Search:freq

Blue Marble Vinyl. Screaming Blue Murder is the third studio album by British heavy metal band, Girlschool. It was released on Bronze Records in 1982, and featured one line-up change in bassist Ghislaine ,Gil` Weston, formerly of The Killjoys, replacing the recently departed founding member Enid Williams. Nigel Gray, who had previously worked with The Police, produced the album. Frequently associated with contemporaries Motörhead, they are the longest-running all-female rock band, still active after more than 40 years. During their career they travelled the world, playing in many rock and metal festivals and co-headlining with or supporting important hard rock and heavy metal bands. They maintain a worldwide cult following, and are an inspiration for many female rock musicians.

Blue Marble Vinyl. Screaming Blue Murder is the third studio album by British heavy metal band, Girlschool. It was released on Bronze Records in 1982, and featured one line-up change in bassist Ghislaine ,Gil` Weston, formerly of The Killjoys, replacing the recently departed founding member Enid Williams. Nigel Gray, who had previously worked with The Police, produced the album. Frequently associated with contemporaries Motörhead, they are the longest-running all-female rock band, still active after more than 40 years. During their career they travelled the world, playing in many rock and metal festivals and co-headlining with or supporting important hard rock and heavy metal bands. They maintain a worldwide cult following, and are an inspiration for many female rock musicians.

The Mac Miller Estate announces new album Balloonerism.

Many of Malcolm's fans are aware of Balloonerism, a full-length album that Malcolm created around the time of the release of Faces in 2014. It is a project that was of great importance to Malcolm -- to the extent that he commissioned artwork for it and discussions concerning when it should be released were had regularly, though ultimately GO:OD AM and subsequent albums ended up taking precedence.


We believe the project showcases both the breadth of his musical talents and fearlessness as an artist. Given that unofficial versions of the album have circulated online for years and that releasing Balloonerism was something that Malcolm frequently expressed being important to him, we felt it most appropriate to present an official version of the project to the world. With that in mind, we're happy to announce that Balloonerism will be released on January 17th, 2025.


The album was born from the same creative period in which Mac was working on Watching Movies with the Sound Off, Delusional Thomas, Faces and more, and represents the creative ambition that he had agnostic of musical genre.

For this fifth album, the musical frequencies emitted by Vaudou Game have spread beyond the confines of the city and country, crossed the Atlantic, and reached Colombia. Drawn like magnets, tropical waves traveled along the equator from Latin America to Togo, arriving at the doors of the OTODI studio. They, too, wanted to join in and take advantage of its legendary analog equipment. Welcomed by Peter Solo, they weren’t the only contributors to the band’s renowned hypnotic groove.

The sedans parked outside tell their own story. From Lomé’s bustling market, the Nana Benz of Togo arrived to weave the delicacy of their beguiling vocal harmonies into call-and-response exchanges with Peter Solo. Meanwhile, Lomé Vio, a youth group whose instruments were provided by Peter during turbulent times, lent the strength of their trio of voice, guitar, and accordion.

Still operating under the supreme authority of funk guided by the esoteric and mystical essence of the Vaudou scale, Vaudou Game brings together the hands of highlife and cumbia in perfect unison. With guitars, percussion, horns, and future-vintage keyboards setting hips in motion or creating the most intriguing atmosphere, Peter delivers his messages hidden behind his iconic, inextricable mask. Whether political, human, or environmental, these messages are always wrapped in thick layers of sarcasm and humor, cleverly disguised to serve the exclusive purpose of joyful, dance-driven trance.

With the subliminal mantra to repay Africa—its people, its land—Vaudou Game calls out: FINTOU!

The first HR101 mission is complete. Five masterful sonic weapons with a hi-tech edge, for clubs, warehouses and the great outdoors.

From the spitting lead line, elevating stabs and hands-in-the-air spirit of title track "Love Generator" to the surging rave techno of "Flawless Victory" on the a-side, HR101 traverse the past through a razor-sharp, modern production sheen. "Watch The Collapse" on the flip is a muscular 303-fused offering where grinding bass, breaks and alien frequencies detonate over ominous vocal proclamations. Venturing into more 808-dominant territory, acid rules once again on "Code Breaker", this time over a succession of rich sci-fi keys and morse code. Closing the EP, HR101 go head to head with their birth moniker Human Rebellion for the dark electro funk of "Nocturnal Beings", guiding us to a suitably otherworldly end destination.

Maria Callas was born to a Greek family in New York in 1923. Her vocal training took place in Athens, where her teacher was the coloratura soprano Elvira de Hidalgo, who had sung with Enrico Caruso and Feodor Chaliapin. After early performances in Greece, Callas’s international career was launched in 1947 when she performed the title role in Ponchielli’s La Gioconda at the Arena di Verona in Italy.

Her voice defied simple classification and her artistic range was extraordinary. In her early twenties she sang such heavy dramatic roles as Gioconda, Turandot, Brünnhilde and Isolde, but over the course of her career her most famous roles came to be: Bellini’s Norma and Amina (La sonnambula); Verdi’s Violetta (La traviata); Donizetti’s Lucia di Lammermoor and Anna Bolena, Cherubini’s Medea and Puccini’s Tosca. Though her timbre was not always conventionally beautiful, Callas’s musicianship and phrasing were in a class of their own. She brought characters to vivid life with her skill in colouring her tone and making insightful use of the text.

She is credited with changing the history of opera: by placing a perhaps unprecedented emphasis on musical integrity and dramatic truth, and by transforming perceptions – and reviving the fortunes – of the bel canto repertoire, particularly Bellini and Donizetti.

The 1950s marked the height of Callas’s career. Its base lay in the opera houses of Italy, and she became the prima donna assoluta of Milan’s legendary La Scala – notably in the productions
of Luchino Visconti – but her operatic appearances also encompassed London’s Royal Opera House, the New York Metropolitan Opera, Paris Opéra, the Vienna State Opera, and the opera houses of Chicago, Dallas, Houston, Lisbon, and, in the early 1950s, Mexico City, São Paolo and Rio de Janeiro.

From 1959, when she started a life-changing love affair with the Greek shipping magnate Aristotle Onassis, her performing career slowed down and her voice became more fragile. Her final stage performances came in 1965, when she was only 42.

There were many plans for a return to the stage – and for further complete recordings – but they never reached fruition, though in 1974 she gave a series of concerts in Europe, North America and Japan with the tenor Giuseppe di Stefano; he had partnered her frequently in the opera house and in the studio, not least in the 1953 La Scala Tosca under Victor de Sabata, considered a landmark in recording history. Callas died alone in her Paris apartment in September 1977.

Die 10 Tracks auf CHAOS, dem ersten LUCKYME® Release der Londoner R&B-Künstlerin TYSON (Tochter von Neneh Cherry und Cameron McVie) wurden von ihrem Jugendfreund Oscar Scheller (Lady Gaga, PinkPantheress, Shygirl) mitgeschrieben und produziert. Das symbiotische Songwriting der beiden am selben Tag Geborenen erweitert den düsteren R&B und modernen Soul ihrer Vorgänger, dringt tiefer in die UK Basskultur (Breakbeats, Street Soul, Trip-Hop) vor und inkludiert eisigen 80er Synthpop und weitläufigen 00er R&B. Der Leadtrack "Grunge" featuret Wu-Lu (Warp Records), das Vinylformat enthält 3 exklusive Instrumentals.

TYSON ist seit Jahren in der Londoner Musikszene unterwegs und die Tochter der legendären Künstlerin Neneh Cherry und des Produzenten Cameron McVey (Massive Attack, Portishead, All Saints, Sugababes), die Schwester der Sängerin Mabel und Grossnichte der Jazzlegende Don Cherry. Ihr verschwommener, melancholischer Gesangsstil brachte ihr Kollaborationen mit Undergroundgrössen wie Dean Blunt, Leon Vynehall, Ezra Collective, Coby Sey und rRoxymore ein, auch ist sie auf Joy Orbisons Album "Still Slipping Vol. 1" (2021) zu hören. TYSON wurde von The Guardian als "One To Watch" gefeiert und erhielt starken Radiosupport von Annie Mac, Benji B, Lauren Laverne, Mary Anne Hobbs, Jamz Supernova, u.v.a.

While music traditions are often defined by established and protected sets of characteristics, popular music in South Africa betrays a willingness to adapt homegrown styles and an enthusiasm to adopt new influences. Musical currents like marabi, goema and mbaqanga help define what makes indigenous jazz unique, but it’s the eclecticism and hybridisation found in South African crates that keeps vinyl archaeologists like Fred “Voom Voom” Spider digging deeper. If we consider jazz to be a global musical dish, it follows that South Africa brings a distinct sonic salsa to the table. Spider calls it “Chakalaka Jazz” after the local tomato, onion and chilli relish that frequently accompanies South African meals. It’s the essential ingredient that unites and spices this diverse selection of tracks spanning the years 1969 through 2003. Featuring locals, exiles and expats with a reverent nod to the golden years of the 1970’s, these rare musical treasures are held together by that magical South African flavour.

Compiled by Fred Spider, Notes by Calum MacNaughton, Executive Producer: Franck Descollonges for Heavenly Sweetness

For the hotly anticipated third release on her critically acclaimed new record label Uppers and Downers, Dr. Rubinstein has tapped one of her favorite producers--Yerevan's Dave N.A.--to take the helm and deliver a smart and stunning rave EP pitched at the intersection of acid and jungle. A prolific producer, adventurous DJ, and co-founder of the ABC Community, Yerevan's collective hub for amplifying breakbeat,jungle, and drum & bass sounds in the Armenian rave community, Dave N.A. is no stranger to Uppers and Downers, just having contributed a vivacious, jungle influenced reinterpretation of Rubi's track "Extacid" to the label's second release, Rubi's Acid Spa Remixes. For the past decade, Dave N.A.'s productions have reliably offered a fresh, frenetic yet finely tuned take on classic rave genres and their acid-drenched antics while exploring the cutting edge of international experimental bass and hard rave idioms. 'XLSoundwaves' proves to be no exception, taking listeners on a boisterous yet atmospheric, tight yet sprawling sonic journey that combines acid, jungle, hard trance, breakbeat, and IDM influences amid a striking wash of captivating, high-definition ambient studio sound design.
'XL Soundwaves' kicks off with "BFLY," an expansive track that features tunneling hard trance 303 lines deftly weaving through bouncy jungle breaks at a sprightly 165, all emerging from and ultimately fading back into an ethereal plenitude of ambient pads punctuated by a soulful, resonant vocal refrain. Next up, "Radiance" offers an infectiously groovy, sidewinding jaunt through cheeky acid breaks that evolves into a crescendo of lush, eyes-to-the-sky ecstasy. "XL," the EP's third offering, brings the heat with fat basslines, frequent turntablist rave licks, and a freaky sense of humor, almost cinematically projected onto a vast horizon of sumptuous strings. The EP comes to closewith "A.I.R.," a thoughtful banger with a mischievous IDM sensibility that sets acid jungle adrift on an ocean of shimmering orchestral sampladelia and ambient synth radiance.
To some, Dave N.A.'s acid jungle opus might seem like an unexpected plot twist in thecuratorial trajectory of Uppers and Downers. Much to the contrary however, the 'XL Soundwaves EP' is a perfect early release, helping to establish the mission of Uppersand Downers as continuing the search across diverse international rave genres, traditions, and communities for producers and productions that resonate with Dr.Rubinstein's lifelong pursuit of soundtracking her ideal rave: one that offers ravers access to an ecstatic, joyful, affirmative, and inclusive sense of home, of feeling at homewith both oneself and one another through the music.

Bluish Green was 15 + years in the making, passively percolating bi-coastly in the background of three family members' lives, waiting for the perfect opportunity to present itself. That moment came in January 2024 when Ball Sisters & N1_Sound settled into the Spiritual World home base of Studio Z in Toronto, Canada. What started as three casually blissful days, resulted in a debut album, combining a unique blend of dub, neo soul, ambient & downtempo. Bluish Green sits halfway between a low-key dance floor and late night back room.

The album was almost entirely created live in the studio with very little discussion, conversation or conscious direction. There were no goals or future plans, just mutual appreciation for the moment. Repeat takes were few and far between, with the group moving fluidly from one track to the next. This preservation of emotion and human touch is deeply embedded into the music, allowing the listener to share in the raw moments that were experienced while Bluish Green was organically taking shape.

Sonic themes of the natural world run throughout the five song, 30 minute album. “R U 4 Real” welcomes the listener into T3AL’s unique ecosystem with intimate cicade-esque shakers. A reverberous güiro frog (acquired on a family trip one year ago) and synthesized ocean waves create an ambient wetland on the album's 8 minute instrument track “Frog Legacy ''. Bluish Green comes to a shimmering close on “Flip That Switch” with dubbed out crystalline slide-flute melodies resembling ocean birds that fade into an iridescent horizon.

Digital drum patterns skip & stride around contemplative circular lyrical themes on four of the five album tracks, while spatial flute melodies simultaneously spin just under the surface. The bass guitar on Bluish Green is a continuous harmonic support system, repeating on a different tectonic rotation, much slower and deeper, offering familiar footing that stops the listener from drifting out in the rippling undertow of analogue delay feedback.

“R U 4 Real”?... A question that T3AL revisits frequently when thinking of the surreal weekend that resulted in the trio’s debut album, Bluish Green

Moody cacophonies, sonic dispatches from Japan, crystalline breakbeats that are more environment than rhythm: Jake Muir’s enmixed, described by Muir as a “(re)mixtape,” is a mind-bending deep dive into the enmossed archive. Besides reflecting the history of the label, Muir’s mix is a production in its own right. A Los Angeles native based in Berlin, Muir is a DJ and field recordist who “sees mixes as a vehicle to explore narratives outside of the album format.”

In Bathhouse Blues (2023), where Muir sampled various sources to explore gay cruising culture and sensuality, his more expansive, conceptual approach to the form is illuminated. Mixes are not just a linear succession of tracks with transitions—they’re excavations that also result in the creation of new audio artifacts. Inspired by the psychedelic impulses of illbient, Muir uses DJ and sound engineering techniques to melt down genre distinctions and create alien atmospheres.

From the enmossed community, Muir pulls from artists like bad lsd trips, Angelo Harmsworth, Nick Klein, Tetsuya Nakayama, and Patrick Gallagher to coalesce a super-compendium of the global sonic underground, all viewed through his own unique lens. Muir takes major liberties with processing and effects automation to carve new worlds from the soil of these preexisting works. Some of the tracks and material on enmixed are heavily edited, emphasizing specific harmonics or bass frequencies, and some portions contain three or four layers, putting artists in direct conversation with each other.

This heady approach—using the tools of both mixtape and remix—results in a super textual and dense palimpsest of the enmossed catalog. “Because mixes are more open- source,” Muir says, “it’s easier to express some ideas since there is more material to pull from.”

- Rob Goyanes

Silver foil printed j-cards on heavyweight iridescent ('Lapis Lazuli') recycled paper Duplicated at a carbon-neutral facility

Reclaim Your Cities next frequency-jammer comes in the form of a heavyweight split 4-tracker, courtesy of two true techno pioneering figures: Mike Parker and Steve Bicknell.

The continued influence of these two artists on both our early raving days and now as a team working on providing you the most exciting, boundary-pushing tech wares is second to none. As you'll experience from the four jams constitutive of this unparalleled mindtrip of an EP, 'In The Years Ahead' is the living evidence the steadfastness of Parker and Bicknell's vision remains absolutely untouched. Zeroed in on taking ravers on an entrancing ride across pulsating corridors of whirring machine funk, sizzling acid and shape-shifting waves of sound, both sides of this EP share the best lot of both producers' uniquely innovative approach to rhythm and production.

Parker's opening cut, 'Solar Limb' is a textbook example of his complex, and heavily layered sound-design. An unflinching swing keeping time, brutal kicks punching holes in your head like giant steel hammers, the track may evolve slowly, repeating its post-industrial mantra over and over again, its flame doesn't flicker one iota. Switching onto red-level dance floor menace, 'Badlands' pulls out the heavy artillery: an overkill bombardment of puncturing 909 drums, vortical winds blowing in the back like some solar storm of sorts, and this ebb-and-flow of FX-drenched synth ripples branded on your cortex like odd signs of cult belonging. Bicknell's takeover starts with the rugged and wild 'Chaotic World', whose title is definitely not usurped. Enter a blazing maelstrom of frantic synth assault knocked askew, intense bass tectonic movements and smashing arpeggios on the path of war. The track develops a massive momentum, swelling from primordial raw matter into weirdly arranged modular constructions, like that of Kubrick's monolith emerging with ominous presence. 'In The Years Ahead' serves up a much distinctively elegant, glossy type of textural experience, synths playing pong in a hall of mirrors, interlacing and distorting as the percussive line unfolds its linear train-like groove. It dashes across landscapes of hypermodern glass and concrete with unrelenting horsepower, from techno's early sanctuary right up onto tomorrow's temple of unmapped potentialities.

This much special release, so dear to our heart, comes clad in a beautiful piece of design, and will be pressed to 180g audiophile quality vinyl for an enhanced listening experience.

In April 2023, scores of artists spanning genres & generations came together with Willie Nelson to celebrate the legend's 90th birthday for a once-in-a-lifetime event at the Hollywood Bowl in Los Angeles. This double LP on black vinyl, is the second volume of highlights from these two legendary shows. Artists performing songs from every era of his unparalleled seven-decade career include Willie plus The Avett Brothers, Edie Brickell, Rosanne Cash, Sheryl Crow, Rodney Crowell, Emmylou Harris, Warren Haynes, Daniel Lanois, Lyle Lovett, Jack Johnson, Jamey Johnson, Booker T. Jones, Kris Kristofferson, Lukas Nelson, Particle Kid, Orville Peck, Margo Price, Nathanial Rateliff, Keith Richards, Snoop Dogg, George Strait & Dwight Yoakam.

The prolific, virtuosic original Bjarki Sigurðarson returns to the concept album format, with ‘A Guide To Hellthier Lifestyle’. It’s the first LP to be released on Differance.

‘A Guide To Hellthier Lifestyle’ explores the psychological landscape of contemporary social issues, offering a sideways rumination on lifestyle dilemmas and wellness obsessions, presenting itself as a response to the modern condition. It combines storytelling with innovative sound textures – encouraging listeners to pause and contemplate the absurdities of contemporary life. Neither a critique nor an endorsement, it represents an honest exploration of our world through Bjarki’s sonic lens, gleaming a heart of darkness, but eventually finding light.

The album utilises hyper-stereo techniques, soothing melodies, complex audio structures, AIgenerated voices and sampled vocals – influenced by Coil, Genesis P- Orridge, and Paul Lansky. Bjarki investigates how specific frequencies can impact consciousness, awareness, mood, and mental state, thereby influencing our perception of reality. His vaporous sound design provides a listening experience that bridges the physical and imaginative realms; sometimes placing the listener in contemplative sanctuary, and at others making them lost – somewhere strange, uneasy, disconnected.

Bjarki on his Guide To Hellthier Lifestyle

“This new album has been two years in the works. It’s sort of my take on all the social weirdness and wellness obsessions happening right now. It kicked off with a track I started in California – the story of a soul that got born into the wrong womb. During that time, I was noticing more and more of this whole ‘wellness religion’ everywhere – people trying to sell you ‘good vibes’ and random people offering you life coaching sessions on Instagram who maybe have less life experience than a houseplant. All these apps that track our every move; it’s like they’re repackaging control and calling it ‘self care’. Capitalism in yoga pants. Thats when I started putting ‘A Guide To Hellthier Lifestyle’ concept together. A never ending, self improvement rabbit hole. We are all being sold this idea that we are not quite enough and we need to buy our way out to being better.

At one point, I took a break from the album and started working on another album full of satirical speeches, AI generated voices, where I create my own voices and type in some ideas of speeches, taking the piss out of wellness gurus and life coaches. I messed a lot with these AI voice generators, creating these deep, faux serious monologues. Proper weird stuff, but it cracked me up. Reminded me of the early days, when I was 13, making tracks on Fruity Loops, mucking around with text-to- speech generators. After the break I came back to finish ‘The Guide’ on a much deeper level.

I moved part of my studio to Latvia and continued in the countryside for few months. I realised that I just wanted something beautiful. So, yeah, this album is all of that. It’s spiritual, bits and pieces from the past, all these weird cultural moments, and whatever strange places my head goes. It’s a reflection, a rebellion, a bit of a piss take. But mostly, it’s just me, doing what I do.” - Duncan Clark

The album will be released only in its entirety, December 13th digi, with no advance singles.

Two new SUPRAWAX releases by Eduardo De La Calle.

The four tracks on offer here bear testimony to De La Calle's search for the perfect loop. They are hypnotic grooves, almost entirely devoid of arrangement in a classical sense. But the tracks are not static. They suck you in by means of constant modulations, build free flowing structures of their own, hints of peaks emerging at the mercy of the low frequency oscillators' cleverly set phase relationships. These tracks do not need the in-your-face kick drums and squashed dynamics of the Brickwall Generation. By leaving space, they work on a different level than solely sound pressure emanated. The simple, repetitive structure coupled with the unhasty development find their way into the dancer's brain. Moving your mind—your ass to follow suit.

No represses are planned at present.

Dieses Album, in das die finstersten Einflüsse ihrer Heimat Galizien (Terra de Meigas) mit einbezogen wurden, markiert den bislang bedeutendsten Schritt in der Karriere von DARK EMBRACE.
"Land Of Witches" wurde unter Verwendung der mächtigen Magie der schwarzen Künste durch Oscar Rilo, Mou Trashno, Markos Villar und Julio G. Valladares beschworen.
Zu den dunklen Künsten, die auf dem Album verwendet werden, gehören durch verschiedene Arten von Gesängen hervorgerufene Dämonenbeschwörungen, schaurige Verzerrungen und hochfrequentierte Klänge, ebenso wie tiefe Frequenzen und heidnische Rhythmen.

Fang Island's second and last record, long out of print and back in stock as gray splatter coloured vinyl in gatefold jacket LP via Joyful Noise, defined the sound of danc-y/math-y indie rock of the early 2010s alongside contemporaries Lightning Bolt, Titus Andronicus, and Japandroids. Fang Island described their music as the sound of "everyone high fiving everyone." No matter where they went, Fang Island's up-with-people approach made them a subversive art project by default. At a time when the belligerent noise-rock of Lightning Bolt and The Body defined Providence, Fang Island played major-key guitar harmonies and flashy tapping riffs. When people tried to call them "math-rock," they thought of themselves as "recess rock." Two years after Fang Island released what they expected to be their first and only album, Major became the "highly anticipated sophomore LP." The songs were bigger, shinier and hookier, forged under the pressure that comes with being a band rather than a couple of weekend warriors - label pressures, grueling tours and the frequent personnel changes that ultimately brought the band to their amicable end. Fang Island began with the crackle fireworks and, as the band heard fireworks going off in the distance as they played in Barcelona, they took it as a supernatural sign that this show would be the perfect bookend to their career. "We were getting older, we were in serious relationships, we were getting tired, and that just felt like the right way to end it."

Indian born, UK artist Michael Diamond, co-founder of Vasuki Sound label and club night, announces new EP Placid Wakefulness, featuring single ‘Reverse Entropy’. available on all platforms 5th December via Vasuki Sound.

A uniquely multifaceted talent, Michael Diamond’s unforgettable ‘jazzed electronic’ sound is informed by a spectrum of influences, not least by intersection of the scientific and practical worlds of electronic music. From the music scholarship he won to read Medicine at Oxford where he quickly discovered new ways in which the two worlds can co-exist, his days were spent immersed in academic studies of music perception and cognition, while his nights were spent alongside the likes of Ben UFO, Batu & Ross From Friends, playing at one of UK’s most long-established nights ‘Simple’. A chance encounter there also led him to connect with musical collaborator Alex Wilson – the BBC Young Jazz Musician of the Year semi-finalist and then musical director of Oxford’s Jazz Orchestra – who appears frequently across Diamond’s compositions and on Placid Wakefulness.

No stranger to a concept piece, Diamond’s previous project, the highly personal and critically acclaimed exploration of culture and identity, Third Culture (album of the month/year acknowledgments from Stamp The Wax, Juno and Phonica Records, also earning him a DJ Mag ‘One To Watch’, a Youth Music Awards ‘Rising Star’ nomination and a Gilles Peterson’s ‘Future Bubbler’ accolade) explored the experience of being a ‘third culture kid’ born in Kerala, India and growing up in the UK with a sense of fractured identity.

On Placid Wakefulness, Diamond honours his academic research working alongside world-renowned musicologist Professor Eric Clarke. Specifically how music may affect our sleepfulness and wakefulness, how instinctively we are soothed by some sounds and energised by others - ‘what it is about dance music that makes people go hard all night long?’ and ‘what is it about ambient music that makes people feel the opposite way - to lull them into this sense of calmness or rest?’, mindful of the unconscious ways his findings were already manifesting in his work as an artist. And while his research provides a framework for some of the ideas within the piece, Placid Wakefulness can be viewed as more of an unintentional byproduct, or case-in-point of his findings, rather than a piece consciously constructed in their image.

Across Placid Wakefulness’s four tracks we find the artist unpacking a range of sonic ideas on this theme, from ambient calm to club-adjacent rhythms. The EP opens with hypnotic lullaby of ‘A Way of Listening’ complete with transcendent flutes provided by Alex Wilson, cello by George Lloyd-Own and a mellow groove. On the more energised ‘Reverse Entropy’, rhythmic ambiguity moves to rhythmic disambiguation with a four-to-the-floor beat as the track progresses, releasing tension and inviting an urge to dance as a jazz sax moment transmutes into glorious techno percussiveness.

On ‘Turning and Turning’ the bpm shifts down a gear, a sonic dreamstate where tough textural rhythms create a kind of liminal state tension. Closing out the EP we return to a sense of restfulness with the EP’s title track, where a gorgeous picked guitar loop interplays with vibrating ambient pads and a slow and steady beat. The Placid Wakefulness EP is a captivating testament to Diamond’s singular artistic talent and the fascinating interplay of neuroscience and how we experience and enjoy music.

'If We Land On Water' is the first album from Spiral Wrack, a duo of Ali Wade (Frequency Domain) and Ralph Cumbers (Bass Clef / Myriad Myriads). Although the two have been good friends for decades and appeared on some of the same labels, this album marks their first musical collaboration, following a one-off appearance on Frequency Domain's 2023 compilation, 'Partials III'. Previous solo work from Ralph and Ali has appeared onPunch Drunk, Idle Hands, Pan, Trilogy Tapes and Werk Discs.

Here they present a full-length work of woozy, heavily processed guitar and synth duets, where beachcombed melodies wash up on unknown shores and strange flowers bloom at the high water line. Robin Guthrie meets Laurie Spiegel with Neptune at the controls. Rum and reverb, if you will.

2024 Repress
In early 2023, Tresor Records will reissue the sole output from Shifted Phases entitled The Cosmic Memoirs Of The Late
Great Rupert J. Rosinthrope. Initially released in 2002, soon after James Stinson passed away, this LP plays a mysterious and
compelling role in the Drexciya journey. While other records of Drexciya and related projects have received numerous reprints
and editions, The Cosmic Memoirs... has remained out of print since its release. This rarity leaves it more open to
interpretation with its place in the Drexciyan storm series, as it became increasingly hard to find and underexplored.
Track titles Solar Wind, White Dwarf, and Lonely Journey of the Comet Bopp reveal a focus on cosmic realms, suggesting a link
with the Drexciya LP Grava 4 that moves from the underwater to the galactic. As it launches with mechanical blows on a
precise orbit, each repetition entrenches the gravitational pull in the galaxy of Shifted Phases. In many places, it sounds like
the readout of frequencies harvested from outer space, pockmarked with packet loss from the millions of kilometres distance
travelled.
The music is hard to contain, intuitively restless in motion through its unfolding universe and achingly resonant. It shapeshifts
across aectedly melodic sequences such as in Lonely Journey..., to the sparse, hard-hitting timbres found in Alien Vessel
Distress Call and the mangled reverse vocals in The Freak Show, somewhat reminiscent of another Drexciya side-project, Glass
Domain. The mythology of Drexciya is evident in how keenly James Stinson and Gerald Donald created their imaginary worlds.
In Crossing Of The Sun-Ra Nebula, there is an undisputable reference to another Afro-futurist who delved deep into a galaxy of
their own making.
This reissue does not merely close the loop on Tresor's reissue series of the Drexciya catalogue but brings Shifted Phases to
fresh ears more than other records. Accompanied by newly commissioned artwork from Matthew Angelo Harrison, the 3xLP
vinyl reissue also features the tracks Crossing Of The Sun-Ra Nebula and Alien Vessel Distress Call, which were previously only
on the original CD release.

Classic free jazz album reissued for the first time since the 70s. Old-style gatefold sleeve LP, with liner notes by Ed Hazell.

Noah Howard, an alto saxophonist and composer, was known for weaving intricate and innovative musical patterns, often likening his work to "sound paintings." His 1971 album Patterns, the first LP he self-produced on his Altsax label, stands as a testament to his experimental and spiritual approach to music. In interviews, Howard frequently used visual terms like "patterns" and "shapes" to describe his compositions, emphasizing the importance of melody and structure even in highly improvisational settings. For Howard, patterns and melodies were essential to guiding listeners through his explorations without alienating them, maintaining a balance between innovation and accessibility. Howard's quest for an original sound was deeply influenced by jazz greats like Charlie Parker, Ornette Coleman, and Jackie McLean. While he admired these legends, Howard avoided imitation, striving instead to develop his own distinct voice. His sound was unmistakably his own, and he felt a deep obligation to carry the jazz tradition forward through personal expression, not by mimicking others. His music was also rooted in spirituality, a legacy he traced to his upbringing in the Black Baptist Church. He believed jazz had always contained a spiritual essence, from Louis Armstrong to John Coltrane, and his work aimed to channel this cosmic, spiritual energy.

Patterns was recorded in the Netherlands during Howard's second stint in Europe, where he found a more open, less racially charged environment compared to the U.S. For the album, Howard collaborated with Dutch musicians such as Misha Mengelberg (piano), Han Bennink (drums), and Earl Freeman (bass). Despite the challenges faced by guitarist Jaap Schoonhoven, who felt out of place in the session, the album came together as a powerful mix of blues, jazz, and classical elements.

The music on Patterns is a high-energy fusion of American free jazz and Dutch improvisation. Howard's saxophone work alternates between leading with passionate, lyrical lines and blending into the collective improvisation. The album’s dynamic interplay, particularly between Mengelberg’s dissonant piano clusters and Bennink’s thunderous drumming, creates a vivid "sound painting" full of contrasting forms and colors. Patterns remains one of Howard’s most unique and celebrated recordings, showcasing his visionary approach to jazz.

Kumio Kurachi is a Japanese singer-songwriter who has been active since the 1980's.

This is his 11th solo album and only the second to be released outside of Japan following ‘Sound of Turning Earth’ (2018) on bison. Though his songs are written and performed primarily on guitar, “Open Today” is a return to Kurachi’s full, multi-instrumental recording style - featuring drums, bass, strings, keys and Kurachi’s rich, distinctive vocals in multiple voicings. Incredibly, all instrumental performances and arrangements were performed and recorded by Kurachi himself - marking a brilliant return to the fully fleshed out visionary world we fell in love with on Supermarket Chitose (Enban, 2006). The super fine detail and dense landscapes of ‘Open Today’ should come as no surprise really - Kurachi is an illustrator by trade and it bleeds right through to his music. Even to the non-native speaker Kurachi’s vocals hold centre stage - at times enormous and thundering over urgent guitar and toms, then switching to softly spoken words amongst keys. Frequently Kurachi multiplies, whether multitracking himself or summoning voices for the characters he writes from sightings on train platforms or supermarkets. His lyrics - translated to English for both formats - are more like poetry, and though written about the mundane they quickly become surreal, bringing the quality of dreams into the everyday. The hours spent on buses, trains or walking home towards a cheap flat - familiar to us all - are catalysts for microcosms of detail.

Again, we shouldn’t be surprised - Kurachi is well known in Japan for winning the national championship of NHK's "Poetry Boxing" in 2002, which also might explain his amazing Discogs photo. Poet, illustrator, multi-instrumentalist - Kurachi is thought of by many as a genius. He’s worked with Jim O’Rourke, Tori Kudo, Eiko Ishibashi and Taku Unami (who did the mastering on this LP). There are lines to be drawn between Kurachi and Kazuki Tomokawa or Kan Mikami, but also Francis Plagne and Fairport Convention.

Ultimately though there is nothing else like it - it’s a brand of strange songcraft that’s totally captivating.

Mischievous festa punk meets astral steppas, kalaedoscopic free ambient meets harsh noise, scattered amen breaks with IDM and free jazz trumpets meets the earthly plod of digidub. It can only be Felinto from Sao Paulo.
UTOPIA MILHÃO honors the life forces that allow us to transform the darkness where dreams reside. The album brings a new moment of intimacy for Felinto's musical expression flowing through dirty, raw, dense and brilliant dub fractals, ready to transform unexpectedly into a new shape then another, and another, and another... featuring collaborations with magical people: Sarine (Deafkids), Douglas Leal (Deafkids), Guizado (Afrobombas), Sandra X, Paula Rebellato (Rakta), Lorena Hollander, Yao Bobby, Kiko Dinucci, Paulo Papaleo, Cint Murphy, Rodrigo Lima.
Felinto is a political agitator and musician at the heart of the São Paulo underground - a movement that confronts the various effects of the capitalist system of racial, sexual, ,,,,, and 22222 lawand material oppression.

His provocations range from yoga for children and parenting studies (SACYOGA), theatre (PROJETO CRIOULOS and PROJETO JAMES BALDWIN), web series highlighting the black presence in electronic music in São Paulo (MODULAÇÃO PRETA), reflective groups on gender violence and masculinities, occupation of public spaces for political art q(Coletivo Sistema Negro), artistic curatorship (Residência SOMSOCOSMOS) and studies with sound as a tool in conflict mediation practices. Felinto composes for film, theatre and immersive installations such as MEGACITIES presented at the National Gallery of Victoria, Canada in 2023.

He is currently researching - as part of a masters project in clinical psychology - the collectivised dream realities of black people. A field of action that contemporary anthropology, psychoanalysis and psychology call ONIROPOLITICA.

His interest in affinity groups, autonomous networks of micro-political articulation and penal abolitionism led him to the questions: what do black people dream about within the permanent context of civil war and state violence (like the one in Brazil)? How does this experience create dreams and how does the dream affect the construction of identities beyond the boundaries established by the capitalist unconscious?

Colombo comes back with your second lesson. Listen and learn with the master...

A gem-diol is a type of organic compound in chemistry that contains two hydroxyl (–OH) groups attached to the same carbon atom. The term “geminal” refers to the fact that these hydroxyl groups are located on the same carbon, making the compound unique. Gem-diols can be formed through the hydration of aldehydes or ketones and are often unstable, readily converting back to their original carbonyl forms. They play significant roles in various chemical reactions and are intriguing due to their ability to influence the properties of molecules, making them important in organic synthesis.
In this EP by Abo Abo and Spekki Webu, the two DJs and sound artists draw inspiration from the properties of gem-diols, creating unstable and parallel dimensions. Each soundscape invites exploration, offering a dynamic experience that shifts and evolves over time.

This collaboration captures the essence of fast-paced techno, blending organic influences with expansive, textured soundscapes that evoke the vibrant rave culture of the ’90s. Each track features pulsating rhythms and immersive sonic environments, with nods to tekno and psytrance, making it perfectly suited for the dancefloor. The EP invites listeners to lose themselves in the interplay of frequencies and textures, creating an immersive and contemporary dance experience.

Sound Migration proudly brings forth one of the contributions of UVX (Ultra Violet Explorer) to Magick Eye Records that was initially released in 1993. This release serves a touchstone for the quality that emerges when the gap between Ambient and early Trance is thoughtfully bridged.

The 15 minute aural odyssey that is the 13 Floor Spectrum version of the A-side begins mired in a beatless fog of atmosphere that slowly crystallises into a grid of percussive elements before evaporating entirely, leaving only voices leaking through the primordial aether as a precursor to the grand finale of vibration raising rhythmic frequencies.

The appropriately titled Dancefloor Sub Bassment and Trancefloor Transporter versions on the B-side transmute these sonic strands into musical talismans that can be unitised to intensify ecstatic dance practices & extend the boundaries of astral excursions.

This one is highly recommended for fans of Khruangbin, Lord Echo, Leon Bridges or Fat Freddy's Drop.

Open is the sixth studio album from acclaimed composer, producer, filmmaker and multi-instrumentalist, Kutiman. It is an addictive & irresistible twelve-track trip taking in elements of classic soul, Middle Eastern psychedelia, Afrobeat, Thai funk, jazz fusion, cosmic library soundscapes and more.

The uptempo “Vanishing Point” opens proceedings, recalling both Abstract Orchestra’s 2017 Dilla tribute and the lounge OST/library music flips of Tosca and DJ Vadim fame.

My Everything introduces prominent guest & frequent Kutiman collaborator, Dekel, whose soul-pop vocals coupled with jangly acoustic guitar riffs tip to contemporary indie artists such as Michael Kiwanuka and SAULT. “A Day Off passes through” Anatolian psych and Khruangbin-esque Thai funk whilst the afrobeat/jazz fusion “Confetti” pays tribute to Kutiman’s other namesake, Fela Kuti.

Dekel rejoins for the beatdown, lilting dub-soul “Believe In You” with hints of Lord Echo and the sun-inflected New Zealand dub-soul sound. The Tuareg-leaning guitar lines on “Canoe” travel across the Saharan desert easterly towards Sudan and Ethiopia by the end, whilst meditative and Coltrane-adjacent album closer “Ripples” provides a final moment of reflection from a truly global excursion of soundscapes.

Serbian powerhouse KATRAN, the mastermind behind Jezgro label and one half of Ontal, unleashes four colossal, rhythm driven, noise infused industrial techno anthems accompanied by nasty remix from talented 6SISS. This meticulously crafted dystopian soundscapes are engineered to obliterate any dancefloor, heralding the chaos. Handle with caution this is dangerous material.
The album ignites with intricate drum patterns that thunder like tanks across a barren, icy wasteland, while haunting atmospheric elements loom, setting a menacing tone for the journey ahead.

Next, a feverish descent into robots nightmare ensues, where mechanical drum liturgies weave relentless tension, immersing listeners in a post human auditory realm.
As the odyssey progresses, doom laden horns and mechanized drums merge to unleash subversive, devastating frequencies.

Just when the intensity seems to peak, filthy analog sine waves bubble through obscurity, pushing the boundaries of industrial techno music to its limits. Annihilation is the word that resonates here.

All Traps on Earth is the name chosen by Änglagård’s founding member and bassist Johan Brand for this project of his, involving keyboard player Thomas Johnson and drummer / percussionist Erik Hammarström from the same ‘source band’.

They are joined by Johan’s talented daughter, Miranda Brand on vocals, as well as a plethora of guests from the Swedish scene.

Fans of King Crimson, Goblin, Magma, the Canterbury scene and even of Ennio Morricone, whose sounds are frequently recalled during the record, will enjoy this album for sure, but we have no doubt that any prog-lover will appreciate this unexpected, fantastic album.

Workout features a mix of original compositions and jazz standards, highlighting Mobley's ability to blend sophisticated harmonies with rhythmic complexity and received critical acclaim upon release and is regarded as one of Mobley's finest works

The album has been praised for its engaging arrangements and the strong interplay between the musicians, the tracks often feature rhythmic grooves and vibrant solos, which became characteristic of the hard bop movement. Released in 1962, it is considered a classic in the jazz genre, particularly within the hard bop substyle and it's often recommended for both jazz enthusiasts and newcomers to the genre and showcases Hank Mobley's lyrical approach to the saxophone and is frequently included in lists of essential jazz albums. The album continues to influence contemporary jazz musicians celebrated for its artistry and innovation, making it a significant contribution to the jazz landscape of the 1960s. So Workout stands as a significant milestone in jazz history, exemplifying the creativity and musicianship of its time: with its engaging compositions and stellar performances, the album remains a beloved classic, inviting listeners to explore the depth and beauty of hard bop jazz, a treasure that continues to resonate within the jazz community.

Robin Carolan's latest soundtrack for Robert Eggers' highly anticipated Nosferatu is a haunting, gothic-infused and meticulously crafted work that draws from a vast palette of sounds, instruments, and inspirations. Following their successful collaboration on The Northman, Carolan reunites with Eggers to bring the legendary tale of Nosferatu to life, infusing the film with a score that is as complex and nuanced as the story itself. With Daniel Pioro, one of Britain's most exciting young classical musicians, at the helm as the orchestra leader and first chair for a vast majority of the recording, the soundtrack features a vast orchestration, including 60 string players, a full choir, various horns and woodwinds, a harpist, and two percussionists. Despite the grandeur of the orchestration, one of the most challenging pieces was the music box used at the film's beginning. Carolan and Eggers struggled to perfect its sound, a process marked by their meticulous attention to detail, which Carolan describes as almost telepathic. Set in the 1800s, Nosferatu allowed Carolan to incorporate contemporary instrumentation, though he made a deliberate effort to ensure the score didn't sound overly modern. Letty Stott, who also worked on The Northman, contributed ancient horns and pipes, enhancing the soundtrack's eerie atmosphere. Additionally, percussionist Paul Clarvis custom-built a toaca-like instrument for added authenticity. Carolan's inspirations for the soundtrack were as eclectic as they were profound. He frequently drew upon the works of Bartok and Coil, while films like The Innocents, Angels and Insects, and Eyes Wide Shut provided cinematic inspiration. Additionally, he explored the more obscure side of Hammer Horror soundtracks and found a deep connection to the music of the Ukrainian film The Eve of Ivan Kupalo, which helped shape the score's otherworldly tone. Carolan intentionally moved beyond the typical horror score, focusing on capturing the tale's melancholy and tragic elements while weaving in a sense of warped romanticism. The result is a soundtrack that not only complements the film but also stands on its own as a testament to Carolan's artistry and the enduring power of collaboration.