Search:futur

Using only analog synthesizers, Mr Firechild creates poppy musical landscapes which take you to the past, present and into the future. Limited to 300 Copies.

Beautiful release coming from Italy drawing inspiration from the intense colors of the works of the painter Tania Cantone on this work of love; "Sharade" by Pino Presti & Garden Planet. Mediterranean and Balearic lushness from the talented Pino Presti, and the eclectic keyboardist Claudio Calzolari, his son Andrea Calzolari, bass player Andrea Verardi and the organist Guido Mazzella. All together they created that magic, that long-forgotten, set aside, almost hidden atmosphere, which covers various genres such as lounge, future jazz, bossa-nova, ambient, which obviously includes chillout and downtempo vibes from the hot summer nights in the Mediterranean. So much vibes on this one release coming from the Italian friends of BEST Record! Recommened!

Next up is an overdue reunion with a familiar face. After his outstanding contribution to Cocoon Compilation S and his first solo EP on Cocoon Recordings, Raxon is back with a more than equally fascinating sound. The Egyptian-born and now Barcelona-based artist is back on it again, delivering two tracks that will take you on a journey through the depths of robotic soundscapes.
Intricate beats, hypnotic synthesizer melodies, deep bassline grooves, and distinctive EFX sounds create Raxon’s very special signature sound.

Straight drum programming paired with chirping percussions takes us away to embark on a travel through space and time while distinctive claps poke through a futuristic nebula of floating and shifting sequences. The twisted melody of “Robotalia” carries us to a parallel dimension of machine sound and if you listen closely, you can hear the robots’ screwing and sawing. Warping bleeps and mechanical effects complete the robotic feeling. Raxon’s understanding of structures and architectural abilities are reflected through the arrangement, slowly increasing to ecstasy.

“Kryptonite” scores with alien soundscapes. Stuttering vocals are the questions, while futuristic and dramatic chord stabs are the direct answer. A straight, radiant sound appears as an electronic trombone from outer space, offensively supporting the driving bassline. The symbiotic interplay between the euphoric synthesizer hook line and the relentless beat with pushing sharp hi-hats visualize powerful images in one's mind's eye. Suddenly the beat stagnates and results in a morphing break going head over heels developing a start-stop pitch effect that not only builds up tremendous tension but also bears an increased risk of melting your brain. We just love tape delay!

Repress!

Japanese crustpunk and grindcore icon Eri Fuzz-Kristiansen, aka Gallhammer’s Viviankrist, keeps
the curveballs coming on Diagonal with a bloodied mastication of charred noise and and rhythmic
electronics, following up the label’s acclaimed sides by Sote and Not Waving/Jim O’Rourke
Co-released with the metal-minded Ritual Productions label, ‘Cross-Modulation’ is a brutal
testament to the acridly personalised sound that Viviankrist has explored solo since 1995 in Tokyo,
when she performing vocals, sax and SP-202 sampler in her first industrial/noise unit. 23 years
later her music is still sorely raw, yet riddled with a new found poignance and atmospheric unease
that places her music sometimes as close to Kali Malone’s see-sawing dissonance as the power
electronics of Pan Sonic or the possessed pulses of Conrad Schnitzler and Merzbow.
Since the demise of Eri’s main project Gallhammer at the start of this decade, when she moved
from Tokyo to Oslo (home of her husband and bandmate in Sehnsucht, Maniac - also former
vocalist for BM legends Mayhem), she returned to her early Viviankrist alias from 2017 as a place
to express her primitivist-futurist urges, resulting a trio of CDs including the vicious solo strike
of ‘Morgenrøde’ for Cold Spring. Now on ‘Cross-Modulation’ she intuitively tempers that album’s
phosphorous burn with a deadly incisive application of what Black Metal/Techno pioneer Black
Mecha terms “mentation electronics.”
Alloying avant-metal with rhythmic noise, ambient techno and mind-bending drone to a
metallurgic tang, ‘Cross-Modulation’ serves a dense flux of energies in seven parts, piercing a path
thru maelstrom electronics in ‘Eleventh’ to churn up grizzled Vainio-esque rhythms in ‘Blue Iron’,
while the tenderly bruised ambience of ‘Midnight Sun’ provides a bittersweet palette cleanser for
the tart technoid prang of ‘Insects’, a bout of slow gripping psychedelia in ‘Out of Body’, and the
rugged North European pastoralism of ‘Behind Mirror.’

All Her Plans, the third album from Melbourne, Australia's Cable Ties, finds the trio of Jenny McKechnie, Shauna Boyle, and Nick Brown at their punchiest and most assured. The ferocious, kraut-influenced blend of post-punk and garage rock of Merge debut Far Enough remains, but McKechnie's lyrics invite the listener closer than ever before. The urgency and fury that have marked Cable Ties' output thus far is more nuanced on All Her Plans.

The unfettered rage of their calls to action endures tackling subjects like broken mental healthcare systems and the burden of familial care that is largely placed on women…while holding space for gratitude, love, and acceptance. All Her Plans is a breakthrough moment for Cable Ties. It is the sound of a group that is exhilarated to be making music together again, both a celebration of their resilience and a massive step forward into a future they can finally claim as their own.

All Her Plans, the third album from Melbourne, Australia's Cable Ties, finds the trio of Jenny McKechnie, Shauna Boyle, and Nick Brown at their punchiest and most assured. The ferocious, kraut-influenced blend of post-punk and garage rock of Merge debut Far Enough remains, but McKechnie's lyrics invite the listener closer than ever before. The urgency and fury that have marked Cable Ties' output thus far is more nuanced on All Her Plans.

The unfettered rage of their calls to action endures tackling subjects like broken mental healthcare systems and the burden of familial care that is largely placed on women…while holding space for gratitude, love, and acceptance. All Her Plans is a breakthrough moment for Cable Ties. It is the sound of a group that is exhilarated to be making music together again, both a celebration of their resilience and a massive step forward into a future they can finally claim as their own.

The ever-prolific and established artist Alan Abrahams aka Portable makes a swift and very welcome return to Circus Company with the impressive lead single "Guiding Me", giving us an early taste of his forthcoming album Augmented Dreams to be released in the fall.

Conceptually the direction of this new project refers to the use of technology to alter our dreams, inadvertently or not, as so much tech advancement becomes available and ingrained in our daily lives. The timely lead single here inspired by Abraham's South African ancestors the Khoi San people and the guidance they provide, appropriately exuding both futurist formed sonics and dream-like tenderness in content, led by his dulcet-toned vocals and delivered with the super solid production we've come to expect. Wonderful multi-purpose electronic music which will find itself right at home on late-night discerning dance floors, or indeed guiding the listener through their respective travels, solo meditations or get-downs in headphones.

Along with the excellent "Guiding Me" original mix, we are graced with a masterful remix by Hamburg's Lawrence of Smallville and Dial fame, who takes the track into an even more floor-focussed realm with his patented rolling sub-bass lines which will guarantee plenty of summertime sound system finessing, as well as the EP-exclusive B2 track "Vigor" in which Portable goes even deeper in tone with classic styled vocal cut-ups and repurposed shards of tasty sound design added to keep the dancers endlessly entranced when and wherever they may be.

Cory Hanson"s third solo LP follows upon 2020"s luminescent Pale Horse Rider, upping the heat to molten levels, six strings at a time. In search of further adventures, Cory draws with vampiric glee from the madness coursing through the world outside; a spiraling shitshow that"s reawakened a compulsion in him - an old ambition, even! - to crush brutality and elegance together into a fresh set of rocks to hail down upon us. Western Cum is a high-stepping, hard-dancing, first love/heartbreak, tonight"s-the-night, future nostalgia kind of good time - the sound of guitars through the speakers of luxury cars. Like the dream you had once, alone, asleep in an amplifier, blasting Guns N" Roses through every last orifice in your body. And it"s coming through! Western Cum"s map to the treasure is less about pastiche, though; more toward executing the songs by executioner"s axe, rolling their decapitated rhythm heads and soaring melodies, the panoply of Cory"s melodic impulses with guitars, guitars, guitars. Harmony leads are just the tip of the iceberg, but be quick - the guitars like to melt everything in their path! The eight songs of Western Cum are driven by the stalwart bass of brother Casey Hanson and the drums of Evan Backer with a few passing acoustics from Cory and the intermittent spirit-moans of Tyler Nuffer"s steel guitar. The quartet sound - two guitars, bass and drums - acts as beat-making principle/phrasing device, as well as template for Cory"s layers of six-string and vocal textures. From the rooftop of their musical safe house - the band in their makeshift hut and Cory ensconced in an outhouse - they let loose with a blast both face-melting and mind-blowing: a social service that gives constipation a good name.

100-150 TRANSPARENT ORANGE / BLACK VINYL EDITIONS Sunfruits are pleased to announce their forthcoming debut album, One Degree. In high anticipation ever since the Melbourne/Naarm band released their Certified Organic EP in 2020, the album sees their most mature and conceptual songwriting to date. As heard in recent singles ‘End Of The World’, ‘Believe It All’ and ‘Made To Love’, the album showcases Sunfruits’ knack for writing memorable pop songs and their desire to use their music for good. The album is filled with anthemic choruses, melodic psychedelia, harmonious ballads and danceable indie pop, interplaying with potent lyrical messages of hope and despair. Through the album’s 11 tracks the band explore environmental collapse, resilience, self-reflection, love and relationships, all textured with a coming-of-age feel. On their debut album One Degree, the band presents new-age, anthemic psychedelia and indie-pop, similar to MGMT and Pond. The album’s memorable guitar hooks and garage-rock grit nods to artists such as Ty Segall and 70s glam-rocker, T. Rex, while the album’s softer moments echo the cinematic folk of Weyes Blood. Sunfruits take this eclectic mix of influences and create something uniquely their own, branded by euphonious four part vocals that have become a big part of their new sound. One Degree lets the listener sit with their feelings and encourages them to experience the rawness of human existence — highs, lows and the in-betweens. Touring UK/EU in September, including a date at the Manchester Psych Fest.

The continuing growth of Maik Krahl as a melodic improviser, bandleader, and composer is distinctly evident in this new release. In-Between Flow, Krahl’s third outing as leader, is a portrait of a young artist who has gone through many years of dedicated hard work, study, experimentation, and refinement in order to achieve this level of instrumental and artistic progress. Krahl belongs to a new generation of improvisers who have acquired a breadth of technical and theoretical facility, while not losing the spontaneity and rawness of this music we call jazz. As a bandleader, he chooses his colleagues wisely and for this date is joined on a few tracks by the visionary guitarist Kurt Rosenwinkel, whose brilliant playing adds a cherry on top of this already delicious line up.

The title In-Between Flow refers to ever evolving progression of our human condition. As in nature, the human spirit can expand and unfold, maturing to a new state where it may settle for a while until some new impulses inspires another transition. These transitions, sometimes subtle, sometimes abrupt; as well as the times of contentedness and serenity are the inspirations for this music.

The record opens up with an ode to the town Krahl calls home. Cologne 4 AM, begins with a haunting melody by Krahl’s soft yet powerful horn before settling into a perfect vehicle to display his command of melodic and motivic story telling. There is something about the time of 4 AM that seems to permeate literature and music, and this track will add to the canon of artistic references to this magical time where the night meets the morning.

Mr. Rosenwinkel joins the band for Slosetta, which is a great example of Krahl’s ability to craft a tune. As is to be expected, Rosenwinkel weaves through the changes with grace and mastery, obviously enjoying the communication with the rhythm section, who are undeniably inspired by his harmonic, rhythmic and melodic ingenuity.

Jakob Kühnemann, a Bandleader and composer is his own right, has been an in demand bassist on the German and European scene for several years, and his contribution to this record is proof of why that is. Although Krahl takes the lead on Drizzle Counter, in a great display of technical virtuosity, it is Kühneman who stands out on this track. It is not only in his improvisation, but more so in his poly rhythmic pulses dancing up from the deep and the harmonic insinuations in his accompaniment of Krahl’s solo that demonstrate his musical mastery.

Rosenwinkel joins again for No Claim Claim, a composition so balanced that I would not be surprised to hear other artists recording or performing it in the future. After Krahl’s melodically inventive statement, Rosenwinkel shifts the band to the next gear building the intensity towards the out head.

Constantin Krahmer has been Krahl´s piano player since his debut record, Decidophobia. His patience, ingenuity, and big ears make him a perfect accomplice to Krahl, and his sensitive yet powerful approach and accompaniment on Reconstruction of a Dream as well as his harmonic and melodic inventiveness on Vinaceous Clouds (where he plays Fender Rhodes) make it clear why he is an integral part of this unit.

Ms Ludgate is a funky composition with angular melody that is another feather in the cap of the band leader. Kurt Rosenwinkel is back, and seems more than willing to engage in some rhythmic dialogue with the spectacular young drummer on the date, Fabian Rösch. Throughout this entire record Rösch is subtly but strongly guiding the band, playing his role as a supportive and interactive proponent to the music. We will surely be hearing much more from this young man with such a refined sound and clear rhythmic conception.

Flawless Sunday, a perfect closing statement for this record. The melody is another great example of Krahl’s growth as a composer. The whole rhythm section really shines on Krahmer’s choruses, where the three colleagues push and dare each other rhythmically as well as harmonically before Krahl enters and brings the record to a close with his beautiful rich tone and melodic playing.

It is a great pleasure to hear the growth of a young artist with such dedication and vision. Hearing how Krahl and his band mates navigate through the vicissitudes of this music is an inspiration that can be mirrored in everyday life. A lesson in accepting the ever changing flow from one state to another. Growing, learning, and evolving into a new state, until the process begins anew. In-Between Flow.

„Since I Have A Lover” erscheint auf Vinyl!

Der R&B-Sänger 6LACK aus Atlanta ist bekannt für sein ehrliches Storytelling, einen kühlen Gesang sowie seine minimalistischen Beats, auf denen er persönliche Herzensangelegenheiten behandelt und verarbeitet.
Seine beiden Alben „Free 6lack‘‘ und „East Atlanta Love Letter‘‘ erreichten beide sowohl Gold- als auch Platinstatus. Er kollaborierte unter anderem mit Künstlern wie Jessie Reyez, Zoe Wees, Khalid, J. Cole, Future oder Lil Baby. Neben seines Gesangstalents ist der Künstler auch für seine Rapkünste bekannt und wird mit seinen unterschiedlichen musikalischen Einflüssen aus R&B, Rap und Art-House-Soul von pitchfork als eine der wenigen Künstler beschrieben, die ein „Verständnis für die kommerziellen Winde des Genres
beweisen‘‘. Nachdem er sich in den letzten 4 Jahren weitestgehend aus der Öffentlichkeit zurückgezogen hat, veröffentlichte er am 24.03. sein Album „Since I Have A Lover“. Auf diesem Projekt befasst sich 6lack mit Themen wie Liebe und persönlichem Wachstum. Es ist eine Antwort auf die toxischen Erzählungen, die in letzter Zeit in der Musik und Kultur zentrales Thema waren. Das Album wird ab dem 23.06 dann auch auf Vinyl erhältlich sein.

Tee Illa is a musician and beat maker based in Pretoria South Africa. This is his 1st single released on Selected Works and encompasses house, UK Garage and Future Funk influences. Tee Illa blends a wide range of musical genres and combines influences such as Lo-Fi Hip Hop, house and breaks music with South African, Afro Futurism and Traditional African music into his own brand of exciting electronica. Coloured and standard black vinyl, comes with art print.

Tee Illa is a musician and beat maker based in Pretoria South Africa. This is his 1st single released on Selected Works and encompasses house, UK Garage and Future Funk influences. Tee Illa blends a wide range of musical genres and combines influences such as Lo-Fi Hip Hop, house and breaks music with South African, Afro Futurism and Traditional African music into his own brand of exciting electronica. Coloured and standard black vinyl, comes with art print.

After over 20 years on DAT these two golden-era masterpieces finally make it to Vinyl. Future Engineers were the pioneers of this sound and the music is as futuristic now as it was then

A new Glasgow label Future State opens its doors with an EP from one of the city’s finest, the inimitable Pigeon Steve. It’s a certified trip throughout, whether it’s the acid-tinged breakbeats of the opening track ‘Do You Wish To Be Saved?’ or the hypnotic chug of ‘Chuffalump’ and ‘Trancit (Hypno Mix)’. The record closes out in fine style with ‘Polemico’, a techno-trance beauty with some serious bassweight.

“Solid foundations of polished drums and deep sub bass are coloured with moody, cinematic melodies and intricate effects” - begins to unearth the futuristic sounds of KREED.

Based in Bristol UK, his signature sound is commonly interpreted as contemporary sound system music, as first and foremost it fully delivers that essential low end needed to generate waves in the dance whilst making regular visits down some well trodden paths across a wide scope of genres. As we move forwards through KREED’s soundscape, we find that each track cleverly hooks you in with a combination of theatrical songwriting, dynamic arrangements, twisting melodies and naturally intricate production values. Imagine an orchestra playing Casio keyboards to a silent movie set in the Wild West but filmed in Bristol - or something like that. KREED dreams up a world for his music to exist in, with each track being complete with scenery, characters and a story to tell.

repress !

Electro veterans “Middle Men” (Bass Junkie & Jim Kneen) return, to seek the future...

4 stellar Electro cuts in their distinctive machine funk style, feature on this their 4th EP outing, brought to you by the mighty Fdb Recordings:

Green Vinyl

For its fifth release, french label The Bass Academy goes back into time!!! Originally written by legendary Man Parrish, "Boogie Down Bronx", a cult classic from 1984, sees a mighty resurrection with a "fresh mix" rework from UK Electro veteran Bass Junkie. Not the first time Phil Klein (Battle Trax, Breakin' Records) remixes Man Parrish as he committed in 2002 the heavy “Bass Junkie's Boogie Down Bass Mix” of “Hip Hop Re Bop”. Today, he serves up an uncompromising electro funk mayhem made of old schoolish samples, vintage synth melodies, retro congas, relentless scratches and pounding 808 beats. This brand new Sci-Fi anthem, enhanced with the legitimate legacy from the past, will invite you for some irresistible B-Boy breakdancing movements on the linoleum!!! Tuuuuuunnne! On the flipside, Phil teams up once again with long time partner in crime Simon “The Dexorcist” Brown. Together, as Gods Of Technology, (Battle Trax), they revisit another untouchable song, “Future Computer”, an exclusive to TBA track written by Jamie Jupitor and published in 2017 (TBA02). Metallic sororities melt with nasty vocoder sequences and imparable whispers turn the cut into an ode to the dancefloor thanks to harsh and hammering beats. What a timeless monster in pure West Coast tradition! With abrasive outings to appear on the forthcoming months including an incredible album with Matt Whitehead on Dominance Electricity, Phil Klein definitively returns to studios stronger than ever, putting a end to a short blackout. Rush in this hypnotizing collector 12”, limited as usual to 150 copies as it marks one of Phil Klein’s best releases to date!

'Insight Into Mind And Space' is the latest full length project from techno producer and label owner 30drop. It's a 10 track collection compiled out tracks previously released on Jeff Mills' Axis imprint in digital formats. The original albums 'Soroban' and 'Photosynthetic Zone Manifesto' have been released in the years 2020 and 2021 and will now be available on vinyl in a limited edition for the first time. The compiled album includes pieces that, like the mind, evolve as a consequence of each other in an orderly way. Starting with the early origins represented by the track 'Dunkelblau' with which the album begins, going through 'Accepting The Future', which represent the complexity reached by the human brain. 'Insight Into Mind And Space' portrays those hypothetical and alternative molecular combinations in the form of songs. Exposed to different chemical elements, gravitational and environmental conditions, dormant genes and signaling pathways are activated and uncannily combined. And just like the molecular events, sounds are combined in different ways, whether simple or complex, to create songs that provide an artistic vision to that scientific concept that opens a hypothesis to other types of intelligence that are far from human and that could exist in the vast out there. About 30drop. In his formative years, the artist responsible for 30drop discovered new synthetic and electronic sounds that would later influence his work. From the year 1996, his activity as a DJ powered his link with music, focused on Detroit Techno and Techno sounds that held the transgressive references of Birmingham, UK. These impressions saw 30drop magnetize toward an industrial, experimental, noise-based sound, particularly in the mid-2000s. After a creative pause, 2014 brought his new project, '30drop', at this time his label 30D Records of which he is the Manager and joint A&R with Angel Molina, was also born. The conceptual part of this project has been done in collaboration and with the supervision of Meritxell Rosell, PhD in biochemistry and molecular biology.

U.S legendary producer Debonaire returns to Fdb Records to deliver his third EP to date!!! Thirteen years after “The Rise Of The Bass Planet” on French imprint run by Vstee, one of the Miami Bass pioneers, Claudio Barrella introduces “Badass”, a future classic EP taken from his eponymous album published in 2022 on Debonaire Records Inc.

Fulfilled with timeless electro references, this collection of four untouchable joints pushes once again the boundaries of old-school sound to the next-level. Ode to the glorious days of electrofunk, relentless “He Is The Master” on A side serves up a brilliantly dancefloor Hip-Hop/Electro monster enhanced by a nice flow of cut’n’paste samples featuring Newcleus, Schooly D, Dynamix II, Man Parrish, Cybotron and thousands of other unmissable classics. Here comes an outstanding Time Machine that will definitely break out your linoleum.

Second tune of the opus, slow “Badass Reprise (Wax Version)” signs a hip-rock masterpiece a la Rage Against The Machines characterized by a dirty Californian spirit. Fat!On the flipside, robotic “Computer Program”, written along with his partner in crime DJX aka Maggotron, offers a cutting-edge mayhem bas(s)ed upon crystal clear sororities, some heading vocoder robot lyrics fusing with Sci-Fi tones in the background. Ace!

The Absolute climax of the 12’’, “You Feel Me Now” brings a massive cocktail of beats and low frequencies, injecting serious 80's vibes over frantic scratches and sharp 808 programming.

Packed in a beautiful white sleeve and brilliantly illustrated by DJ and Plastic designer Julien Dumaine, this collectible wax will provide intense cyber vocals and retro flavored electro to your subwoofers! Must have!

Thanks to this lovingly presented reissue from Past Inside The Present, you can own The Lower Lights by 36 in just about whatever coloured vinyl you wish: This is the Past Inside The Present translucent red version with others also available on Juno. It's an album first put together by the label back in 2019 shortly after 36 had finished a year-long 'Audio Diary' project. Not all of the tracks they wrote in that time make the cut, but the best 10 do. They are direct, absorbing and energetic ambient soundscapes that are emotionally charged and demanding of your attention.

The Lower Lights is well known as one of the most emotionally potent ambient records of recent years. It is a collection of 10 tunes from a busy period in which 36 undertook a year-long 'Audio Diary' project. The sounds are immediate and direct, demanding of your full focus and a mix of dark and urgent, cyberpunk-inspired and emotionally charged ambient sounds that bring all new thinking to the genre. Nice work.

Das Hip-Hop Duo Rae Sremmurd veröffentlicht das neue Album „STREMM4LIFE“ auf Vinyl. Die beiden Brüder aus Atlanta erreichten ihren internationalen Durchbruch 2015 mit ihrer Hit-Single „No Type“.
Seitdem wurde das Duo mehrfach mit Platin für ihre Alben ausgezeichnet, arbeiteten mit Künstler*innen wie Nicki Minaj, Travis Scott und Future und erhielten unglaubliche 40 Single Platinauszeichnungen für ihre Songs wie „Swang“, „No Type“ oder „Black Beatels“

How about you forget for a moment all the things you thought you knew about Saroos, okay? First of all, let’s forget about all the other projects these guys are part of. Why? Because thinking of The Notwist, Driftmachine, Lali Puna, Tvii Son, to name “only” half a dozen things, might be misleading in this case. What’s more, please make sure to forget the fact that they’re mostly filed under “instrumental,” “post-rock dub,” or “kraut-flavored indie-tronica,” you know, all that. And most importantly, let’s forget that they’re a closed, three-minded system: a fixed and fully committed entity of three. No more!

Known to reinvent themselves in less drastic ways, Christoph Brandner, Max Punktezahl and Florian Zimmer, have opened the floodgates to COLLABORATION – making things open, porous, different, new, in many ways, on their quietly explosive latest album “Turtle Roll”.

Announced by 2021 singles “Tin & Glass” feat. Ronald Lippok and aptly titled “Frequency Change” feat. Leila Gharib aka Sequoyah Tiger, the sixth full-length sees the Berlin threesome add another handful of vocal guests along the way – thus turning into shape-shifting full bands and/or temp quartets, perfectly at home in about as many genres as there are tracks on the LP.

Kicked off by the motoric B-funk (Berlin represent) of the Lippok-assisted “Tin & Glass,” complete with retro-futuristic effects, spoken declarations, and non-terrestrial vibes, it might not be Daft Punk playing at their house, but a byobv (vibe) house party of musical minds isn’t too far off, actually! Once again as much a mixtape as an album, the mood, vibe, and color changes with every new collaborative tune: From ethereally soothing and dreamy (“The Mind Knows” feat. Solent from Canada) to clap-driven and wildly hypnotic (that pounding “Mutazione,” featuring vocals and rhymes courtesy of Eva Geist from Italy) and almost radio-ready (“current, bass-heavy alternative indie hits only!”), when that stadium-sized oomph of “Frequency Change” feat. Sequoyah Tiger arrives around halfway in.

Elsewhere, Japanese guest Kiki Hitomi (WaqWaq Kingdom) adds exotic ecstasy to the hypothermic beatscapes of “The Sign,” while Ukrainian vocalist Lucy Zoria pushes poetic layers over “Southern Blue”’s wonky foundation that hardens and finds more direction with each round the beat clock takes – until it’s impossible to escape that undertow. “My baby makes it better,” sings Caleb Dailey on the faithful and still-loving “Being with You,” a sepia, softly churning look back by the US songsmith, a sweetly shimmering ode to a relationship.

Speaking of foursomes, there’s four instrumental tracks scattered throughout the new LP – ranging from a painting in crystal clear colors of night (“Organ of Recall”) to the highly dramatic sonic tapestry of “Thicket” (actually feat. vocals as well). Before the perfect goodbye of slow-moving album closer “Here Before,” “Passed Out” sounds like Odd Nosdam finding his feet after blacking out on a German carnival.

Titled after a surf maneuver that allows you to break through the crests on the way out, Saroos have skipped the obvious waves with “Turtle Roll” – creating their own kind of sonic “Hang Ten” by adding 7 new voices to the mix.

CREEPING DEATH befinden sich auf einem schnellen und rasanten Aufstieg aus dem Untergrund.Die texanische Death-Metal-Crew liefert immer wieder ein unerbittliches Geknüppel, das aus den entlegensten Winkeln der Vergangenheit, Gegenwart und Zukunft des Genres stammt. Der Fünfer aus dem Lone Star State zelebriert den Stil triumphierend und peitscht grausame Riffs und Südstaaten-Grooves mit einer unwahrscheinlichen kathartischen Freude auf.Boundless Existence wartet mit Future-Death-Metal-Klassikern wie dem superschweren, schnellen und groovigen "Intestinal Wrap" auf (bei dem George "Corpsegrinder" Fisher von Cannibal Corpse mitwirkt). "Vitrified Earth" zeigt die zunehmenden Fähigkeiten von Creeping Death in Sachen Songwriting, was vor allem an der Kadenz und Phrasierung von Alavis Gesang zu erkennen ist, während die kranken
Riffs nie vernachlässigt werden. Gegen Ende des Albums gibt es sogar eine etwas entrückte Atmosphäre, mit Gitarreneffekten, Harmonien und berauschenden Taktarten."CREEPING DEATH versammeln gewaltige Riffs, schreiende Gitarrensoli und bedrohliche Gesangseinlagen und spielen sie mit dem treibenden Schwung einer erstklassigen Hardcore-Band." - Revolver Magazin.

CREEPING DEATH befinden sich auf einem schnellen und rasanten Aufstieg aus dem Untergrund.Die texanische Death-Metal-Crew liefert immer wieder ein unerbittliches Geknüppel, das aus den entlegensten Winkeln der Vergangenheit, Gegenwart und Zukunft des Genres stammt. Der Fünfer aus dem Lone Star State zelebriert den Stil triumphierend und peitscht grausame Riffs und Südstaaten-Grooves mit einer unwahrscheinlichen kathartischen Freude auf.Boundless Existence wartet mit Future-Death-Metal-Klassikern wie dem superschweren, schnellen und groovigen "Intestinal Wrap" auf (bei dem George "Corpsegrinder" Fisher von Cannibal Corpse mitwirkt). "Vitrified Earth" zeigt die zunehmenden Fähigkeiten von Creeping Death in Sachen Songwriting, was vor allem an der Kadenz und Phrasierung von Alavis Gesang zu erkennen ist, während die kranken
Riffs nie vernachlässigt werden. Gegen Ende des Albums gibt es sogar eine etwas entrückte Atmosphäre, mit Gitarreneffekten, Harmonien und berauschenden Taktarten."CREEPING DEATH versammeln gewaltige Riffs, schreiende Gitarrensoli und bedrohliche Gesangseinlagen und spielen sie mit dem treibenden Schwung einer erstklassigen Hardcore-Band." - Revolver Magazin.

In the digital age, words are no longer just symbols of communication, but a powerful tool that gives rise to meaningful interconnections between different universes.

Words have the power to transcend time and space, connecting two souls destined to meet.

Il Significato delle Parole (the meaning of words) is Adiel's new effort on her DanzaTribale, a crossover of two minds, generated together with musician Flavio Accorinti: techno sounds like the restless soul that pervades our days, deconstructed atmospheres like shattered generational dreams. The fusion of two cosmic currents, two ways of thinking and creating, characterized by an immanent power, pushing us to imagine new urban primitivism. Two creative processes, transcending individual boundaries to connect into a single overarching vision, to explore new forms of art and storytelling.

The EP, mixed by Donato Dozzy and mastered at Rome's Enisslab Studio by Giuseppe Tillieci, starts with Nulla Resta, a defragmented, dreamlike, ascending climax markedly cyberpunk: dense with references to 90s Progressive Dream, Nulla Resta, with its dulcet melodies, transports us to an artificial reality, a spiritual reality albeit dominated by technology. A reality suspended between fantasy and materialism.
Suspended, like the second track (Sospesa): dark trip-hop's echoes adorned by the voice of Jordie Devlin Mcmorrow. "Shadows on the walls orchestrate our downfall." Dystopian futures intertwine with mysteriously dreamy pasts in a fatal spiral of redemption.
But words remain the catalysing element of this EP.
Parole(words) represents a communicative rare faction that embraces tribes near and far. Black drums echo in the distance in an intimate ballad, in an epic ride, in an ethereal metaphysical journey to the dissolution of the boundary between time and space, between memory and perception.
Notturna, on the other hand, is the epilogue we all deserve; a solemn twilight, a lysergic, dragging escape from the objectivity of the real world.

The images of life do not simply exist in a vacuum. They are defined by the energy that surrounds them, and it is the explanation behind each of these words that we must find if weare to truly understand them. Thanks to the meaning of words, sooner or later, we will be all united again.

Marco Vella and Anth Wendt step up to International Feel with a five-track EP of Balearic-tinged bliss for their first collaborative release as Other Mother.

There’s definitely something in the air round the Adelaide Hills. Longtime friends Marco (aka Body Corp) and Anth (aka Oisima) finally got together in Anth’s studio after the pandemic and the result is Numero Uno an EP of laidback synth guitar and drum machine workouts mixing 303 riffs and sunsets for a supremely low-slung vibe.

After cruising around the Hills in the day the pair worked on tracks by night and their carefree days soaking up the sun shines through. Opening track About Time sets a steady pace with its lush delayed guitars slow-rising acid melody and hefty sub perfect for Sunday pub garden appreciation. A side closer Zwang! drops the tempo but brings the percussion into focus for another masterclass in tension and release with interwoven 303s and dub feedback.

Side B keeps the beach-side atmos flowing with guitar licks working around sumptuous synth chords for Anyway Music - a song that’s the ultimate soundtrack understated parts fitting together seamlessly in service to the feeling and belying the technique required. Lost In The Forest makes use of expansive ambient pads synth riffs and shakers to evoke a sense of wonder sunlight coming through the trees.

The EP concludes with Where’s The Fifty a dreamy piece of drum synth phrases and 303 interplay that perfectly characterizes Marco and Anth’s collaboration - two musicians and producers playing to serve the song. They write elements that combine for a harmonious whole greater than the sum of its parts. This is the underlying feel of Other Mother and Numero Uno - we’re all in this together - and by working collaboratively a brighter future might just be around the corner.

After the acclaimed ΠΟΛΙΣ, Subheim returns with RAEON; a collection of eight new tracks for lonely evenings and long night drives. With RAEON, Subheim continues to expand into the sonic territory he has steadily been exploring since 2015’s Foray, the album that marked the project’s shift towards moodier, highly textured, lofi compositions through the use of sampling and heavy audio manipulation. While this EP feels like a natural continuation of the producer’s most recent work, it is intentionally stripped of any percussive elements, with the focus being entirely placed on space and melody.

Each composition feels like a distant, fading memory that unfolds faster than you expect it to and dissolves into an echoing nothingness before you’re able to hold on to it for more than a few seconds. Much like a long-distance train passing by or perhaps like a song you might hear in your sleep.

Every piece serves as a different chapter of the same open-ended narrative; one where stillness, grief and hope simultaneously coexist in perfect harmony. Intentionally imperfect, naturally gritty, spacious as ever, this new record balances between fragility and conviction, and once more illustrates the deeply human side of its creator.

In contrast to some of the producer’s darker work, RAEON is filled with an undertone of bittersweet hopefulness and a strong desire for new life. With the juxtaposition of nostalgic, synthesized, analog sounds and neoclassical elements, Subheim strikes the perfect balance between past and future, between melancholy and hope. And while the closing track is almost ironically called “Forget”, its ending will leave you longing for more and wondering what else is there.

Clear Vinyl

Cairo’s trip hop, illbient and club producer Hashem L Kelesh aka Dijit documents a decade of sprawling productions at his home studio, fuelled by the energies of his friends and collaborators.

Populated with the vocal presences of vocal spars Deedz, 7aleeb, and Lella, ‘The Room’ is a metaphoric synecdoche for Kelesh’s studio output between 2008-2019, featuring 9 tracks of lo-slung but levitating trip hop and illbient that overlaps his productions on the long sold-out ‘Hyperattention: Selected Digital Works Vol.1’ album, and augmented by a number of fiery percussive pieces and future folk works that give a wider frame of reference to his style.

While the album follows the smoke curl dynamic of his previous work, the glorious mesh of electro-chaabi breaks and Eno-esque ambient guitar licks on ‘Dreak’, and the heat-seeking street rave scenes of ‘Saga’ will no doubt disrupt your preconceptions, while his folk prayer-like ‘Loli’ reaffirms a knack for captivating downbeats. ‘Leban’ brings a chopped ’n screwed trip hop temporality, deploying laminar layers of male/female vocals that inevitably call to mind Tricky via Leila Arab, while ‘Hasheesh’ trades in red-seal levels of heads-down pressure shades away from Portishead or even Pessimist’s snapped productions.

Dijit smartly manages to keep it all just the right side of gloomy though, with the shatterproof tension between screwed vox and ascendant hyaline electronics on ‘Hamhama’, or likewise in the high-register piquancy and celestial chorales of ‘Dream of a bee’, while the upfront burst of drums in ‘Saga’ will bring heads to their feet.

Past Inside The Present has really gone to town with the re-release of this 36 album The Lower Lights: it comes in several different formats and vinyl versions with this one being a limited, numbered and opaque red vinyl including a download code. Musically it is just as essential as a collection of tracks from a year-long 'Audio Diary' project undertaken by 36 between April 2018 and April 2019. It first came back in May 2019 and soon sold out, such is the quality of the vibrant and eclectic ambient sounds within. This is not sleep-inducing background material, but rather emotionally charged soundscaping with a mix of dark, futuristic and urgent pieces all making the cut.

‘Y Dydd Olaf’, which is sung entirely in Welsh,
apart from one song penned in Cornish, draws
inspiration from Owain Owain’s 1976 novel of the
same name. The book is set in a dystopian future
where robots enslave the human race through the
use of medication, while Gwenno’s album covers
such themes as patriarchal society, governmentfunded media propaganda, cultural control,
technology, isolation and the importance of
minority languages.
 ‘Y Dydd Olaf’ was initially released by Peski
Records in October 2014, before being released
worldwide in 2015 by Heavenly Recordings.
 Now available on crystal clear vinyl. Includes
digital download of ‘Y Dydd Olad’ plus nine bonus
tracks of remixes and rarities.
 “This record demands what’s left of your time.” - Q
(★★★★)
 “Blissful, dreamy psychedelia, full of twinkling
electronics and metronomic drums.” - Evening
Standard (★★★★)
 “Language as a metaphor for political defiance…
floats beautifully over the krautrock/space-rock
soundscape, a Goldfrappian album you should
hear.” - The Sunday Times (★★★★)

Taiwanese label JIN records enters autumn 2022, with a new promising release by South Korea’s Yetsuby. As always searching for gems in the pan-Asian domain, JIN is delighted to have Yetsuby for its latest/6th release.

On this EP, one-half of the ambient duo Salamanda, Yetsuby showcases her expertise in mood setting soundscapes, taking listeners on a sound journey across a wide array of musical spectra.

Opening on A1, Yetsuby reinterprets a traditional Korean folk story of a bear devouring garlic and green onions, transforming the animal into a human being. Aptly named ” Bear Becomes The Human,” she transforms the transformed, turning the bear into a buzzing modern drum & bass-fused energetic tune. It turns out garlic is a powerful source after all.

B1’s “Jelly” showcases Yetsuby’s talent for stripped-back glitch music: With a minimal bass and drum pattern, the track gently muddles along and presents itself as well suited warm-up track for the earlier hours of any party.


For the remix sides, Cleveland delivers a vinyl only remix of “Bear Becomes The Human” with a futuristic house tune filled with jungle like drum pattern and techy yet smooth atmosphere on A2.


On B2, New Zealand’s Eden Burns takes an entirely different path on his reinterpretation of Jelly. Embarking from the original pattern, he turns the original into a slow brewing psychedelic trance cracker that seems most suited for the early morning after hours that need an energy boost.

After the success of their previous "Get Mine/I'm Gone" 7" vinyl 45 release LRK Records is proud to announce the digital single follow up by Bella Brown & The Jealous Lovers!!

Bella Brown & The Jealous Lovers are a Los Angeles based, transplanted fromChicago, unit that specializes in 60s/70s soul and funk. The band is fronted by the dynamically charismatic Bella Brown. A fiery female lead singer that is a mixture of Tina Turner and Sharon Jones, with a persona that is reminiscent of the empowered female
leads of 70s Blaxploitation films. Backed by the musicianship of The Jealous Lovers they form a unit that expertly expresses a uniquely modern interpretation of the traditionalsoul and funk genres.

Their new single "What Will You Leave Behind" exemplifies this
ideal. The track is a heartfelt call to action in these times of failed humanity and injustice. A Motown influenced message of hope that features sympathetic vocals, supportive horns, and a funky twist that asks us to create a better future by considering the effects of our present.

Look for "What Will You Leave Behind" March 3rd, 2023 on all streaming platforms, and stay tuned for an announcement from LRK Records regarding "What Will You Leave Behind" and a future Bella Brown & The Jealous Lovers 7" vinyl 45 released!

NEW CUT NEW MASTERING AND NEW DESIGN!

DMX Krew unearths the lost Cold War LP.

Created for 1983. Created in 2003. Released in 2023. In mistrust and blindness mankind wages a COLD WAR, East against West in a spiraling cycle of mindless escalation. For 40 years the madness continues until it reaches its inevitable climax, NUCLEAR WAR.

Armageddon is achieved at the push of a button, millions of lives are destroyed. Those who are spared struggle for survival in the bleak conditions of NUCLEAR WINTER.

Acid rain destroys the landscape, darkness falls across the face of the
earth and hope is lost as the population falls prey to radiation sickness and cancer. Deep underground, the last survivor works feverishly in his isolated laboratory. A lone scientist attempting desperately to save mankind, he uses occult technology and deep-frozen human tissue to create a group of 12 radiation-resistant HUMAN CLONES.

They set forth to rebuild and repopulate the planet, whilst the scientist continues his work to improve and strengthen mankind. He develops a technique to fuse his own living flesh with the transistorized mind of a supercomputer, transforming himself into FUTURE MAN. Synergy of man and machine. Having transcended his mortal condition, he is now deemed ready to meet THE ELOHIM, a race of super-evolved aliens who created mankind 40000 years ago and have been watching and waiting ever since for the day when man at last becomes enlightened.

They descend from the heavens in their storship telling Future Man to
rejoice, for the trials of mankind are over and they sing to him of their long wait and THE GOLDEN AGE which is about to begin. Future Mom and the Clones are taken on board the spacecraft whereupon the Elohim transport them through the STAR GATE to a planet paradise where they are able to live in peace and happiness and once again become prosperous and many.