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50th anniversary of the groundbreaking and influential compilation of the first generation of psychedelic artists curated by Lenny Kaye. This box set includes the original 2-LP set, the planned but unreleased Vol. 2, and a single LP of songs that were considered for the original set, but didn't make the final cut. Like the original, this set is curated by Lenny Kaye and with the full involvement of Jac Holzman - the original pioneers of Nuggets. Lenny is also writing new complete notes.

In den 25 Jahren ihres Bestehens haben Atmosphere ein Vermächtnis aufgebaut, das Ehrlichkeit, Demut und Verletzlichkeit in den Vordergrund ihrer Musik stellt. Das aus Minneapolis stammende Alt-Rap-Duo prägte mit Songs über das Leben, die Liebe, Stress und Rückschläge den Begriff "Emo Rap", lange bevor der Ausdruck zum Genre-Tag wurde. Nach Zusammenarbeit mit u.a. Rick Rubin, El-P ("Run The Jewels"), Tom Waits und Tunde Adebimpe ("TV on the Radio") ist "So Many Other Realities Exist Simultaneously" das 13. Studioalbum von Rapper Slug und Produzent Ant. Das Album erforscht unterschiedliche Formen der Paranoia. Inspiriert ist es vom allgemeinen Unwohlsein einer pandemiemüden Gesellschaft voller ziviler Unruhen. Das Cover stammt vom renommierten bildenden New Yorker Künstler Michael Alan Alien.

Electro and acid breaks, smooth or hard, 140 or 160 BPM... whatever, all tunes brings a global newskool sound and ambiance...
BIG UP !

Irish-born, Manchester-based Kerrie is a multi-disciplinary artist, incorporating live sets, DJing, producing and running her label Dark Machine Funk across her repertoire of work. Now, Kerrie follows up last year's 'Raw Regimen' (BP063) with a second EP for James Ruskin's seminal Blueprint Records.

Having garnered a rich musical education through working at and holding a DJ residency for one of the UK's most respected record shops Eastern Bloc, Kerrie's in-depth knowledge and unwavering dedication to music shines through her notable back catalogue and bolshy, unforgiving DJ and Live sets. Honing her craft for over a decade, Kerrie has played worldwide in celebrated venues such as Tresor, Berghain, fabric, FOLD, Elsewhere NYC and festivals including Freedom Medellin, Freerotation, Drift and Basilar.

First learning to mix via her brother's turntables in the early 2000s, it wasn't until 2009 that Kerrie invested in her own set-up and built an extensive record collection, covering everything from ambient, electronic, house, EBM, acid, electro, and her go-to genre, techno. Kerrie delivers tough moods from the turntables, as conveyed in her mixes for Reclaim Your City, Bassiani, SLAM and Crack, where she carefully blended high-energy styles of UK, Detroit, and European techno, many of which stem from the 90s and the 00s. It's frequent to hear Kerrie weave broken elements into her mixes too, chopping up the 4/4 groove at just the right moment to keep things propulsive. Kerrie's Live sets are fast becoming renowned for their trippy motifs and high impact on the dancefloor, applauded by Berlin's long-running club Tresor, where she made several appearances with her Elektron machines. Kerrie's Live set at Freerotation in 2019 was one of the festival's most talked-about debuts, and this year, Kerrie will return to and debut at multiple festivals and clubs across Europe and the Americas.

Following well-received releases on labels such as Don't Be Afraid, Cultivated Electronics, I Love Acid and Symbolism, Kerrie launched her imprint Dark Machine Funk DMF in 2020. The label homes her distinctly raw aesthetic and honours her love for dark, gritty, metallic and industrial sounds melded with elements of funk, heavily influenced by second-wave Detroit artists, UK techno and music by some of her favourite artists; James Ruskin, Blawan and Surgeon. Kerrie's first release on DMF, 'Inner Space PT1', was praised by Resident Advisor, who credited her ability to make "lean, fierce techno that knows how to groove."

2022 was a watershed year for Kerrie's productions. She debuted on the monumental UK techno label Blueprint with her EP 'Raw Regimen', which landed acclaimed reviews. Truly welcomed to the Blueprint family, Kerrie shares her second EP on the label in May and joins the crew at Blueprint showcases around the globe. This year marks the release of Kerrie's 10th EP on vinyl, and considering her consistent output on DMF, Blueprint and many more labels, the producer shows no sign of slowing down.

Coming to international prominence in more recent years, regardless of her decade-long tenure in Manchester's vibrant scene, Kerrie is deeply invested in the culture of electronic music, starting from her teenage era as a raver in Ireland up to her innovative projects today. In 2017, she founded Eastern Bloc's in-house event space to nurture local talent, which remains at the heart of Manchester's music community. Having ended her 11-year stint at the shop in 2023 to fully commit to the studio and accommodate her increasingly busy tour schedule, Kerrie is forging a long-lasting path fuelled by drive, passion, authenticity and a community-first way of thinking.

Acid mental progressives and Transcore-Tribe tunes, dancefloor tripperz from masters of the genre ! Enjoy !

We're thrilled to release two exciting electro tracks by Art P, as well as the classic minimal synthwave tune 'Der böse Osten' by related band project Die Synthetische Republik on this limited split 12".

The single kicks off with 'Genscher Pull and Push', an incredible and previously unreleased electro/wave/proto-techno tune from the P.A.P. archives, recorded in October 1982 with a political background. The song was only available on a demo cassette for a radio show and had been forgotten since then. Genscher was a long-time Federal Minister for Foreign Affairs and Vice Chancellor of Germany, who played a key role in a coalition change in September/October 1982, leading his party, the FDP, to leave the Helmut Schmidt cabinet with the SPD and continue with the opposition, the CDU/CSU. As a result, the German lyrics of the song shout 'bitte geh nach links / bitte geh nach rechts' ('please go to the left' - meaning the left-leaning SPD, and 'please go to the right' - meaning the right-leaning CDU), and so on.

Unfortunately, this track was never released, as the topic of the coalition change quickly became uninteresting and outdated. If it had been issued on vinyl in late 1982, it would probably be considered one of the first proto-techno tracks ever. With its driving and heavily-punching 808 rhythms, and the bending synth bass leads played on the Jupiter 4 synthesizer, it gives you a groove that owes as much to Kraftwerk's 'Computerwelt' album as it may rhythmically pre-date the sound of Detroit's Juan Atkins. The energetic German vocals are giving the track a unique Neue Deutsche Welle touch. They are heavily left/right panned to fit the political topic.

Next up on the Art P side is a remix of 'Polaroid', originally found on the No Message LP that we re-released last year. The track was recorded in 1985, and at that time, the duo of Frank Grotelüschen and Jens-Markus Wegener had become bored with the sound of the Roland 808 drum machine, so they made the track with a DrumTraks by Sequential Circuits. However, for this remix, DJ Scientist, the curator of this 12", wanted to recreate the typical electro-funk sound of the era and added 808 bass drums and claps. The track was also shortened to a more DJ-friendly arrangement. The result is a dancefloor delight for all lovers of classic electro and SVC-350 vocoder sounds!

Die Synthetische Republik was a project by Wegener of Art P and Olav Neander. The track 'Der böse Osten' can originally be found on the cassette album 'Faktor D', recorded in just two weeks on a Tascam Portastudio 245. The original recording sessions were pure fun but also rushed. Hence, none of the tracks was perfectly mixed. With digital technologies, we remastered 'Der böse Osten' to achieve the best possible result and are pleased to release this serious synth wave gem on a loud 12" for the first time as an exclusive extended mix.

The split 12" is released in a picture sleeve with a unique artwork on each side. It is limited to 500 copies.

repressed !

It takes a lot to achieve the status of legendary or era defining in dance music, its sands shift so quickly artists, genres and labels have often come and gone before you realise.

So it's with some pride and deserved justification that Yoshitoshi marks its 20th anniversary with celebratory remix packages of its most iconic tracks.

Already riding high in the Beatport charts with the success of the Uto Karem and Robosonic mixes of Eddie Amadors House Music, the latter of which has spent the past month in the overall top 5, the label now plans a one, two punch with the follow-up: Alcatraz seminal Giv Me Luv.

We thought long and hard about how we scheduled this 20th anniversary project, says label boss Sharam, little point launching big and then following up with a whimper so we deliberately chose Alcatraz for this difficult task.
But the challenge didnt end there; a massive record still deserves a massive remix and I think its safe to say we found the perfect woman for the job...

Step forward undisputed techno titan Nicole Moudaber who leapt at the opportunity to remix the track.
Ive got so many fond memories of Giv Me Luv, it was one of my favourite tunes from my formative clubbing days, recalls Nicole happily, so, when Yoshi mentioned the idea of me remix-ing it I just couldn't say no.

In fact I was so familiar with Alcatraz I was already awash with ideas of what I could, or should, do with it.

As I got into the mix one of those ideas just grew and grew, namely an extended breakdown that constantly builds; layering the memorable vocal to an intense pay-off and (hopeful) moment of real dancefloor drama. Nicoles humble description doesn't quite do the end result justice, which is a modern, masterful take on the classic.
Her iconic techno beats, dark twisted stabs and arrangement of that bassline drive toward the mentioned break, which will undoubtedly rival the fireworks of any impending NYE celebrations. In fact, expect this track to be THE soundtrack to many a dance floor come the all-important hand-over to 2015. And, just in case that weren't enough, Yoshi has also secured the skills of Tent Cantrelle to deliver the perfect deep house foil to Nicoles techno ferocity as Sharam concludes, We wanted a real slice of contemporary funk from the companion mix.

Yoshi is synonymous with exploring the line between deep house and techno, perhaps no more so than during its formative years, so this re-mix completes the package perfectly.

Since relocating to Brazil some years back, Needs Music co-founder Lars Bartkuhn has returned to his long-held love of musical improvisation. Although it’s a product of his jazz roots and classical training, the German producer has constantly found new ways to apply it to his work in the sphere of electronic music.

‘Dystopia’, his first solo album for almost nine years, was born out of two interlinked ideas: a desire to create improvised music without the aid of computer sequencers or an electronic drum set, and a deeply held love of storytelling through sound. Bartkuhn set to work improvising with modular synthesizers, acoustic instruments and hand percussion, later adding light-touch overdubs to a handful of pieces. When he listened back to the recordings, an aural narrative emerged, and you’ll hear it if you listen to the album from start to finish, as is intended.

As you’d expect from a musician and composer of Bartkuhn’s undoubted ability, ‘Dystopia’ is a stunning album – an undulating, expansive ambient journey packed with emotional resonance. While Bartkuhn naturally sees it as a logical progression of his previous ambient-leaning work with Kabuki as The First Minute of a New Day (and particularly their self-titled 2020 album Séance Centre), ‘Dystopia’ also features subtle nods to many of his long-held musical loves, including John Hassell’s ‘fourth world’ recordings, the impossible-to-pigeonhole 1970s catalogue of deep jazz imprint ECM, and the far-sighted American minimalism of Terry Riley and Steve Reich.

The album’s emotional depth is evident early on, with the slow-burn title track – all bubbling electronics, billowing chords, clarinet-style notes and gently strummed guitars offering the most melancholic and bittersweet of openings. The becalmed ‘A Drop Of Water In The Ocean’ follows, with discordant aural textures and hand percussion mimicking the rolling ocean, before ‘Largo (Calm Before The Storm)’ hints at unsettling times ahead.

‘Water and Warm Air’, the only track on the album whose starting point was not Bartkuhn’s cherished modular set-up, bleeps and bubbles across the sound space, adding a starry and otherworldly slant to proceedings, while ‘Disembodied Journey (Parts 1, 2 and 3)’ is a sublime, slowly unfurling journey in three movements – all Tangerine Dream style synthesizer motifs, Pat Metheny-esque guitars and jazz-fusion instrumentation.

So the album continues, with the poignant warmth and looped motifs of ‘Still Existing’ and the sparse, dubbed-out minimalism of ‘Do You Know How To Get Out?’ – a kind of 21st century jazz-fusionist’s take on sparse electronic hypnotism – giving wat to closing cut ‘Into The Waves’, a gentle combination of undulating electronic arpeggios and echoing instrumentation that offers a hopeful and undeniably picturesque conclusion.

Fittingly, the album cover features a painting by the late Dutch artist Franz Deckwitz (1934-94), whose images of alien landscapes were used by Phillips on a series of music concrete compilations. The image featured on the cover of ‘Dystopia’, depicting a deep blue ocean and shoreline, was painted by Deckwitz in Amsterdam in the late 1970s and inspired by a trip to the island of Ponza, Italy.

Matt Anniss

Tom Trago returns to Rush Hour after 10 years with a wonderfully accomplished mini-album, tip!

During the years he spent living in Amsterdam, when his DJ career seemed to become an unstoppable juggernaut, Tom Trago was a regular visitor to Deco Sauna, a local institution that helped him “decompress” and de-toxify his body. Eventually, a more extended period of “decompression” was needed, with Trago moving to the coast to reassess his priorities and spend more time with his young family.

‘Deco’, his sixth album and first for Rush Hour in a decade, was recorded following an extended absence from club dancefloors, as Trago cut back on DJ commitments to prioritise family life. When he returned to the studio, often with his daughter by his side, Trago initially struggled to get back into the groove. The desire to make dancefloor-focused music had – temporarily, at least – deserted him; instead, he found himself drawn towards a desire to create “electronic lullabies” and music that reflected his more pastoral environment (his home backs on to a patch of woodland in which he would walk every day).

Returning to his most familiar synthesisers – and specifically the first synthesiser he bought, on credit, as a young DJ and wannabe producer – Trago set about navigating different musical routes without the straight-jacket of club-focused dancefloors. Occasionally, old friends from Amsterdam would join him in the studio – Tracey and Maxi Mill, both of whom are part of his Voyage Direct label roster, contributed to tracks on the album – but for the most part the production process was a solo endeavour: musical therapy for an artist determined to do things differently after years spent making club hits and sweat-soaked peak-time workouts.

The results are rarely less than spellbinding. Trago sets his stall out with opener ‘Dark Oak’, a gorgeous, colourful, sun-bright scene-setter co-produced by Tracey that layers tumbling lead lines, chiming melodic motifs and kaleidoscopic chords atop the gentlest of bubbly beat patterns. Maxi Mill lends a hand on ‘Central Park’, a deep and hypnotic excursion marked out by rhythmic bleeps, minimalistic beats and layered melodies, and the summer sun-down rush of ‘Never Peace a Puzzle’, where kaleidoscopic synth sounds, meandering solos and looped electronic stabs rush towards a dancefloor of the mind.

Trago’s desire to create “electronic lullabies” for his young daughter comes to the fore on ‘To Be Left Unlocked’, a hypnotising fusion of spacey electronic motifs, Steve Reich style (synth) marimba melodies and slowly building musical intensity, while the echoing Fender Rhodes riffs, squelchy synth-bass, glistening guitar notes and sparse, snappy post hip-hop beats of ‘When The Sky Is Watching Us’ doff a cap to the producer’s roots as a bedroom beat-maker.

Given the project’s genesis, it’s perhaps fitting that Trago chose to conclude proceedings with ‘It Might Be Forever’ and the digital only ‘Blue Dope’, the album’s most rejuvenating, immersive, and vibrant moments. Both feature sustained chords painted with vivid aural brush strokes and come blessed with the merest hint of a rhythmic pulse – a thread that subtly runs throughout Trago’s most mature and musically rich album to date.

Matt Anniss

AMAS_JAHRE



das album JAHRE ist ein musikalischer abriss der letzten 15 jahre zweier freunde und weggefährten. alle persönlichen höhen und tiefen sind auch hier musikalisch zu finden und sollen durch einen typischen abend unserer generation führen.

es beginnt mit dem prolog, der alle ängste und hoffnungen auf einer einsamen straße zum gemeinsamen sein skizziert. was erwartet einen, wird man sich wieder mit seinem besten freund streiten, oder liebt man sich mit einer fremden auf dem klo? all das läuft langsam die straße hinunter…

die abenddämmerung beschreibt das zusammenkommen mit deinen liebsten und freunden und die erste euphorie auf das was kommen mag. man sitzt gemeinsam beim essen oder im wohnzimmer, redet über alte geschichten oder neue liebschaften, alles schwingt und swingt im richtigen groove der zeit.

in aufbruch kommt die ganze nervosität und vorfreude auf das gemeinsame ausgehen zum ausdruck. alle werden hibbelig und springen umher, einer zieht sich etwas durch die nase, die andere tanzt auf dem sofa und schreit ihre liebe in die nacht. wenn endlich alle fertig sind kann man dann auch mal aufbrechen.

getanze beschreibt den moment des betretens einer musikalischen szenerie und tanzerei, die alle sofort mitreist und befreit. der geruch im club ist stark und leicht süßlich von rauch und schweiß, alles bewegt sich, alles fließt, man wird einfach geführt und lässt sich gehen.

mit begierde kommt der sexualisierte augenblick, verstärkt durch alkohol und drogen jeglicher fasson, über uns alle - man möchte alles begehren und besitzen, man liebt alles, fickt alles und beweint alles und jeden, bis man wieder klar wird und den ursprünglich pfad zu seiner gemeinschaft findet.

ricardo zerlegt kurz vor dem ende des abends nochmal völlig wild und ekstatisch das gehör, den raum und die zeit. alles biegt sich wie in einem schwarzen loch, überall ist gravitation und klang, alles zerschmilzt zu einem brei aus liebe, angst, geborgenheit und wahnsinn.

das morgengrauen ist der moment des erwachens, sowohl der sorgen und des grauens der folgen dieser nacht, aber auch der geborgenheit der freundschaften die einen umgeben. man schwankt freudig und zitternd nach hause, manch einer alleine, andere wollen noch weiter in ihren armen liegen, ob aus furcht oder liebe ist eigentlich egal, hauptsache man spürt!

am ende soll der epilog heilen, er zeigt uns wie gut und selten unsere fast schon schizophrene lebensweise war und immer noch ist :).

Today sees Belgian-Caribbean provocateur Charlotte Adigéry and her long-term musical partner, Bolis Pupul announce their debut album Topical Dancer, due for release on March 4 2022 via Soulwax’s iconic label DEEWEE.
Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink.

Their debut studio record – which cements them as a duo under both their names for the first time and is co-written and co-produced by Soulwax – is both a triumph of kaleidoscopic electro-pop and “a snapshot of how we think about pop culture in the 2020s.” It captures Charlotte and Bolis’s essence as musical collaborators and the conversations they’ve had over the past two years on tour, as well as their perspectives as Belgians with an immigrant background, Charlotte with Guadeloupean and French-Martinique ancestry and Bolis being of Chinese descent.

Beyond the album’s thematic heft, Topical Dancer reflects Charlotte and Bolis’s idiosyncratic sound: it’s thoughtful but it bangs. Their take on familiar genres is always off-kilter; songs sound undone or a little wonky; but these are nocturnal heaters to make the club throb. “We like to fuck things up a bit,” laughs Bolis. “We cringe when we feel like we're making something that already exists, so we're always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.”

Topical Dancer is fizzing with ideas – there’s certainly no filler among its 13 tracks. But above all, perhaps, it has a restlessness, a desire not to be boxed in and to escape others’ narrow perceptions of who they are. It’s summarised by the refrain of their new single, ‘Blenda’: “Don’t sound like what I look like / Don’t look like what I sound like.” “One thing that always comes up,” says Bolis, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.”

‘Blenda’ in particular references how “I am a product of colonialism,” says Charlotte, “and I feel guilty for taking up space in a white country.” The song was inspired in part by Reni Eddo-Lodge’s book Why I’m Not Longer Talking To White People About Race. “It talks about the colonial past and post-colonial present in the UK,” Charlotte continues, “but that isn’t merely a British or American problem, Belgium is part of that as well.” She says that her home country is likewise “oblivious to a big part of its history” which “results in general ignorance and a lack of understanding and empathy towards Belgian inhabitants of immigrant descent.”

On Topical Dancer, it’s less about finger pointing or being dogmatic about all the things they speak about. It’s about emancipation through humour. “I don’t want to feel this heaviness on me,” says Charlotte. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”

Correcciones Calypso returns from a generous hiatus with the fourth edition of its acclaimed edit series, replete with four re-edits that veer from the subtle to the downright brazen. Thomass Jackson and INigo Vontier invite the French duo Youkounkoun to open proceedings with an insane early 80s edit full of big drums and exotic touches that's been blowing dancefloors all around the world for the past years - and definitely resides in the brazen category, despite a lot of work having gone into it. Olta Karawame make their debut on the series with a powerful, compact edit full of ballsy keyboard riffing and a military-sized kick drum that is guaranteed to have heads banging . To complete the release label bosses Thomass and INigo deliver edits of their own with their characteristic sound, giving this EP maximum a value for money factor and entertainment from start to finish.

The trio Amiira of Klaus Gesing, Björn Meyer and Samuel Rohrer has returned after a layoff of six years since their debut LP. It would be unwise to expect for them to pick up exactly where they left off, given all the turbulent change that the world has encountered since this time, and indeed the new Album Curious Objects reflects a clear expansion of the players’ abilities. The fundamentals that guided the
debut album – spatiality, refined coolness, the non-verbal “narrative” quality - are still very much present, but are this time reinforced with an even more pronounced feeling of communicating across wide
physical and conceptual spaces. Altogether, Curious Objects is a potent antidote for spiritual and musical fatigue; especially
recommended for those who have already left behind the limitations posed by genres. It is more than the sum of its parts, and its crossing of numerous different boundaries never feels like the goal in and of
itself: instead, all this activity feels like a tool for unlocking and decoding even more supposedly irreconcilable qualities and ideas.

Clear Vinyl

* Eomac has injected a new level of consciousness into beat making by recording water drips and drops. This edge of real life and water frequencies feels like opening a door in your mind and taking a rhythmic sound shower, finding tiny minimal melodies within the water itself.

*Distorting reality, in the most beautifully crafted and playful manner, Eomac’s Water Tracks are made with natural sounds of water and they not only make your body want to dance, they are a joy for the minds ear; sound design full of life and character, refreshing for the soul too. If hyper-real Techno was a genre - perhaps Eomac has invented it here - the idea to use micro melodies found in drips, drops and sploshes of water feels clever and inventive, Swimming up-stream against the standardized sound of Techno’s machine-made Electronic presets.

* Eomac is a project from Irish composer and producer Ian McDonnell, releasing genre-spanning electronic music via Planet Mu, The Trilogy Tapes, Bedouin Records, Killekill, Phantom Limb, Emika Records and more. Eomac’s sound draws from obscure samples and raw sound design in a continuing exploration of the furthest reaches of intense, visceral music for body and soul. He digs deep into light and dark mysticism for the dancefloor, as experienced in numerous performances at festivals and clubs across the globe.

Distorting reality, in the most beautifully crafted and playful manner, Eomac’s Water Tracks are made with natural sounds of water and they not only make your body want to dance, they are a joy for the minds ear; sound design full of life and character, refreshing for the soul too. If hyper-real Techno was a genre - perhaps Eomac has invented it here - the idea to use micro melodies found in drips, drops and sploshes of water feels clever and inventive, Swimming up-stream against the standardized sound of Techno’s machine-made Electronic presets.

X-Plode is a master of the 1992 rave sound. Listening to any one of his tracks, you could easily imagine them being part of a Top Buzz set back in the early 90’s. Hailing from Bolton, Lee aka X-Plode self-released his debut EP on white label in ’92, which would go on to be a highly collectable item and in turn would prompt Vinyl Fanatiks to track him down, which was not easy I can tell you, in order to repress it in 2020.

A friendship was born and in turn Lee was inspired by the interest in his old EP when reissued that he decided it was time to start making music again, 27 years after he downed tools. And we are very luck he has, because he is a rare talent, with an ability to capture an era in music so genuine and respectful that you would struggle to even tell it was made in the 21st century.

This is X-PLode’s second EP on Amen Brother and another EP has been made for a new label run out of the Vinyl Fanatiks stable called Acid Boom, where Lee showcases his unique ability to perfectly capture another era of British dance music… Adddiieeeeddd!

Change is good. It’s inevitable. It’s the general nature of how the universe works all around us. Change comes in many forms, and this particular one is the debut EP from 2Phargon. While it might be the debut, the veteran producer behind the new alias isn’t a stranger to Dirtybird, Lee Mortimer aka Friend Within.

The EP features three brand new tracks under the new guise covering a wide landscape. “Feel A little Strange” is a monster attention grabber - the perfect piece to kick off the new venture. “Micro” is fast-paced filled with moments of drifting away before snapping back into stride. Rounding it out is “Dwelling”—a bubbling kaleidoscope of sound.

We welcome the change with open arms.

Following the success of the Emotive Response trilogy, 9300 Records brings another Belgian retro trance infused 4-tracker by new signing After Club. Raw analog pounding tracks that bring back the melodies and sounds that defined a generation of party goers in Belgium's 90's club scene. Hot!!!

The new album from hip-hop duo Atmosphere, So Many Other Realities Exist Simultaneously, opens with veteran rapper Slug and seasoned producer Ant taking a gentler approach. A departure from the brute intros of earlier works, the lead-off track “Okay” sounds focused on comforting and reassuring the listener, as if informed by fatherhood and implicit duty. With Slug rapping over one of the most twinkling productions Ant has released, the song lays the groundwork for an album-length exercise in fumbling consciousness without setting a precedent for how they intend to navigate it. Yet, as gently as the album begins, there’s an unmistakable sense of unease from the onset that continues to evolve throughout the project, as Slug and Ant weave the listener through indistinct themes of insomnia and woe.

From the subtle panic at the heart of songs like “Dotted Lines,” to the overt anxiety of songs like “In My Head,” the tension seems to cede and swell, but just as the tears begin to well, they seem to find resolve again through songs like “Still Life,” whose hopeful outlook undercuts the tensity of the album. Meanwhile, the rhythms on So Many Other Realities are some of the most inventive of Ant’s career. The playful percussion on “In My Head” acts as a nice counterweight to the roiling writing, while the drum patterns on “Holding My Breath” and “Bigger Pictures” allow Slug to play with his
flow to emphasize the anxiety driving the record.

Where previous records in this most recent act of Atmosphere’s career have been focused on emphasizing the parts of life that carry the most meaning—family, brotherhood, purpose—So Many Other Realities is an almost unnerving excavation of paranoia that can be grafted onto the general malaise of a pandemic weary society full of civil unrest. The tension of these songs is palpable, but the album’s mere presence is a testament to the hope that has to underpin even the most stressed out songs. Regardless of when the curtains might close, the music goes on.

Ed Sheeran is set to release his new album ‘-‘ (Subtract) - the last in his decade-spanning mathematical album era - on 5 May 2023 through Asylum/Atlantic on vinyl, cassette and CD. An album that revisits Ed’s singer/songwriter roots, and one that was written against a backdrop of personal grief and hope, ‘-’ (Subtract) presents one of the biggest stars on the planet at his most vulnerable and honest.
In Ed’s own words - “I had been working on Subtract for a decade, trying to sculpt the perfect acoustic album, writing and recording hundreds of songs with a clear vision of what I thought it should be. Then at the start of 2022, a series of events changed my life, my mental health, and ultimately the way I viewed music and art.
Writing songs is my therapy. It helps me make sense of my feelings. I wrote without thought of what the songs would be, I just wrote whatever tumbled out. And in just over a week, I replaced a decade’s worth of work with my deepest darkest thoughts.

Within the space of a month, my pregnant wife got told she had a tumour, with no route to treatment until after the birth. My best friend Jamal, a brother to me, died suddenly and I found myself standing in court defending my integrity and career as a songwriter. I was spiralling through fear, depression and anxiety.
I felt like I was drowning, head below the surface, looking up but not being able to break through for air.

As an artist I didn’t feel like I could credibly put a body of work into the world that didn’t accurately represent where I am and how I need to express myself at this point in my life. This album is purely that. It’s opening the trapdoor into my soul. For the first time I’m not trying to craft an album people will like, I’m merely putting something out that’s honest and true to where I am in my adult life.

This is last February’s diary entry and my way of making sense of it. This is Subtract.”
Since he first learnt ‘Layla’ by Eric Clapton on guitar at the age of 12-years-old, Sheeran’s love of the singer/songwriter began. Growing up with the likes of Damian Rice, Bruce Springsteen and Bob Dylan playing on repeat in his parents’ house – artists that his dad, John, introduced him to – ‘-‘was always on Ed’s horizon. Yet as the songs and writing process took on a whole new meaning and direction after a series of hard-hitting events impacted Ed’s world in 2022, one thing that remained untouched was his strong desire to make a record anchored in his love of singer/songwriter compositions. And now, as he gears-up for the release of his most soul-baring work to date, ‘-‘ serves as a timely reminder for why Sheeran remains one of the most gifted lyricists of his generation; an artist who breaks down his own experiences for fans to seek comfort and belonging.
‘-‘ is the result of Sheeran pushing the boundaries of his songcraft, as he delivers the most profound songwriting of his career. Teaming-up with Aaron Dessner (The National) on writing and production after the pair joined forces following an introduction from mutual friend Taylor Swift, Ed and Aaron began crafting the album in February last year. Writing over 30 songs during their month-long studio stint, the album’s fourteen tracks are seamlessly tied together by exquisite production from paired back, folk-leaning textures to bolder, full-band/orchestral arrangements.
Ed Sheeran burst onto the UK music scene in 2011 with his debut album ‘+’. Rapidly establishing himself as a history-making artist, he followed with ‘x’, ‘÷’, ‘No.6 Collaborations Project’ and ‘=’ - a catalogue that has seen Sheeran become one of the world’s biggest musical success stories of the 21st century.

The Endless Coloured Ways is a collection of songs by legendary singer/ songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences. From Fontaines D.C to Guy Garvey, and Aurora to Feist, each artist has offered their own incredible take on a timeless classic. - Third in a collection of five 7" singles - - Limited stock - - Gatefold lancing sleeve -

Ed Sheeran is set to release his new album ‘-‘ (Subtract) - the last in his decade-spanning mathematical album era - on 5 May 2023 through Asylum/Atlantic on vinyl, cassette and CD. An album that revisits Ed’s singer/songwriter roots, and one that was written against a backdrop of personal grief and hope, ‘-’ (Subtract) presents one of the biggest stars on the planet at his most vulnerable and honest.
In Ed’s own words - “I had been working on Subtract for a decade, trying to sculpt the perfect acoustic album, writing and recording hundreds of songs with a clear vision of what I thought it should be. Then at the start of 2022, a series of events changed my life, my mental health, and ultimately the way I viewed music and art.
Writing songs is my therapy. It helps me make sense of my feelings. I wrote without thought of what the songs would be, I just wrote whatever tumbled out. And in just over a week, I replaced a decade’s worth of work with my deepest darkest thoughts.

Within the space of a month, my pregnant wife got told she had a tumour, with no route to treatment until after the birth. My best friend Jamal, a brother to me, died suddenly and I found myself standing in court defending my integrity and career as a songwriter. I was spiralling through fear, depression and anxiety.
I felt like I was drowning, head below the surface, looking up but not being able to break through for air.

As an artist I didn’t feel like I could credibly put a body of work into the world that didn’t accurately represent where I am and how I need to express myself at this point in my life. This album is purely that. It’s opening the trapdoor into my soul. For the first time I’m not trying to craft an album people will like, I’m merely putting something out that’s honest and true to where I am in my adult life.

This is last February’s diary entry and my way of making sense of it. This is Subtract.”
Since he first learnt ‘Layla’ by Eric Clapton on guitar at the age of 12-years-old, Sheeran’s love of the singer/songwriter began. Growing up with the likes of Damian Rice, Bruce Springsteen and Bob Dylan playing on repeat in his parents’ house – artists that his dad, John, introduced him to – ‘-‘was always on Ed’s horizon. Yet as the songs and writing process took on a whole new meaning and direction after a series of hard-hitting events impacted Ed’s world in 2022, one thing that remained untouched was his strong desire to make a record anchored in his love of singer/songwriter compositions. And now, as he gears-up for the release of his most soul-baring work to date, ‘-‘ serves as a timely reminder for why Sheeran remains one of the most gifted lyricists of his generation; an artist who breaks down his own experiences for fans to seek comfort and belonging.
‘-‘ is the result of Sheeran pushing the boundaries of his songcraft, as he delivers the most profound songwriting of his career. Teaming-up with Aaron Dessner (The National) on writing and production after the pair joined forces following an introduction from mutual friend Taylor Swift, Ed and Aaron began crafting the album in February last year. Writing over 30 songs during their month-long studio stint, the album’s fourteen tracks are seamlessly tied together by exquisite production from paired back, folk-leaning textures to bolder, full-band/orchestral arrangements.
Ed Sheeran burst onto the UK music scene in 2011 with his debut album ‘+’. Rapidly establishing himself as a history-making artist, he followed with ‘x’, ‘÷’, ‘No.6 Collaborations Project’ and ‘=’ - a catalogue that has seen Sheeran become one of the world’s biggest musical success stories of the 21st century.

Das Solo Debütalbum einer der wohl einflussreichsten, innovativsten und produktivsten Schlagzeuger zeitgenössischer Musik.

Die 13 Stücke umfassende Sammlung ist das Ergebnis einer 40-jährigen Karriere, in der Lombardo als Mitbegründer von Slayer bekannt wurde, zwei GRAMMY-Awards erhielt und sein Repertoire über alle Genres hinweg erweiterte. Der in Havanna geborene Lombardo arbeitete unter anderem mit Mike Patton und Fantômas zusammen, dem von der Kritik verehrten John Zorn, dem experimentellen Hip-Hop-Künstler DJ Spooky und den wiederauferstandenen Punk-Ikonen The Misfits.

Der Aufnahmeprozess für das filmmusikähnliche 'drum album' hatte ein einfaches Mantra: Schlagzeug musste Schlagzeug sein. Das Anfang 2022 von Lombardos Sohn David A. Lombardo abgemischte, selbst produzierte Album enthält eine große Konzert-Bass Drum, eine Pauke, einen Flügel und eine Schar von Shakern, Maracas, chinesischen und symphonischen Gongs, indianischen Trommeln, Congas, Timbales, Bongos, Batás, Holzblöcken, Djembes, Ibos, Darbukas, Octobans, Cajóns und Becken.

Das Solo Debütalbum einer der wohl einflussreichsten, innovativsten und produktivsten Schlagzeuger zeitgenössischer Musik.

Die 13 Stücke umfassende Sammlung ist das Ergebnis einer 40-jährigen Karriere, in der Lombardo als Mitbegründer von Slayer bekannt wurde, zwei GRAMMY-Awards erhielt und sein Repertoire über alle Genres hinweg erweiterte. Der in Havanna geborene Lombardo arbeitete unter anderem mit Mike Patton und Fantômas zusammen, dem von der Kritik verehrten John Zorn, dem experimentellen Hip-Hop-Künstler DJ Spooky und den wiederauferstandenen Punk-Ikonen The Misfits.

Der Aufnahmeprozess für das filmmusikähnliche 'drum album' hatte ein einfaches Mantra: Schlagzeug musste Schlagzeug sein. Das Anfang 2022 von Lombardos Sohn David A. Lombardo abgemischte, selbst produzierte Album enthält eine große Konzert-Bass Drum, eine Pauke, einen Flügel und eine Schar von Shakern, Maracas, chinesischen und symphonischen Gongs, indianischen Trommeln, Congas, Timbales, Bongos, Batás, Holzblöcken, Djembes, Ibos, Darbukas, Octobans, Cajóns und Becken.

To celebrate Wes Montgomery’s centennial on March 6, Verve and UMe are releasing an Acoustic Sounds edition of Smokin’ At The Half Note –essential listening for anyone who wants to hear why Wes’ live shows were considered the pinnacle of his brilliant and incredibly influential guitar playing. He never played with more drive and confidence than he does here, supported every step of the way by a genuinely smokin' Wynton Kelly.

Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Constantly evolving and adapting his sound, Shackleton has releases
spanning labels such as Honest Jon’s, Perlon and his own imprints, Skull Disco (co-founded with Appleblim) and Woe to the Septic Heart!.
Shackleton now finds a home for a brand new project on the Barcelona-based, Modern Obscure Music.

Undoubtedly Shackleton, but taking the meditative aspects of his sound to a new plane, The Purge of Tomorrow, is an alias born to transmit a less dancefloor-orientated experience to whomever is ready to receive it.
‘The Other Side of Devastation’ is an investigation into a novel form of
deepness. Adverse to the reductive label of ‘Ambient’, these tracks are spawned from a live performance context. The essence was to create an immersive encounter where listeners are called on to actively unburden their mind of unnecessary thoughts. Staying true to the trance elements that Shackleton is renowned for, this EP is not dependent on traditional structures or a linear narrative.
‘Time Moving’ presents itself through a journey of disquieted moments and contemplative states. Hypnotic strings provided by Kathy Alberici construct pastoral phrases that mesh with the larger looming drones,
culminating to conjure a daydream-like energy. Following on, ‘Waves’
twists through various forms, awash with cascading vocal splices and
soothing murmurs contrasted with rousing sub pressure.
Reflective and sometimes provocative, as an artist who resents the
pigeon-holes of genre, The Purge of Tomorrow presents an exciting new direction for Shackleton. Bursting-at-the-seams with emotional
complexity as to echo the woes of the human condition, this EP is
steeped in feelings of forgone events doomed to be replicated.

Ltd Edition! 15 Years Drumpoet!

Die Compilation besteht aus 100% exklusiven Tracks von Künstlern wie Jimi Jules, Matthew Herbert, Roman Flügel & Frank Wiedemann, Kalabrese, Lauer, Fred Everything, Manuel Tur u.v.m.

Alles begann mit einer Gruppe von DJs und Beatmakern, allesamt inspiriert von den Techno- und House-Platten aus Detroit und Chicago und verbunden durch eine tiefe Leidenschaft - sowohl für UK Bass-Musik als auch US-Hiphop und 70’s Soul-Jazz. Diese Crew aus Zürich bündelte all diese Inspirationen und Einflüße zu einem Sound, den sie als B-Boy-House und Teknowsoul bezeichneten. Bereits die ersten Releases auf Drumpoet brachten den internationalen Durchbruch und Künstler wie Soultourist, Quarion, Cavalier, Dplay & Manuel Tur oder auch John Daly weckten weltweit großes Interesse in der Szene für elektronische Musik und hinterließen einen bleibenden Eindruck. Drumpoet ist sehr stolz darauf mit dieser Compilation das 15-jährige Labelbestehen zu feiern. Hier werden die über die Jahre entstandenen Freundschaften und die Geschichte des Labels genauso reflektiert wie eine tiefe und ehrliche Liebe zur Dance Musik. Das spiegelt sich natürlich auch in den exklusiven Tunes von Ikonen wie Herbert, Roman Flügel und Frank Wiedemann, Manuel Tur, Lauer, John Daly, Kalabrese, Manuel Fischer, Nicola Kazimir, Ripperton und Jimi Jules wieder.

Format: Streng limitierte schwarze 3LP im Inside Out Cover + Drumpoet Bandana in japanischer Cello Hülle (die ist bestickert).

Another beautiful & booming release from Piezo on his rock solid Ansia imprint, conjuring up 5 tracks of frenetic & kinetic mind/body music that are distinctly his own with a reverent nod to such genres as UKG, grime, techno, gqom & footwork.
Evolving beyond the manufactured nostalgia that populates today's current dance milieu, Piezo takes bass science into the realm of the metaphysical.

“jRj” & “Big Room Technow” emanate metric tons of somatic energy for the club crowd, the former building up momentum on a gqom-infused grime pattern, while the latter is like a tin robot whistling an odd melody inside a peak-time 4/4 banger.
“Sensory Overdraw” is an outstanding UKG curveball with a distinctive metallic bassline and intricate head swimming programming for the headphone listener.
A similar approach is applied to “Cutest Kitty Content”, which teems with bizarre ear-candies, but moves with a different and faster framework. Footwork with outsider insight.
Finally you have the digital exclusive “Zing Zang”, which slows things down but still keep the same balance between mind and body requirements.

The genre references aren't blanketing the tracks as much as they are being manifested through pure passion and love: these tunes are all encompassing bin shakers that knock and sway the lucky participants that are awakened enough to be open to the journey.
This is a rare release where you can see the forest from the trees and yet both can simultaneously be experienced and enjoyed.

The American new wave band Oingo Boingo was formed by Danny Elfman in 1979 and were known for their experimental music, which can be described as a mix of rock, ska, pop and world music. The band's body of work spanned 17 years, with various genre- and line-up changes. In 1994, after shortening their name into just Boingo, they released their final studio album Boingo. At that time, the line-up consisted of Elfman, Steve Bartek, and John Avila. The album features a cover version of The Beatles “I Am The Walrus”. Elfman would later become the legendary film composer he now is. Spiderman, Batman, Alice in Wonderland, the Simpsons tune- too name but a few- are all by his hand.

Reggae Collected is compiled from the broad world of Jamaican artists, groups and its diaspora. This brand new compilation contains early reggae by Jimmy Cliff, classics from Third World, Peter Tosh, Toots & The Maytals, Steel Pulse, Black Uhuru, lovers-rock from Dennis Brown, Linton Kwesi Johnson, Gregory Isaacs, Yellowman and the #1 hit from Althea & Donna “Uptown Top Ranking” which was championed by BBC Radio 1 DJ John Peel.

The album Reggae Collected is part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest and best names of its genre, combined with forgotten hits and less discovered gems, giving the listener an experience of both nostalgia, and uncovering new musical grounds at the same time.

The 2LP Reggae Collected is available as a limited edition of 2000 individually numbered copies on yellow (LP1) and light green (LP2) coloured vinyl and includes an insert.

180g Black Vinyl. Limited to 100 Copies

Formed in Cardiff, Sock make guitar-driven alternative rock, taking inspiration from psychedelic music. Known for their creative melodic arrangements and blending of genres, the band describe their music as “a rather progressive affair”.

Following on from the bands debut album ‘Fresh Bits’, in 2018, this is Sock’s much anticipated self-titled follow up. The album features Jacob on Rhythm Guitar & Vocals, Billy on Lead Guitar, Sam on Bass & Keys, and Simon on Drums & Percussion. Produced by the band, the album was recorded during the pandemic and sees the music move into a heavier and more refined sound.

From the viscerally punishing and nerve wrecking, to the wistfully sublime, Kevin Drumm ‘s work often yield a ferocious intensity through the timbres of minute details. Now, throughout this series of archival works dating from 2000 to 2022, his mastery is once again on full display.

On »Battering Rams«, sinister forces interlope with sanguine glimmers of respite and contemplation, while recurring drones ceaselessly crescendo to near paralysing effect, only for the albums final moments to offer a lofty reprise of boundless oscillation, dispelling all the pent up tension into a sanguine state of bliss. Once again underpinning Drums’ genius of turning apparently trivial hums into elongated microtonal worlds that stay etched deeply in your conscious, often long after the works final resonances have already subsided.

Unreleased but perfectly formed "hidden" album, recorded in 1989-90 by Nuno Rebelo on the wake of his "Sagração Do Mês De Maio" double LP (composed in 1988 as soundtrack to the third Manobras de Maio fashion event in Lisbon). The tracks convey a sense of investigative curiosity regarding computer composition and they sound wonderfully artificial. Titles as "Moon OK", "Tiny Space Ships" or "Dança Das Creaturas Elásticas" ("Elastic Creatures Dance") embody this idea of otherworldness, a kind of music actually coming from another place, composed and played by elastic creatures. It displays the functional qualities of Library Music, illustrating playful as much as moody and dense moments. In this way the album comes across as a soundtrack for moving images, sure, but with unusual framing and sharp angles. A unique object in the Portuguese avantgarde, keeping its distance from Academia but also from contemporary independent releases ("Plux Quba" by Nuno Canavarro comes to mind). António Duarte's 2019 mastering enhances this collection of music liberated from the archives of one of the most brilliant, active and challenging musicians of his generation.

Nuno Rebelo was born in 1960, graduated in Architecture, founded Street Kids and Mler Ife Dada, played in the "transitional" line up of GNR in 1982. His creativity expanded into improvised music. Performances and recordings with other musicians multiplied. He composed music for theatre, dance, jingles and, on an almost contradictory scale to his underground credentials, soundtracks for the Expo 98 and Porto 2001 mega events.

“Improvisações Cristalizadas” by Nuno Rebelo:
Short electronic pieces composed in 1989-90 using the Atari 1040ST computer with Steinberg Pro24 Software, Two Yamaha Sound Modules (TX81ZX and TG55) and Ensoniq Mirage Sampler with keyboard. The composition method for each piece evolved from a short improvisation on the Mirage keyboard, recorded in MIDI to the computer. Counterpoint permutations (inversion, reversion, inverted reversion, transpositions) were then applied through the software, distributing the variations of the initial improvisation by other timbres. No other musical material was used.

Der in Paris geborene Singer-Songwriter, Performer und Produzent norwegischer Abstammung, der gerade bei Because Music unter Vertrag genommen wurde, hat den größten Teil seines erwachsenen Lebens im Ausland verbracht. Diese ständige Bewegung war ausschlaggebend dafür, dass Aime die englische Sprache als diejenige wählte, in der er sich als Künstler am ehrlichsten ausdrücken kann.

Der schillernde Post-Pop des Singer-Songwriters, Performers und Produzenten hat nach der Veröffentlichung seines Debütalbums ”Say Yes, Say No” internationale Anerkennung gefunden. Nun präsentiert Aime Simone sein neues Album ”Oh Glory” inklusive der bereits veröffentlichten Songs ”Baby Don’t Quit”, ”Not What You Wanted” und ”Answer The Night”.

Er beschloss, seinen Musikstil ”Post-Pop” zu nennen, da er sich aus einer so reichen Palette von Stilen bedient, dass das Konzept eines einzigen Musikgenres verschwindet. Die Harmonien und die Refrain-Struktur seiner Songs stammen aus dem klassischen Pop, mit Untertönen von Soul und Gospel sowie Einflüssen von Clubmusik.

Auf den 11 Tracks von ”Oh Glory” verschließt Aime nie die Augen vor den dunklen Phasen seines Lebens. Wie Caravaggio und seine Gemälde, deren Schönheit dieses Album inspiriert hat, nutzt
Aime Simone diese Kontraste, um eine vom Licht durchdrungene Dunkelheit zu beschreiben.

Veyl welcomes Blind Delon to the label for their third album, La Métamorphose. Founded in 2016 by Mathis Kolkoz, the project released several EPs leading up to their first full length, Discipline (Khemia / Unknown Pleasure Records, 2019) and their subsequent follow up, Chimères (Manic Depression, 2020). Originally a three
piece before the departure of guitarist Theo Fantuz after their second album, the project then focused on refining their sound and energy through alternative projects and more EPs before adding a new member ahead of their latest opus. The band currently consists of Mathis Kolkoz (Vocals, Guitars), Coco Thiburs (Bass) and Thom Mayor
(Synths, Guitars).

Fueled by cold bass lines and synthesizers of yesteryear, French post-punk and black romanticism, Blind Delon shatters genres and styles to create an evolved strain of synthpunk that wears its influences proudly while mutating into something totally new. La Métamorphose represents a fresh direction - a heavy, post-metal sound that’s full of emotion and raw intensity. 'Le Crépuscule' opens the album with a hard hitting piece that commences the experience perfectly. Next up, the group kicks things into high gear with the speedy, heavy-synth play of 'La Violence' featuring vocals by Fivequestionmarks, followed by 'La Mort', a blackened post-punk cut
featuring the one and only Curses. Label head Maenad Veyl makes a guest appearance on the fourth track, 'L’Homme', which drifts into deep experimental melancholy with a cinematic feel.

Keeping with this mood is the powerful 'L’Affront' featuring The KVB, which descends further into darkness before resurrecting with the immense feelings of 'Le Sarcasme'. Track seven, 'La Noyade', drills into the skull with growling vocals and menacing synths which bleed nicely into 'La Foule', slowing things back down with a subtle yet lingering sense of dread. French project Poison Point arrive on 'L’Envie' which moves guitars back to the forefront for a raucous ballad that sets up the final piece and title track, 'La Métamorphose', the glorious grand finale of an album teeming with emotion and begging to be played again
and again.

The Magic Movement is more than happy to present the debut album of BRUO.

The Brazilian duo presents seven tracks with their very own blueprint of Ambient/Electronica music, generated from radically processed cut-up guitars and sophisticated glitch beats. BRUO, which means "noise" in Esperanto, is born from the deconstruction and re-editing of long improvisation sessions, arranged in succinct tracks and narratives which are stylistically located right in the middle between the minimalism of Alva Noto and the maximalism of Amon Tobin.

Their unique and immersive combination of sounds creates a cineastic world and invites you to drift with BRUO through the nocturnal streets of São Paulo, one of the most pulsating cities in the world and birthplace of this project.