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The triumvirate of Roky Erickson, Tommy Hall and Stacy Sutherland had to feature. Transcendent slower songs (often) don’t feature full band performances – so, no Splash One. The song had to be a band original. So, no Baby Blue. 13 unlucky for some. This compilation launches a new phase in the 13th Floor Elevators catalogue and previews the forthcoming series THE QUEST FOR PURE SANITY: the release in optimal quality of all surviving source material for all of the band’s recordings. ‘13 OF THE BEST’ has been mastered separately to vinyl, CD, digital and streaming for the best possible sound quality for each format. Each original source has been referenced to the earliest vinyl pressing and meticulously transferred at 96khz 24- bit resolution. Multitrack tapes of the original recording sessions have been newly mixed in strict accordance with the records as first released. ‘You’re Gonna Miss Me’, the band’s seminal single, is presented here for the first time in true stereo. Taken from the original multitrack session tape, the song has been mixed to stereo in accordance with the iconic mono 45 as recorded and engineered by Walt Andrus. ‘Slip Inside This House’ viewed by fans and critics alike as the Elevators’ masterpiece and one of the key psychedelic recordings of the era, is included on the LP as the edited mono single mix so the loudest possible cut can be achieved. The eight-minute stereo version is included on all other formats. ‘Never Another’, ‘Dr Doom’ and ‘Livin’ On’ from the band’s final sessions have been newly mixed but without the overdubs added almost a year after recording. While the session tapes survive, the overdubs do not. ‘Livin’ On’ features Roky Erickson’s original superior vocal performance instead of the overdub used on the ‘BULL OF THE WOODS’ LP. What is uniquely presented here is 100% Elevators as mixed and intended for the LP. No embellishments! ‘13 OF THE BEST’ is produced by 13th Floor Elevators official archivist and historian Paul Drummond who has also written sleeve notes with full track-by-track information.

Trey Gruber's posthumous debut double LP Herculean House of Cards. A compilation of early demos, studio demos, and live recordings. A tortured songwriter and struggling addict who jolted the tired Chicago DIY scene with his own brand of primal despair, Trey Gruber and his band Parent were on track to join the ranks of Twin Peaks, Mild High Club, and Whitney. His death in 2017 at the age of 26 brought it all to a halt. In his final years Trey wrote and recorded hundreds of previously unheard demos, dandelions in the cracked concrete of 21st century disconnect, an alphabet's worth of which have been compiled by his family and friends for his only album: Herculean House Of Cards. The 26-song 2xLP covers years of material, from home tape recordings, sessions at Mathew Roberts (Mild High Club) & Paul Cherry's home studio, to a studio session with Charles Glanders (Whitney) at Chicago's Foxhall Studios, along with audio taken at The Hideout during his last live performance, among others. Though Gruber was an unrelenting perfectionist who was constantly self-deprecating about his best demos, Herculean House of Cards is a wholly comprehensive and accurate reflection of his infectious charisma and raw songwriting. He had a charmingly distinct way with words but also could be disarmingly vulnerable. Like he was in life, Gruber never shied away from being open with his struggles with alcoholism and addiction. On the vivid opener "Eisenhower to the West Side," he sings in painstaking detail of, "A jail-skin cell, a junkies fight/Corner-boys full of grace/And Jesus Christ full of spite." He told then-future bandmate flautist Rebecca Ridge, "It's not some Lou Reed glorification of drugs _ `makes me feel like a man'_ I talk about the disconnect and the ugliness. They're sad pop songs." But even with the pain and the darkness in his lyrics, Gruber's songs had an unmistakable sense of hope and catharsis.

Trey Gruber's posthumous debut double LP Herculean House of Cards. A compilation of early demos, studio demos, and live recordings. A tortured songwriter and struggling addict who jolted the tired Chicago DIY scene with his own brand of primal despair, Trey Gruber and his band Parent were on track to join the ranks of Twin Peaks, Mild High Club, and Whitney. His death in 2017 at the age of 26 brought it all to a halt. In his final years Trey wrote and recorded hundreds of previously unheard demos, dandelions in the cracked concrete of 21st century disconnect, an alphabet's worth of which have been compiled by his family and friends for his only album: Herculean House Of Cards. The 26-song 2xLP covers years of material, from home tape recordings, sessions at Mathew Roberts (Mild High Club) & Paul Cherry's home studio, to a studio session with Charles Glanders (Whitney) at Chicago's Foxhall Studios, along with audio taken at The Hideout during his last live performance, among others. Though Gruber was an unrelenting perfectionist who was constantly self-deprecating about his best demos, Herculean House of Cards is a wholly comprehensive and accurate reflection of his infectious charisma and raw songwriting. He had a charmingly distinct way with words but also could be disarmingly vulnerable. Like he was in life, Gruber never shied away from being open with his struggles with alcoholism and addiction. On the vivid opener "Eisenhower to the West Side," he sings in painstaking detail of, "A jail-skin cell, a junkies fight/Corner-boys full of grace/And Jesus Christ full of spite." He told then-future bandmate flautist Rebecca Ridge, "It's not some Lou Reed glorification of drugs _ `makes me feel like a man'_ I talk about the disconnect and the ugliness. They're sad pop songs." But even with the pain and the darkness in his lyrics, Gruber's songs had an unmistakable sense of hope and catharsis.

Welcome vinyl reissue of the rare and in-demand boogie classic 'Summer Groove' by The Joneses. Originally released in 1981 on tiny US label Good Records, the 12' features the full eight and a half minute long 'Moving On' version of this magnificent soulful disco burner. Big on the UK's jazz-funk scene at the time as well as in the US, this super-cool grooving track still fills floors today with its soaring strings and vocals, hi-voltage guitars and pumping heavy bass. Essential summer party jam - don't miss!

- 2023 repress in full artwork sleeve -

Tape
"And we"re coming out of dreams / And we"re coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTILAER. Right out the gate, he"s standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. "You do what you"ve got to do / To see the picture" Bill"s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might - but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill"s voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. There"s nothing they can"t do. "I wrote this song in five and forever / I"m writing it right now" Bill sings on "Natural Information" - an admission of the everyday alchemy he"s forever trafficking in. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they"re invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Headlines flow through. Mirror images, mirthful ones. Bill"s lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. They want to fly free. And they do. "I realize now that dreams are real" On YTILAER"s inner sleeve, alongside his lyrics, Bill celebrates the "exhilaration and dread" of cover artist Paul Ryan"s paintings. Paul"s another one met up with again down the road, his indelible cover imagery on Apocalypse and Dream River now an axis of meaning in the Callahanian world - and in the bright colors found in these new images, a parallel to Bill"s recognitions here. "A breath of exquisite air as we come up from drowning", sounds like the desired hope for those hearing the songs of YTILAER.

Ltd.Silver Vinyl

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy" Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

SKY HIGH BLUE COLOURED VINYL

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy" Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

After 36 years without singing one word, unforeseeable tragedy and its consecutive challenges made Rico Friebe finally find his voice, suddenly and fluently starting to write songs full of intimacy and subtle storytelling – now presented on his debut singer album „Word Value“!

Processing the encounter with a special person and the lasting aftermath, all songs are perfused by an emotional sincerity and serenity, dealing with a rise and fall of depression and hope while furthermore exploring forgotten chasms and grievances from his further past.

„Word Value“ is tracing an arc as the first of four albums that are deeply connected, based on one another, followed next by the second LP „Faces Meets“ later in 2023.

In times of fast rising technology, artificial intelligence, social deconstruction, inflation of language and morality, the most basic and natural human needs haven't ever changed – re-find them while closing your eyes, opening your soul and putting on „Word Value“...

LTD. 180g WHITE LP + CD + TAPE + DOWNLOAD-CODE (INCL. UNRELEASED BONUS SONG) BUNDLE!

After 36 years without singing one word, unforeseeable tragedy and its consecutive challenges made Rico Friebe finally find his voice, suddenly and fluently starting to write songs full of intimacy and subtle storytelling – now presented on his debut singer album „Word Value“!

Processing the encounter with a special person and the lasting aftermath, all songs are perfused by an emotional sincerity and serenity, dealing with a rise and fall of depression and hope while furthermore exploring forgotten chasms and grievances from his further past.

„Word Value“ is tracing an arc as the first of four albums that are deeply connected, based on one another, followed next by the second LP „Faces Meets“ later in 2023.

In times of fast rising technology, artificial intelligence, social deconstruction, inflation of language and morality, the most basic and natural human needs haven't ever changed – re-find them while closing your eyes, opening your soul and putting on „Word Value“...

Tape

After 36 years without singing one word, unforeseeable tragedy and its consecutive challenges made Rico Friebe finally find his voice, suddenly and fluently starting to write songs full of intimacy and subtle storytelling – now presented on his debut singer album „Word Value“!

Processing the encounter with a special person and the lasting aftermath, all songs are perfused by an emotional sincerity and serenity, dealing with a rise and fall of depression and hope while furthermore exploring forgotten chasms and grievances from his further past.

„Word Value“ is tracing an arc as the first of four albums that are deeply connected, based on one another, followed next by the second LP „Faces Meets“ later in 2023.

In times of fast rising technology, artificial intelligence, social deconstruction, inflation of language and morality, the most basic and natural human needs haven't ever changed – re-find them while closing your eyes, opening your soul and putting on „Word Value“...

Kristian Matsson has never remained in one place for very long. Having spent much of the last decade touring around the world as The Tallest Man on Earth, Matsson has captivated audiences using, as The New York Times describes, “every inch of his long guitar cord to
roam the stage: darting around, crouching, stretching, hip-twitching, perching briefly and jittering away…Mr. Matsson is a guitar-slinger rooted in folk, and his songs are troubadour ballads at heart.”

Now, Matsson returns as The Tallest Man on Earth with Henry St., his sixth studio album following 2012’s There’s No Leaving Now, full of “vivid imagery, clever turns-of-phrase, and devastating, world-weary observations” (Under The Radar) and 2015’s Dark Bird Is A
Home, his “most personal record… surreal and dreamlike” (Pitchfork). Henry St. notably marks the first time he recorded an album in a band setting. “My entire career I’ve been a DIY person––mostly fueled by the feeling that I didn’t know what I was doing, so I’d just do everything myself.”

But now, longing for the energy that’s only released when creating
together with others, Matsson invited his friends to come and play.
Nick Sanborn (of Sylvan Esso) produced Henry St., which includes contributions from Ryan Gustafson (of The Dead Tongues) on guitar, lap steel and ukulele, TJ Maiani on drums, CJ Camerieri (of Bon Iver) on trumpet and French horn, Phil Cook on piano and organ, Rob
Moose (of Bon Iver, yMusic) on strings and Adam Schatz on saxophone.

Pink Blue Marbled Vinyl

Angelo is an EP, named after a car, featuring nine songs Brijean have crafted and carried with them through a period of profound change, loss, and relocation. It finds percussionist and singer Brijean Murphy and multi-instrumentalist/producer Doug Stuart processing the impossible the only way they know how: through rhythm and movement. The months surrounding the acclaimed release of Feelings, their full-length Ghostly International debut in 2021 which celebrated tender self-reflection and new possibilities, rang bittersweet with the absence of touring and the sudden passing of Murphy's father and both of Stuart's parents. In a haze of heartache, the duo left the Bay Area to be near family, resetting in four cities in under two years. Their to-go rig became their traveling studio and these tracks, along with Angelo, became their few constants. Whereas Feelings formed over collaborative jams with friends, Angelo's sessions presented Murphy and Stuart a chance to record at their most intimate, "to get us out of our grief and into our bodies," says Murphy. They explored new moods and styles, reaching for effervescent dance tempos and technicolor backdrops, vibrant hues in contrast to their more somber human experiences. Angelo beams with positivity and creative renewal _ a resourceful, collective answer to "what happens now?". Angelo the car is a 1981 Toyota Celica they got off Craigslist during their first stint in Los Angeles, where Murphy and Stuart have since settled. "Such a bro-y, `80s dude car, it's been super fun to drive around in a new town," Murphy says. "He's older than us, he's a classic, he's got a story." It is a spiritual vehicle with a cinematic appeal, first dropping them off in an alleyway for the scene-setting intro, "Which Way To The Club." The question is quickly resolved by "Take A Trip" as a cruising bassline mingles with crowd sounds, hand-claps, cuíca hiccups, whip-cracks, even a horse neigh. Brijean have found some club on this cross-dimensional trip - the kind of imagined space or chamber within one's self capable of "shifting a fraction of who you are," says Murphy. They wrote the track with the simple intention to be "as free as we could be," adds Stuart, likening the flip on the B section to a realm unlocked: "What if the world changed completely? You open the door to a new room." Next is "Shy Guy," a motivational anthem for the wallflowers among us. Murphy sets up the daydream: "We are in junior high, we're on the dance floor, what's going down, who is dancing, who is not, how are we gonna make them dance?" The narrator, the MC, hypes up the room as conga-driven rhythms bounce between languid synth and guitar lines. "Show me how to move...I feel something...I know you feel it too," Murphy sings sweetly, calling back to the opening lines of Feelings, and this time the audience chants it back. It is easy to picture Brijean performing this one - something they only got to do a handful of times until more recently, opening shows for Khruangbin and Washed Out, an experience they found informative. Murphy explains, "It was inspiring to be out there and let loose more. To see how people can expand their expression on stage gave me more liberty with how I viewed my musicianship. My role for so long was to be a backup percussionist, so why would I ever leave the drums, you know? But then after playing all these runs, you see these artists and realize you can, you have permission." "Angelo" and "Ooo La La" deliver the danciest stretch in Brijean's catalog to date. The title track adopts a deep house pulse replete with strings, hi-hats, and kicks. The latter opts for a funkier groove that foregoes verses in favor of warbled hums and extended breakdowns. What follows is perhaps the duo's dreamiest run, a comedown initiated with the honey-hued interlude "Colors" drifting into "Where Do We Go?", a tropicália reverie where Murphy contemplates the passage of time and space. It all culminates in "Caldwell's Way," a fond farewell to their Bay Area community - "a part of my life that I knew couldn't come back," says Murphy. Above shimmering organ sounds, lush strings, and the birdcall of their former neighborhood, she wistfully articulates the uncertainty of moving on by remembering the characters dear to them. There's the wisdom of their neighbor, Santos, who refused payment when helping them move out: "I'd rather have 100 friends than 100 dollars." And the song's namesake, Benjamin Caldwell Brown, a friend and club night cohort for many years. "I'm only miles away, maybe I'm just feeling lonely," the line resigns to warm nostalgia, and "Nostalgia" runs the closing credits to this healing and transportive collection.

Violeta Vicci rides a motorbike, is fluent in seven languages, and feels at home in England, Switzerland and Spain. A multifaceted, contemporary violinist, vocalist and composer, she feels comfortable genre-crossing from classical to ambient, multilayered electronics, her influences ranging from Bach to Brian Eno. Her music has been played on BBC Radio 3 (Hannah Peel), Radio 4 Woman's Hour, BBC6 (Iggy Pop), KEXP and Resonance FM.

Since starting the violin at the age of four and giving her concert debut at the age of fifteen, she fulfilled her long life dream to study at the Royal Academy of Music. Violeta has recently supported the Orb on their 30th anniversary UK tour and collaborated with the likes of Thom Yorke, Elbow, Jonsi (Sigur Ros), Steeleye Span and Ellie Goulding. She also arranges the strings for Fontaines DC and writes and performs with psychedelic rock band TTRRUUCES. "We didn't have a TV when growing up, so spending time in nature, building castles in the sand, reading, playing music and listening to fairy tales, played a big role in creating my inner magical universe."

During lockdown, Vicci started "Live Music in Nature" a series of live-streamed concerts performed in beautiful natural locations around the UK, combining strings, voice and effect pedals to create a soundtrack to nature.

She has been nominated for a Royal Philharmonic Society Award 2021 and has released two studio albums to date.

In April 2023, Tresor Records will unveil a new EP from DALO entitled "GUM". DALO, aka Nadia D'Alo, is one of the founders of the R.i.O label and half of the duo INIT. After several years of performing as INIT with Benedikt Frey, she had her solo live debut in Berlin in 2022. This record follows releases on labels such as ESP Institute and Warning. "GUM" showcases DALO's expert mastery of rising tension through analogue sound sources, as it swings in and remains with minimal changes and accentuation.
"Woodpecker" enters a tunnel of reverberant claps, moving in a potent exercise of deftly manipulated acid. "Wavehall" draws vocal smears across expansive, droning basses and 140bpm techno rhythms. In "Bachlash", she takes inspiration from events of Iranian and Afghan women revolting for their rights, expressing hope for the rebound of control after long political oppression. Electro beats are introduced underneath the full-frontal melodic acid, while processed spoken word samples bring a new focus.
DALO takes the rebounding control and strives forward into the unknown with "GUM", its segmented vocal samples playing a
captivating partnership with acidic slides. The EP closes with "Pilot," a digital bonus track that releases some of the tension built up throughout and propels the dancer towards transcendent shapes.

LNS and DJ Sotofett return to Tresor Records with The Reformer EP. This new record moves forward with a crystal clear, direct and controlled output, leaving their debut album "Sputters" as an end-mark of a sonic era. Here they evolve into a topography full of contrasts, where harsh digital artefacts, scanner sounds, and vocoder voices cast melodic colors across cold landscapes of club-ready electro.
"Reform" plunges deep into an electro sound splintered by binary bits and submerged pads that beckon a serene melody, which echoes and loops to entangle with mutant voices, noises and buzzes. "Plexistorm" leads with synthesized strings and arpeggiated acidic bleeps until a thick bass emerges, sounding almost like a long-lost Analord record. Heavily shapeshifting with eects processing, it proves primitive movements in dubbing are the perfect counterpart to this precise electro sound.
With "Electric Terraforming", the duo uncover charged energy sources required for life on another planet, as broad synth pads
and memorable vocoder harmonies draw this earworm to a close. Mighty washes of dub rule on "909 The Controller" as a skipping beat invites a slow, rippling melody and percolating reverberated synths.
The vinyl record has significantly dierent sonics to the digital release, and, exclusively, each side ends in a locked groove produced by DJ Sotofett.

Mit der Veröffentlichung des ersten Full-Length-Albums "Entropic Reflections Continuum: Dimensional Unravel" wurde sofort deutlich, dass VoidCeremony einen Weg beschritten, den nur wenige gehen. Das Album bewies, dass Death Metal mit dem gleitenden, kontrollierten Chaos und dem geschmeidigen Fluss eines Jazz-Quartetts dargeboten werden kann und den Hörer dennoch in einem Kerker gefangen hält, mit wenig HP, ohne Zaubersprüche und umgeben von tödlichen Dämonen.

"Threads of Unknowing" ist eine Reise, die frühere Konzepte wieder aufleben lässt und immer progressivere und technischere Kompositionen hervorbringt. Mastermind und Gitarrist/Sänger Garrett Johnson sowie Gitarrenvirtuose Phil Tougas (Atramentus, Chthe'ilist, Worm, First Fragment) teilen sich hier den Gesang und die Leadgitarre, während Bass-Gott Damon Good sowohl den bundierten als auch den fretless Bass meisterhaft beherrscht und Schlagzeuger Charlie Koryn nicht nur Geschwindigkeit und Brutalität, sondern auch eine feine Mischung aus Präzision und Improvisation aus dem Jazz-Fusion einbringt. Das Endergebnis ist VoidCeremony und ihr unverkennbarer Sound: Zeitschmelzender Death Black Fusion.

Mit einem treffenden Coverbild, das die lyrische und philosophische Vision einer alten und vergessenen Zukunft darstellt, scheint VoidCeremony selbst in einer alternativen Death Metal-Zeitlinie zu operieren, die einst nur kurz präsentierte und bald für mehr kommerzielle Attraktivität zurückgelassen wurde. Doch das Portal hat sich wieder geöffnet und die Verschmelzung dieser grenzenlosen Möglichkeiten und Richtungen wird nun wieder direkt hervorgebracht.

- Das erste Album in voller Länge seit dem Debüt "Entropic Reflections Continuum" von 2020
- Die Vinyl-Version enthält eine Klappeinlage
- Cover-Gemälde von Juanjo Castellano (Majesties, The Black Dahlia Murder, etc.)
- Die Band besteht aus Mitgliedern von Atramentus, Worm, Mournful Congregation, Stargazer, Ascended Dead, Incantation, Chthe'ilist und First Fragment
- Gemischt und gemastert, mit zusätzlichen Synthies von Gabriele Gramaglia von Cosmic Putrefaction
- FFO: Stargazer, Pestilence, Chthe'ilist, Morbid Angel, Immolation, The Chasm, Aenigmatum, Atheist, Timeghoul, Liers in Wait, Innana

Mit der Veröffentlichung des ersten Full-Length-Albums "Entropic Reflections Continuum: Dimensional Unravel" wurde sofort deutlich, dass VoidCeremony einen Weg beschritten, den nur wenige gehen. Das Album bewies, dass Death Metal mit dem gleitenden, kontrollierten Chaos und dem geschmeidigen Fluss eines Jazz-Quartetts dargeboten werden kann und den Hörer dennoch in einem Kerker gefangen hält, mit wenig HP, ohne Zaubersprüche und umgeben von tödlichen Dämonen.

"Threads of Unknowing" ist eine Reise, die frühere Konzepte wieder aufleben lässt und immer progressivere und technischere Kompositionen hervorbringt. Mastermind und Gitarrist/Sänger Garrett Johnson sowie Gitarrenvirtuose Phil Tougas (Atramentus, Chthe'ilist, Worm, First Fragment) teilen sich hier den Gesang und die Leadgitarre, während Bass-Gott Damon Good sowohl den bundierten als auch den fretless Bass meisterhaft beherrscht und Schlagzeuger Charlie Koryn nicht nur Geschwindigkeit und Brutalität, sondern auch eine feine Mischung aus Präzision und Improvisation aus dem Jazz-Fusion einbringt. Das Endergebnis ist VoidCeremony und ihr unverkennbarer Sound: Zeitschmelzender Death Black Fusion.

Mit einem treffenden Coverbild, das die lyrische und philosophische Vision einer alten und vergessenen Zukunft darstellt, scheint VoidCeremony selbst in einer alternativen Death Metal-Zeitlinie zu operieren, die einst nur kurz präsentierte und bald für mehr kommerzielle Attraktivität zurückgelassen wurde. Doch das Portal hat sich wieder geöffnet und die Verschmelzung dieser grenzenlosen Möglichkeiten und Richtungen wird nun wieder direkt hervorgebracht.

- Das erste Album in voller Länge seit dem Debüt "Entropic Reflections Continuum" von 2020
- Die Vinyl-Version enthält eine Klappeinlage
- Cover-Gemälde von Juanjo Castellano (Majesties, The Black Dahlia Murder, etc.)
- Die Band besteht aus Mitgliedern von Atramentus, Worm, Mournful Congregation, Stargazer, Ascended Dead, Incantation, Chthe'ilist und First Fragment
- Gemischt und gemastert, mit zusätzlichen Synthies von Gabriele Gramaglia von Cosmic Putrefaction
- FFO: Stargazer, Pestilence, Chthe'ilist, Morbid Angel, Immolation, The Chasm, Aenigmatum, Atheist, Timeghoul, Liers in Wait, Innana

She’s out of this world…

Maltese musician & producer Joon’s galactic debut arrives on our shores fully formed a decade after she first set sail. 12 cuts of uniquely addictive Synthesized Pop twist & turn on the rocky waters of life.

Her story begins after a life-changing car crash on the streets of Malta many moons ago. She was lucky to walk away in one piece. “That car crash was a wake-up call,” she says. “It made me realize how precious life is & I started living the life I felt was worth living.” Inspired to finally pursue her love of music full time, she began collecting instruments. Starting with a Stylophone& a vintage rhythm box, she started documenting ideas. Returning home to Malta after a few years in London, she only met one other woman making electronic music on the island. Driven by the desire to make music possible & accessible for the next generation, Joon co-founded the Malta Sound Women’s Network.

Ten years later, she sends us messages in a bottle from across the Mediterranean Sea. Armed with a Moog & her ethereal voice, she transmits hope & joy from a bedroom somewhere between Sicily & North Africa. Her music is right at home alongside outsider pioneers like Fever Ray, Grimes, Laurie Anderson & Molly Nilsson. Dream Again glides across heavy rhythms & eclectic electro. Telling stories of alienation with a throbbing heartbeat & space-age melodies, she lets us into her ultra-vivid world where anything is possible. Produced by Johnny Jewel, the album shines bright like comet orbiting the label’s dark sky, a much-needed vision of light on the horizon.

“Even if I’m sad or heartbroken, I remain optimistic. I want to grow old with no regrets.”

It’s time to Dream Again…

Last year's Big Time brought Angel Olsen to a deeper, truer sense of self than ever before. Borne from the twin stars of grief and love, the album delivered beautiful sense of certainty, the sure-footed sound of an artist fully, finally at home with herself. But within that wisdom comes the realization that there is no finish line, no destination or static end point to life while you're living it, and Forever Means collects songs from the Big Time sessions that hold this common theme. They are, in Olsen's words, "in search of something else." "I was somewhere traveling," says Olsen, "stopped for a few days and wandering the city, and I was thinking `what does `forever' really mean? What are the things I'm seeking in friendship or love, and how can `forever' be attainable if we're always changing?'" Sitting with the reality of that entropy, Olsen realized "maybe the secret to ongoing love is to embrace change as part of love itself, that forever must have something to do with playing, looking, constantly searching things out for yourself, never letting yourself think you're finished learning or exploring." `Forever'", says Olsen, "remains curious while trying also to be kind and honest." All this packs into the four precious songs that comprise Forever Means, songs from Olsen's roads traveled and the ones ahead. "Nothing's free / like breaking free" Olsen sings, comfortable with the costs of her clarity, her heart and voice fixed on the present, the future, the not-yet-known and the beautifully unknowable

Last year's Big Time brought Angel Olsen to a deeper, truer sense of self than ever before. Borne from the twin stars of grief and love, the album delivered beautiful sense of certainty, the sure-footed sound of an artist fully, finally at home with herself. But within that wisdom comes the realization that there is no finish line, no destination or static end point to life while you're living it, and Forever Means collects songs from the Big Time sessions that hold this common theme. They are, in Olsen's words, "in search of something else." "I was somewhere traveling," says Olsen, "stopped for a few days and wandering the city, and I was thinking `what does `forever' really mean? What are the things I'm seeking in friendship or love, and how can `forever' be attainable if we're always changing?'" Sitting with the reality of that entropy, Olsen realized "maybe the secret to ongoing love is to embrace change as part of love itself, that forever must have something to do with playing, looking, constantly searching things out for yourself, never letting yourself think you're finished learning or exploring." `Forever'", says Olsen, "remains curious while trying also to be kind and honest." All this packs into the four precious songs that comprise Forever Means, songs from Olsen's roads traveled and the ones ahead. "Nothing's free / like breaking free" Olsen sings, comfortable with the costs of her clarity, her heart and voice fixed on the present, the future, the not-yet-known and the beautifully unknowable

"Plastic Music For Deep Thinkers" is a peculiar fusion of electronic music inspired by a cross-section of Warp Records releases, enriched with intelligently used elements of jazz, hip-hop and experiment. This multicolor creates an original mixture with a very emotional expression. Post-hip-hop, irregular beats intertwine with the club pulse and jazz harmonies, and the omnipresent sounds of synthesizers meet organic samples.

"Conceptually, this album is the result of an insight into the current state of the apogee of "plasticity" and confusion of the world, and at the same time its downfall in shape we know it. The title, full of contradictions, speaks of an artificial and exaggerated reality, but also of necessary, deeper reflection on it. Plastic, integrated circuits and synthetic sounds tell the story of human transformation in modern realities."

As the author himself admits with a grain of salt: "This record sounds familiar, but it is similar to nothing - like the reality I observe."
Szymon Burnos is a pianist/keyboardist, composer, producer and improviser. With his eclectic sensitivity he combines various, often extreme, musical worlds and his inclinations and inspirations reach many languages - from electronic music, through jazz, hip-hop, ambient, to avant-garde. He's known mainly for his activities on the Tri-City improvised music scene and from groups such as Algorhythm, delay_ok, Nene Heroine, Tomasz Chyła Quintet or Mu and the Alpaka Records label.

Szymon Burnos is a pianist/keyboardist, composer, producer and improviser. With his eclectic sensitivity he combines various, often extreme, musical worlds and his inclinations and inspirations reach many languages - from electronic music, through jazz, hip-hop, ambient, to avant-garde. He's known mainly for his activities on the Tri-City improvised music scene and from groups such as Algorhythm, delay_ok, Nene Heroine, Tomasz Chyła Quintet or Mu and the Alpaka Records label.

Second Editions is pleased to present two new complementing works by René Margraff and Malte Cornelius Jantzen, as a double a-side split album.

Margraff utilizes various beautiful ramblings from the one and only AL and weaves them together two floating pieces that are both a reflection and caricature on what punk (what about ambient?) actually is in the age of ever-bloodsucking tabloid consumerism and commercial image branding, and how to keep your head up as a protagonist/heroine.

Jantzen's side pays homage to a time when a kickflip down a flight of stairs mostly ended in bruised hands and knees. In what can barely be considered field recording, the sound of skateboard decks and wheels on cement and railing, the occasional shouts and murmurs form a "real-time listening piece" (aka a moment), most aptly titled after AL's acclaimed debut album.

Second Editions is coming full circle and is calling it a day. Limited to 100 copies. Half on "not punk pink" and other half on "complicated green" cassette shells. For good luck and good vibes!

Any moment can crash your emotional state of mind. You are looking for help. You can’t find it with-inside of you. A Diamond shines twice a day. The night can be day and vice versa. We love you, no doubt. Our friends love you too. Do you love yourself? A Zebra is not a unicorn but is still unique. Who are you to tell us We can’t do it? EUPHORIC SPIRITS EUPHORIC SPIRITS Women are strong and full of love and positive energy. This life is a gift and you should genuinely use it. Read a book. Internet TV connects your brain to something not valid; remember that. We still love you. You are beautiful. Come with us to hidden spheres and find your inner voice. Shock, Projection, Ideals, Sorrow, Disaster, Fundamental, Weak, Strong, More, Less.

We love you. Follow us to the planet of our inner fears, and we do magic. It will become another planet. Together forever. We love you.

Out of the many artists, both new and established, that Futurepast has welcomed to its family, Spanish producer and DJ Eduardo De La Calle is one that we can definitively call a legend. His vast discography includes many of dance music's most appreciated labels, so we're humbled to present a full EP from him.

His EP "Kardama" emerged as the winter of 2022 bled into 2023, a period where he'd actually been producing more downtempo works, so "Kardama" is his most recent take on techno; a genre he is certainly well-versed in with over 25 years experience.

As a reflective work, De La Calle processes emotions and thoughts with analog methods, reverse delays and pedals on "Kardama". The emotions that he holds close to himself show up in the detail that sits deeper within each track.

"I simply make music with the intention of feeling better" says De La Calle, "it is a therapy for my mind and for my spiritual state. Through a creative process, I feel calm and useful for the world and for myself."

Clear Vinyl

French composer Lucie Antunes is broadening her sonic horizons with second album “Carnaval”. Following the resounding critical success of 2019’s “Sergei”, the Perpignan-born, classically-trained drummer and percussionist releases an ebullient, electronically-oriented followup that is designed for the dancefloor. Antunes unites the pop world with the avant-garde, with a crossover appeal that traverses genres and borders with ease. “Carnaval” also sees Léonie Pernet come on board as producer, who brings frisson to these eleven tracks whilst helping to augment the grooves. Using and manipulating the human voice for the first time, Antunes was inspired in part by the American composer Meredith Monk, to use her voice as percussive instrument, conveying meaning with nonverbal phrases and phonemes. ‘Carnaval’ is more coquettish, curious and creative than anything she’s yet done, imbuing the listener with the cerebral mischief of Laurie Anderson on ‘It’s Amazing’—an opening track which more than fulfills its titular promise.

Zach Braff’s curated compilation soundtrack album for the upcoming drama film A Good Person. Written and directed by Braff, the film’s compilation soundtrack features a range of wistful folk-infused songs, including The Velvet Underground’s iconic 1969 song After Hours, written by Lou Reed and performed by the band’s drummer Moe Tucker, Bristol-based singer-songwriter Fenne Lilly’s 2021 track Hyopcondriac, American singer-songwriter Lizzie McAlpine’s 2020 song To The Mountains, American indie rock singer-songwriter Cary Brothers’ 2022 song Stardust, performed in the film for Allison (Florence Pugh) by Cary himself, and more (see full tracklisting below). The compilation soundtrack also features two brand new singles written and performed for the film by Florence Pugh. I Hate Myself and The Best Part.

Deluxe Eco Vinyl LP with 16 page lyric booklet! London slowcore band deathcrash have announced their new album Less, due March 31st via untitled (recs). Recorded at the UK's most remote studio in the Outer Hebrides, Less follows their critically acclaimed 2022 album, Return with a statement in reduction that turns out to be as powerful and potent as it is tender and introspective. "The mission statement was to be super minimal," says deathcrash singer Tiernan Banks. "Just simple and beautiful guitar parts and to be really bare. To be...less." Swiftly following Return, the band initially had no plans to make a full length. "The last thing we felt like doing was making another album," says bassist Patrick Fitzgerald. "It was like, 'let's do this little EP that's aesthetically quite different and pared down'." Less was always planned to be a statement in reduction but it soon became apparent that the songs the band were writing were significant, personal and, despite the intentions to strip things back, bigger. "As time went on, we started putting much more emotional weight into it and it became more important to us," says Banks. The result is a record that is as powerful and potent as it is tender and introspective, with arrangements that manage to feel refined yet detailed and with a deep emotional resonance at the core of the record. Banks' voice shifts from hushed whispers to guttural screams, one minute tapping into the kind of fragile beauty that artists like Elliott Smith managed so well, on tracks such as 'Duffy's' before unleashing a doom metal growl in thundering unison with the band on 'Empty Heavy'. The record has confirmed early press support from a number of UK publications, including a 4-page print feature in Loud & Quiet, a feature in Line of Best Fit, and early indications of support from Stereogum and a number of other U.S. publications too. A radio campaign will also be run for the second single 'Duffy's' and we expect support from BBC 6 Music, Apple Music and other tastemaker stations

"The new full length album from the legendary Metallica, their first since 2016's ""Hardwired... To Self Destruct"".
“72 seasons. The first 18 years of our lives that form our true or false selves. The concept that we were told ‘who we are’ by our parents. A possible pigeonholing around what kind of personality we are. I think the most interesting part of this is the continued study of those core beliefs and how it affects our perception of the world today. Much of our adult experience is reenactment or reaction to these childhood experiences. Prisoners of childhood or breaking free of those bondages we carry,"" comments Hetfield."

For their debut album, Chappaqua Wrestling knew that they wanted to step above the noise of the concrete everyday. “To match their song about political despondency and social change, Jake Mac and Charlie Woods wanted to create surrealist artwork, teetering on the brink of despair and release.

“We wanted to kind of render ourselves in, jumping off this roof with a beautiful landscape behind it,” says Jake. “Falling gracefully, but also potentially not making this crazy fall.”

“It’s a record about exploring,” nods Charlie. “We just wanted to get something that has us thrusting ourselves into this new place, but get this weird eye-trickery thing going on. You want to start a conversation, like is this real? Maybe that’s for us to know…”"

"Plastic Music For Deep Thinkers" is a peculiar fusion of electronic music inspired by a cross-section of Warp Records releases, enriched with intelligently used elements of jazz, hip-hop and experiment. This multicolor creates an original mixture with a very emotional expression. Post-hip-hop, irregular beats intertwine with the club pulse and jazz harmonies, and the omnipresent sounds of synthesizers meet organic samples.

"Conceptually, this album is the result of an insight into the current state of the apogee of "plasticity" and confusion of the world, and at the same time its downfall in shape we know it. The title, full of contradictions, speaks of an artificial and exaggerated reality, but also of necessary, deeper reflection on it. Plastic, integrated circuits and synthetic sounds tell the story of human transformation in modern realities."

As the author himself admits with a grain of salt: "This record sounds familiar, but it is similar to nothing - like the reality I observe."
Szymon Burnos is a pianist/keyboardist, composer, producer and improviser. With his eclectic sensitivity he combines various, often extreme, musical worlds and his inclinations and inspirations reach many languages - from electronic music, through jazz, hip-hop, ambient, to avant-garde. He's known mainly for his activities on the Tri-City improvised music scene and from groups such as Algorhythm, delay_ok, Nene Heroine, Tomasz Chyła Quintet or Mu and the Alpaka Records label.

Szymon Burnos is a pianist/keyboardist, composer, producer and improviser. With his eclectic sensitivity he combines various, often extreme, musical worlds and his inclinations and inspirations reach many languages - from electronic music, through jazz, hip-hop, ambient, to avant-garde. He's known mainly for his activities on the Tri-City improvised music scene and from groups such as Algorhythm, delay_ok, Nene Heroine, Tomasz Chyła Quintet or Mu and the Alpaka Records label.

Perhaps slightly better known for his dancefloor-enlivening electro productions, this is actually the third full length ambient album from UK producer Emile Facey under the Plant43 moniker. He's been writing and storing up atmospheric synthesiser experiments alongside his dancefloor oriented output since his last ambient LP The Countless Stones released in 2020, and the eight tracks here are meditative, ethereal affairs, Facey carving out a beautiful set of vivid emotions out of crystal clear pure sounds and arpeggios rolling like gentle waves lapping at a shore. Imagine classic Tangerine Dream combined with the balance and poise of Global Communication and you're getting close.
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Introducing Marc Codsi's new Arabic infused synth oriented album, 'Songs from the Aftermath'.
Lebanese musician and composer Marc Codsi has released numerous albums with various projects
such as Scrambled Eggs, Lumi, Zalfa and many others whilst maintaining a very active career as asolo artist and film composer. 'Songs from the Aftermath' is his 5th album and presented as a natural
continuation to his 2019 opus work, ‘A New World’ (Annihaya Records).
Codsi continues his personal exploration of Arabic music codes, mainly investigating quarter tones
scales in an fully electronic environment in order to create new harmonies and textures that still
convey a feeling of familiarity whilst keeping a certain aura of strangeness and mystery.
The album was recorded between during 2021 and 2022 and the music eventually comes as a very
personal quest for transcendence. A sort of speculative answer to the world’s ongoing absurdity and
what seems to be an incessant array of conflicts, disasters and tragedies.
From these dark alleys may we still arise to proclaim a sense of beauty, poetry and elevation!

On Giver Taker, the gorgeous debut album by Anjimile, death and life are always entwined, wrapping around each other in a dance of reverence, reciprocity, and, ultimately, rebirth. Giver Taker is confident, intentional and introspective. Anjimile Chithambo (they/them, he/him) wrote much of the album while in treatment for drug and alcohol abuse, as well as while in the process of living more fully as a nonbinary trans person. Loss hovers over the album, whose songs grieve for lost friends ("Giver Taker") and family members ("1978") along with lost selves ("Maker," "Baby No More," "In Your Eyes.") But here, grief yields an opening: a chance for new growth. Each song on the album is its own micro-journey, adding up to a transformative epic cycle created in collaboration with bandmate Justine Bowe of Photocomfort and New-York based artist/producer Gabe Goodman. "1978" and "Maker" both begin as Sufjan Stevens-esque pastoral ballads with Chithambo's mesmerizing voice foregrounded against minimal instrumentation and swell into the realm of the majestic through the addition of warm, steady instrumentation (informed by the mix of 80's pop and African music Chithambo's Malawi-born parents played around the house) and harmonies by Bowe. "In Your Eyes" starts out hushed and builds to a crescendo via a mighty chorus inspired by none other than the Lion King. The allusion is fitting: each song encapsulates a heroic voyage, walked alone until accompanied by kindred souls. The choirs present throughout are equally deliberate. Chithambo grew up as a choir boy himself, and several songs (notably "Maker") grasp not only towards reconciliation between his trans identity and his parents' strong religious beliefs, but towards reclaiming his trans identity as an essential part of his own spirituality.

When we established Balmat in 2021, neither of us could have imagined that within two years, we’d be putting out an album by one of our musical heroes: Mike Paradinas, aka µ-Ziq. The British producer has been an inspiration to label co-founders Albert Salinas and Philip Sherburne since the 1990s. In fact, his album-length remix project The Auteurs Vs µ-Ziq was one of the very first pieces of electronic music that Philip bought, way back in 1994. To have the opportunity to release his music now feels like a real full-circle moment.

Paradinas, of course, needs no introduction. Under a slew of aliases, chief among them µ-Ziq, the British artist revolutionized leftfield electronic music in the 1990s—coincidentally, this year marks the 30th anniversary of his debut album, Tango N’ Vectif, for his friend and sometime collaborator Aphex Twin’s Rephlex label—and his label Planet Mu has built up a formidable catalog of visionary, forwardlooking records, mapping virtually every corner of the electronic spectrum. With 1977, he turns the clock backward in a sense, and not just with the album’s title: Rooted in classic ambient and electronic sounds, these 15 tracks evoke the anything-goes spirit of the early ’90s, before the tools and tropes had calcified into cut-and-dried styles.

There’s no shortage of familiar sounds on 1977. There are echoes of raves and chillout rooms and transmissions from the fringes of techno; there are detuned synths and glistening reverb tails and, above all, gauzy vox pads, the eerie glue that holds it all together. The title, he says, is meant to invoke a general sense of nostalgia, bookmarking a year in his boyhood when he became more selfaware. More than anything, 1977 sounds like µ-Ziq distilled: Stripped of his signature breakbeats and customary chaos, Paradinas’ first-ever strictly (well, mostly) ambient album presents the essence of his music in a whole new light.

Along the way Paradinas touches on dark-ambient drones (“Marmite”), horror-film themes (“Belt & Carpet”), jungle breaks (“Mesolithic Jungle”), and even house music (“Houzz 13”), which marks the first bona fide dance-floor moment on Balmat to date). Yet the album never—to our ears, anyway— feels expressly retro. Rather, Paradinas plucks timeless sounds out of the ether and gives them a gentle tap, spinning them into unexpected new orbits. At times, 1977 feels like an experience of extended déjà vu: When we first listened to it, we had the sense that we already knew this music. It was as though we had heard it years ago, perhaps on a battered cassette tape lent to us by a friend, and been searching for it ever since. We hope you feel the same.

Berlin based producer Blush Response returns to Megastructure_ for his first full length release since 2021’s Reconstitution, NEUROSCAPE

9 tracks of absolutely screaming and energetic Post-Industrial Techno / IDM for those looking for sounds on the fringes of reality. Driving, pulsating, organic alien grooves populate the dense landscape of sound and showcase the next evolution in Blush’s sonic signature.

Neuroscape features collaborations from Bon Harris of Nitzer Ebb (a rare vocal appearance!) on Chained, and Richard Devine on Foldspace Transition – a track that was started in Devine’s studio in Atlanta and then completed in Berlin. Blush also makes his first apperance on vocals in nearly a decade, with the opening track, Submit.








h 8 Chained Feat. Bon Harris
Feat. Richard Devine

All the best music has a community underneath it. The extended family around London’s Total Refreshment Centre (TRC) connects continents and generations, creating the rich relationships in full effect on Transmissions From Total Refreshment Centre. It’s an eclectic and electric collection that draws from new school jazz, hip hop, dub, soul, funk, and drill: sounds you’ll hear trailing out of cars as they spin up the Kingsland Road or spiraling out of doorways like so much smoke. Turn it up loud to hear the widescreen young cousins of Guru’s landmark Jazzmatazz in full effect: top players from London, Chicago, and Melbourne seeking out new collaborations, new ways of working, or just new tunes, always coming back to that central truth – that we all need each other.

Hell Yeah heads to Brazil and the cultured sounds of Pedro Bertho for a hot new 12" that features Mariana Gehring and remixes from Romain FX and My Friend Dario. The digital version includes two bonus cuts while the vinyl is the first to have all-new artwork by FJD.

Now based in France, inclusive party promoter Pedro Bertho’s music is a melting pot of sound that draws on his own personal heritage and a life spent digging for records. That means that afro rhythms, Italo melodies, rolling reggae, deep house, and plenty more all get mixed up into something new.

They have come on the likes of Cracki Records and always search out innovative ways to bring euphoria to the dance floor.

For the first tune, he works with Mariana Gehring, a Sao Paulo-based singer and composer influenced by new MPB and other signature Brazilian sounds like Forro, Maracatu and Samba.

Their excellent 'Tornei' is a mix of full-fat bass and sensuous vocals. Fizzing synths, percussion and FX bring the energy while Gehring arrives in the breakdowns to bring the spine-tingling soul. Romain FX is a scene mainstay, label head at fauve, boiler room veteran and has released on the likes of Kalahari oyster cult and many more.

His version is a retro workout with lush cosmic melodies and slinky grown-up grooves sure to get the floor full.

Next is 'Elephants au 5eme', a busy mix of analogue drums and hits, wild elephant trumpets and fleshy synths that bring unusual tropical heat to any party. The same track is remixed by label regular and new school Balearic boss my Friend Dario.

He plays with the vocals, layers in shimmering chords, and keeps things dubby to make for another of his signature grooves.