Melanie Charles, and keiyaA, EGHASOH is a welcome and beautifully complex sonic effort. Its contributors include a range of musicians: Pink Siifu, LastNameDavid, Madlib, GrayMatter, Karriem Riggins, Beat Butcha, Lance Skiiiwalker, and more. The album was executive produced by Mount Kimbie’s Dom Maker.

“Nobody talks about the fact that we’re changing as we get older... Everybody just acts like you supposed to know,” Maxo says on album standout, “Face of Stone”. It's moody bassline meets a cinematic accordion melody that paradoxically both broods and uplifts—a fitting production choice that mirrors the song’s story. “I’m seeing how this world is chipping you and withering your bones,” Maxo says. “I’m talking about myself, talking about my bro. But it’s never nothing you gonna do that’s a one stop shop in this life. You gotta keep staying diligent and consistent.” For Maxo, Even God Has a Sense of Humor is nothing more than another moment on the timeline of his offerings of self-expression as an artist—one whose sole intention is to, in his words, develop as a human being and heal.

The vinyl is limited edition blue vinyl with a numbered certificate. This is the first coloured Evo vinyl. The Miners Son Film Soundtrack features self-penned material from Ettecon. 11 original Tracks, most of which has been written and composed by Ettecon Productions. A Nostalgic story of the hopes and dreams of a rock band in 1984. THE MINER’S SON depicts how a year of industrial action and violent unrest changed the face of a small tight knit community and their way of life forever. A bitterness that is still very much felt today. The film focuses on a bygone industrial past of a Kent town in Southeast England. Some of the characters are based on real people and true events from the day. The findings for this story are factual and sourced from friends and family who lived through this turbulent time. This story evolved from the memories of Kevin Short, co-writer & producer of The Miner’s Son. Kevin, a miner’s son himself was a guitarist in many local rock bands who struggled to achieve recognition. Despite this, he recalls the era as a fun and carefree time. A world away from how people see life today.

Comparsa is the third studio release by the musical group Deep Forest. The group consists of the duo Michel Sanchez and Éric Mouquet and are known by composing a style of world music, mixing ethnic with electronic sounds and beats. Comparsa features a pronounced focus on Latin and Caribbean grooves, provided by musicians from Cuba, Belize, Mexico and Madagascar, among other places. It became #8 French export album of 1998 and was certified Platinum by SNEP Export Awards, with more than 500,000 albums sold outside France.

The third studio album "Pyramid" by The Alan Parsons Project was originally released in May 1978. As with other APP albums, the focus was on very high-quality studio sound production. "Pyramid" was a worldwide hit, achieving platinum and gold status in numerous territories including the USA, Germany and Canada. Limited edition 180g Heavyweight Clear Vinyl LP Half speed remastered by Miles Showell at Abbey Road studios.

In 2004, California-based indie band Golden Shoulders followed up their highly acclaimed debut with their second album, Friendship Is Deep. Now, on the twentieth anniversary of its release, the album most requested by their fans for a vinyl release is finally set for one on Unspun Heroes. Described as “one of the great semi-lost albums of the 21st Century”, the album showcases singer, songwriter, and band mainstay, Adam Kline’s knack for lyrical hooks and penchant for catchy melodies. But, like friendship, this is deeper than its pop sensibilities might suggest.
 
From the moment the opening track I Will Light You On Fire opens with its simple piano refrain and vocal harmonies you know you’re listening to something worthy of further exploration. From this building of tension between its temporary aural chaos and the beauty that ultimately emerges, you’ll be hooked. Yet, scratch beneath the surface and you’ll find this is an album that carries with it a political, pro-peace, and pro-humanity message, albeit somewhat more satirical than you might expect of a band hailing from America’s West Coast. This is particularly notable on tracks such as Golden Soldiers and the Committee, where Kline’s turn of phrase and wit shines through, cleverly weaving words so they create detailed poetic mosaics. 

Golden Shoulders is a loose and ever-changing lineup of international talent, with Kline as the kingpin and sole songwriter. Given the pedigree of those whose talents grace the album – among them, Todd Roper and Greg Brown (Cake), Josh Klinghoffer (PJ Harvey, RHCP, Pearl Jam), Neal Morgan (Joanna Newsom, Fleet Foxes), and Dan Elkan (Broken Bells) – it’s no surprise the compositions and attention to detail present in each and every one of the 14 songs is top notch. It’s this pleasing mix of accomplished individuals, and their mishmash of influences, which lend a pinball effect to the set of stylistically diverse songs on Friendship Is Deep. Collectively though, the music you’ll hear has a focus, one that channels late 90’s Brendan Benson, the poppier side of 80’s Violent Femmes, and even the mid-60’s flair of the Beatles’ Rubber Soul. 

Søren Skov Orbit's debut album, "Adrift," is at once subtle and profound. The saxophonist and his collaborators have created something quite special and consistently deep. This record may not easily be classifiable, but the most interesting music creeps between the lines

Danish tenor and soprano saxophonist Søren Skov (Debre Damo Dining Orchestra) and keyboardist Peder Vind co-founded the trippy quintet Søren Skov Orbit in 2016 to explore “more jazzy ideas,” as the saxophonist puts it. Joined by a rhythm section steeped in contemporary improvisation and psychedelia, bassist Casper Nyvang Rask, drummer Rune Lohse and percussionist Ayi Solomon of the legendary 80's Ghanaian roots/highlife band Classique Vibes, the Orbit belts out a richly focused helping of broadly African-inspired modern jazz with a hazy sheen.

On the opening “Notifications of Nothingness,” Skov digs in his heels, a steely but languid unspooling of burnished tenor lines atop condensed, quavering piano and the thick footfalls of bass and percussion. As a tenor player, Skov has done his homework and has a kinship with Albert Ayler, Archie Shepp, J.R. Monterose, and the Dutchman Hans Dulfer, but he clearly has got his own robust phraseology and expressiveness. He also cites multi-reedists John Gilmore, Yusef Lateef, and Bilal Abdurahman as, “some of the players I’ve been listening to the most for the last 10-15 years.”

A healthy dose of reverb is present throughout the album, echoing Alton Abraham’s studio wizardry with the Sun Ra Arkestra or the trance-inducing and compressed fidelity of certain Ethio-jazz and Mystic Revelations of Rastafari sessions. Skov notes that, “everything is recorded live at the same time in the same room. I wanted to do it that way in order to catch the dynamics and authenticity of the music.” There is, in fact, a complex teeter- totter between crisp and hazy execution, achieved by a delicately balanced mix that keeps the group’s sound simultaneously advancing and receding. Vind’s phrasing is terse and introspective, a vibrating echo that nudges and reflects on Skov’s brusque tenor in a dance of sonic displacement.

“Orbiting” pits a chunky backbeat and the teetering, taut hand-rhythms of Solomon against an infectious, almost microtonal piano riff, while Skov’s arpeggios are clean and florid as he patiently rises up from under a carpet of funky loops. Following the freer “Reflections of Rif,” “Naration” lilts with a wink at “Footprints” and tugs between up-tempo polyrhythmic drive, clanging keyboard accents, and the innately steadfast keenness of the bandleader. The coupling of Solomon and Lohse is a big part of the group’s detailed energy; as the leader puts it, “Ayi knows everything about regional differences in drum patterns. He is always listening and super responsive, and his and Rune’s dynamics are amazing.” The music both presents a “vibe” and keeps the door open for engaging well under the surface as repeated listens will be extremely rewarding.

"Magdalena Bay, the Los Angeles-based duo of Mica Tenenbaum and Matthew Lewin, create magical pop music that floats in the ether of our collective social cosmos. While they call California home, their essence lies in the clouds, emitting unique yet familiar frequencies of synthesized nostalgia, kitschy catchiness, and warped neo-hooks. Suited for the times, Magdalena Bay blends the known and felt with innovative sonic landscapes.

Tenenbaum and Lewin met as teenagers in a Miami high school music program. Tenenbaum, who moved from Buenos Aires to Florida at age one, and Lewin, a guitar shredder influenced by his dad’s prog and concept rock records, quickly recognized their kindred spirits. They formed a prog band called Tabula Rasa and began a romance. Both were skilled musicians; Tenenbaum a pianist and singer, and Lewin self-taught in production and music theory. Despite attending different colleges, they maintained their band, traveling hours to rehearse before realizing two things: their relationship was undeniable, and prog rock wasn’t resonating with young audiences.

Shifting their focus to pop, they explored its craft, leading to the creation of Magdalena Bay. They learned the complexities of pop writing and production, striving to create something interesting within the genre. Describing their music broadly as ""pop,"" they released several EPs and singles before debuting their album, ""Mercurial World,"" in 2021. Praised for its melodic hooks and meticulous production, it was often labeled as ""synth-pop.""

Their success is reflected in streaming numbers, social media followers, and festival appearances. Magdalena Bay's stylized online aesthetic complements their music, creating a cohesive artistic vision. Tenenbaum says, “We love extending the world of our music past sound into videos or graphics.” Lewin adds, “We’re trying to create an atmosphere or an emotional quality with it.” This integrated approach, termed ""world-building,"" is central to their artistry."

Papa Nugs & Suckerpunch return with the second iteration of
the Nug Nation series; Nug Nation Vol. II. A break-neck four
track exploration of club friendly sonics Nug Nation Vol. II
picks off where it’s predecessor left off, borrowing from the
fundamentals of golden era house and progressive through
a modern lens. All composed in the past 6 months, the EP is
an illustration of the current sound of Papa Nugs with the Aside focusing on groove heavy tracks punctuated by diva
and hip house vocals respectively, while the §ip highlights
the more playful, energetic elements of his production aimed
for the peak hours.

"Green" is distinguished by its fusion of thrash metal with progressive and technical elements. The band expands its musical horizons by incorporating more complex rhythms and innovative song structures. Sharp and precise guitars are intertwined with intricate solos that demonstrate the musicians' technical skill. Now reissued by Black Sleeves on a limited edition LP Gatefold Picture Disc. The album is a milestone in their discography and a gift for fans looking for a deeper and more nuanced thrash metal experience. With "Green", Forbidden not only defied expectations but also expanded the boundaries of the genre. It's a fantastic LP Gatefold Picture Disc edition limited to 330 copies!

The French-Mauritanian conductor, pianist and composer Leila Olivesi presents her sixth album ASTRAL - a brilliant opus with the best musicians on the French jazz scene. The albumis also her second with a large ensemble, the first being the acclaimed Suite Andamane,which received a coveted "Coup de Coeur" from the Academie Charles Cros.

A gifted composer, Leila was inspired by the great jazz masters, including Duke Ellington, and Mary Lou Williams. 'ASTRAL'demonstrates their influence and her talent for creating harmonic and melodious original music, full of modernity.

"Leila's music has compositional and conceptual integrity - recurring themes intertwine and morph through the title track 'ASTRAL', the trippy interlude 'Interstellaire' and the song 'Au Feu Des Reves'. There are surprises waiting around every corner, and she deftly avoids any hint of that tired old "head insolo-solo-solo-head out" formula. Odd meters dance effortlessly, and she's not afraid to swing! While her original music is the focus of this album, Leila's fresh arrangement of Mary Lou Williams' classic 'Scorpio' is a lovely bonus. This is fully contemporary acoustic jazz on a high level, with brilliant musicians that interpret and breathe her musical visions to life." - Geoffrey Keezer

Repress!

Today – Friday 9th July – artist, producer, DJ and club culture icon Peggy Gou releases the second of a pair of summer singles. Released via Gou’s own Gudu Records, “I Go” is an incredible piece of club-focused electronic music and showcases a very different sound to previous single “Nabi”.

Described by The FADER as “the kind of dazzlement you get from light dancing off of ocean water on a hot day: pure dopamine activating bliss” and Resident Advisor as “a refreshingly low-key jam”, “Nabi” was an evocative piece of slow-burning, 98bpm electronic pop, inspired by 80s synth classics, the piano pieces of renowned composer Erik Satie and the 80s and 90s Korean songs Gou's mother used to play at home during her childhood.

“I Go” takes inspiration from a similar era but this time the energy comes from Gou’s love of 90’s dance anthems, many of which she revisited during lockdown and an enforced break from touring. Both retain the hallmarks of Peggy Gou’s unique take on electronic music; at once both nostalgic and totally modern. But on “I Go”, the tempo, 808s and 909s are dialled right up for a self-motivating anthem that is set to soundtrack a summer when we can all hopefully dance together in our thousands again.

Talking about “I Go”, Peggy says:

“When I was a teenager in Korea, we didn’t have rave culture like there was in the UK. “I Go” is a tribute to that era, my own reimagination of the sounds I grew up loving. The lyrics are inspired by a note I wrote on my phone in 2019, staring at myself in the mirror of an airport toilet – I looked so exhausted but there was no way I wasn’t going to keep going! “I Go” is basically me motivating myself, finding courage and returning to a feeling of innocence. I hope people feel the same sense of positivity when they hear it”

Meanwhile, Peggy Gou is set to make a handful of DJ appearances in Europe over the summer. These include a huge sold out London event in August in the form of The Pleasure Gardens; an outdoor party in Finsbury Park created and curated by Gou herself and featuring a stellar supporting line up including DJ Harvey, Anz and Spencer.

Track List:

Electronic titan Sasha combines with Sentre for the latest in a series of collaborative releases. The release of 'Glastacy' coincides with this year’s Glastonbury festival and comes with something special for fans.

Even by his own high standards, electronic luminary Sasha is in a superb run of form that has already yielded some stellar singles in the last year, both solo and in collaboration with like-minded talents. TheGRAMMY Award-nominated artist is renowned for pushing musical and technological boundaries, as well as for platforming exciting sounds on his Last Night On Earth label. The next release finds him working with Sentre, aka Dave Gardner & Dennis White, who have been electronic mainstays for many years. They have plenty of major credits under their belts, including working with Sasha on his seminal ‘Involver’ album and also 'Track 10' which they made with Sasha many years ago. It was Pete Tong’s Essential New Tune at the time and is one of many gems from these self-confessed studio nerds.

The release of ‘Glastacy’ also marks a new approach for Sasha and LNOE as they extend their relationship with fans beyond just the music. For the first time, along with the single release, fans will be able to collect and own the single artwork for free. The label has always sought to marry together music and art across its releases and now fans get the chance to own a piece for themselves. Using pioneering technology, those who claim the art will also be able to convert it to a smartphone wallet pass which will bring with it future benefits and surprises from Sasha and LNOE.

'Glastacy' is their latest collaboration, and it works angelic, wordless vocal sounds into heavenly loops that shimmer in and out of focus. Deft hi-hits and a supple bassline bring movement as a lead synth motif rises up out of the mix to bring dramatic tension and take dancers to the stars. It's emotive, hypnotic techno of the highest order, with a spine-tingling breakdown leading towards more trance-inducing musical pleasures. The Intro:Outro Mix is an ambient tool stripped of beats.