Suche:glow

Part 14 of the remixes series pulls exactly zero punches. Huge tunes with huge remixers is the name of the game. Slamming straight in with a massive remix of their seminal jungle classic, Ham & Poosie turn it up with “Thinkin About U”. A legend in his own time, Coco Bryce lays down a proper jungle techno remix of Hyper On Experience’s “D.A.T Coat”. A Champion Sound remix of NRG seems like overkill, and it is, in the best way…and the whole EP is rounded out by an insane Gothic Shade remix of the first ever KF release by Luna-C….

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Mascot Records will release the 15th Anniversary limited-edition Glow In The Dark vinyl pressing of Volbeat’s debut album, The Strength / The Sound / The Songs, on March 26th, 2021.

The Strength/The Sound/The Songs was first released by Mascot Records in 2005, launching the band onto the greater European music stage with bone-shaking performances at Roskilde, Download and Pinkpop Festivals. The album, which includes their first single, a cover of Dusty Springfield’s “I Only Wanna Be With You” and fan favorites “Pool of Booze, Booze, Booza” and “Soulweeper,” crashed into the Danish charts and earned the band a slew of Danish Music Awards. The album has gone on to be certified 2 x Platinum in their home country, Gold in Germany and has generated over 180 million streams and (still) counting.
This new limited vinyl variant celebrate both the legacy of the album and the future that will bring countless more performances of these songs to the world stage.

Having shone his light over the damp canals of Gothenburg for at least a decade, Paradise City Jams is the first album proper from Johannes Brander and his Skogar project, as well as his first release on Stockholm’s Studio Barnhus label. This highly anticipated record is the crown jewel of all those strangely glimmering shards scattered via the barely existent Native Parts imprint over the last 10 years, as well as numerous live performances around town. Though rooted in the mid-00's neo cassette underground, this debut album bares little resemblance to the hypnagogic era, the mostly guitar-driven tracks evoking a longing for something that has never actually existed, in contrast to yer standard nostalgic exercises. A Malmsteeninan approach to the riff is soaked in a peculiar strain of melancholia, accompanied by mesmerizing synths and bad-ass percussion. As a
visual artist, Brander works with returning images of feverish jungle scenes, often incorporating Vodou mysticism and tribal settings. These images are always present in the mysterious musical world of Skogar, painting pictures of a parallel universe far away from those Gothenburg canals. Well worth the wait! Recorded in Gothenburg, Brännö and Hawaii between 2017 and 2020, mastered for vinyl by Viktor Ottosson.

It’s nearly a decade since William Doyle handed a CD-R demo to the Quietus co-founder John Doran at a gig, who loved it so much he set up a label to release Doyle’s debut EP (as East India Youth). Doyle’s debut album, Total Strife Forever, followed in 2014, as did a nomination for the Mercury Music Prize. A year later, he was signed to XL, touring the world and about to release his second album – all by the age of 25.

After self-releasing four ambient and instrumental albums, Doyle’s third full-length record – and the first under his own name – Your Wilderness Revisited arrived to ecstatic reviews in 2019: Line of Best Fit described it as “a dazzlingly beautiful triumph of intention” and Metro declared it an album not only of the year, but “of the century”. Just over a year later, as he turns 30, Doyle is back with Great Spans of Muddy Time.

Born from accident but driven forward by instinct, Great Spans was built from the remnants of a catastrophic hard-drive failure. With his work saved only to cassette tape, Doyle was forced to accept the recordings as they were – a sharp departure from his process on Your Wilderness Revisited, which took four long years to craft toward perfection. “Instead of feeling a loss that I could no longer craft these pieces into flawless ‘Works of Art’, I felt intensely liberated that they had been set free from my ceaseless tinkering,” Doyle says.

“The album this turned out to be – and that I’ve wanted to make for ages – is a kind of Englishman-gone-mad, scrambling around the verdancy of the country’s pastures looking for some sense,” says Doyle. “It has its seeds in Robert Wyatt, early Eno, Robyn Hitchcock, and Syd Barrett.” Doyle credits Bowie’s ever-influential Berlin trilogy, but also highlights a much less expected muse: Monty Don, presenter of the BBC programme Gardener’s World, Doyle’s lockdown addiction.

“I became obsessed with Monty Don. I like his manner and there's something about him I relate to. He once described periods of depression in his life as consisting of ‘nothing but great spans of muddy time’. When I read that quote I knew it would be the title of this record,” Doyle says. “Something about the sludgy mulch of the album’s darker moments, and its feel of perpetual autumnal evening, seemed to fit so well with those words. I would also be lying if I said it didn’t chime with my mental health experiences as well.”

Lead single “And Everything Changed (But I Feel Alright)” is representative of the album as a whole: eclectic and unpredictable, but also playful and properly danceable. On top of the gently pulsing electronics, soothing harmonies and glowing melodies, there’s a ripping guitar solo that ricochets around the song like a pinball. “I wanted to get back into the craft of writing individual songs rather than being concerned with overarching concepts,” Doyle says. Elsewhere there’s the synth pop strut of “Nothing At All”, pulsating static on “Semi-Bionic”, incandescent synths and enveloping soundscapes in “Who Cares”, and the ambient glitch groove of “New Uncertainties”.

Great Spans of Muddy Time is a beautiful ode to the power of accident, instinct and intuition. The result, however, is far from an anomaly: this celebration of the imperfect album is one that required years of honed craft and dedicated focus to achieve, “For the first time in my career, the distance between what I hear and what the listener hears is paper-thin,” Doyle says. “Perhaps therein reveals a deeper truth that the perfectionist brain can often dissolve.”













m 13. [a sea of thoughts behind it]

Pale Spring wrote and recorded CYGNUS in Baltimore, whose fertile music scene has seen acts like Lower Dens, Ami Dang and Beach House build rich, self-contained worlds of sound.
CYGNUS expands on this foundation, with stately, smooth pop songs incorporating layered harmonies, glitches, and, on “Old Sounds” dog barks. Music runs in Harper Scott’s family: a classically trained musician herself, her grandfather studied at Juilliard under his uncle, who played for the New York Philharmonic.
Scott’s grandfather sang doo wop, and his influence paved the way for Scott to explore music; eventually, he taught himself how to sample. His accompaniment provides an underpinning for Harper Scott’s vocals and instrumentals.
Critics noticed CYGNUS when it first came out last year, with glowing reviews in Bandcamp, Tiny Mix Tapes and DAZED.
American Dreams Records’ vinyl reissues of CYGNUS and DUSK mark the first time they’ve been made widely available as physical media.

 At the start of 2020, before the world turned to ash, several US publications began running glowing reviews of ‘Speed Kills’, the breakneck debut album from Chubby & The Gang, a West London punk troupe comprised of members of various bands associated with The New Wave of British Hardcore, among them Violent Reaction, Abolition, Big Cheese and more.

 At the time, the band - helmed by local electrician Charlie Manning - had developed a cult following in the UK, largely rooted in the cross-pollinating nature of the punk scene, select shows including dates with Sheer Mag and an impending, lastminute US run with Royal Hounds.

 ‘Speed Kills’, produced by Jonah Falco of Fucked Up, would go on to be called “the best punk-pop LP in recent memory” by Paste Magazine, a debut that “comes alive with liberating energy” in an 8.0 review from Pitchfork and full of “massive barroom gang choruses, power chords at breakneck tempos,
rock spelled R-A-W-K and visceral gratification” as Stereogum put it. Impressive going for a band at the time with no publicist, no big budget label backing and no industry clout, per se, beyond increasingly fervent underground support.

 Following the quietly blossoming success of ‘Speed Kills’, Chubby & The Gang now find a new home on Partisan Records (IDLES, Fontaines D.C., Laura Marling, Fela Kuti) who have reissued the album in remastered form with the unreleased cut ‘Union Dues’ included to boot and with new music on the horizon.

“Our first ever show in the UK was the opening slot at Brixton Academy so this is just totally emblematic of the support that has grown overseas we are ever grateful for. It’s still the greatest show we have ever played and we will never forget that night. See you all soon! Stay safe.” DMA’S
On March 6th, 2020 a sold-out audience filled the O2 Academy Brixton’s cavernous space from wall-to-wall. The band played the biggest headline show of their career to date half a planet away from home, yet the show conjured the atmosphere of an intimate homecoming celebration.
The O2 Academy Brixton show was immediately hailed as one of the highlights of the band’s career so far, and it has taken on whole new significance given the events that have followed. For many fans it was their final show before live music events were halted.
From early favourites ‘In The Air’ and ‘Lay Down’ to new material such as ‘Silver’ and ‘Life Is A Game Of Changing’ from ‘THE GLOW’ The show is documented in the ‘Live at Brixton’ album, which will be released almost a year to the day later on March 5th. ‘Live at Brixton’ will be released on a striking smoke-effect pink/orange limited edition double vinyl. Its design was inspired by a flare that was set off during the show. The album offers a chance to reminiscence on the life-affirming power of live shows, and also an inspiring reminder of what we’re all looking forward to returning to.

One of the guardians of the modern classical genre. Australian pianist/composer. Bright, bubbly, colourful & energetic personality. A piano-led album with strings & other elements. About surrendering to the unknown, trusting that any path will lead one to one’s rightful place.

I’ve known Alex Bleeker my entire life. Well, okay, maybe not since I was born, but there’s no doubt that I’ve shared a fair bit of memories with him over the years. We’ve acted in high school productions of Shakespeare together, gone on late-night diner runs, argued about which Weezer album is the band’s best, and swapped mutual appreciation for the music of Yo La Tengo on car rides careening around the snaky suburbia of our hometown. Just like his Real Estate bandmates Martin Courtney and Julian Lynch, we attended high school in the New Jersey enclave of Ridgewood, a place where sticky summer days yielded cool nights with a glow so nocturnal that you can practically hear the fireflies buzzing off of this sentence alone.

Indie rock—a type of music that can easily be made or listened to in someone’s garage—often dominates teenage suburban preoccupations, and both Alex and I were no exception. You can hear this legacy of listening on his new album Heaven on the Faultline, which departs from his last full-band outing as Alex Bleeker and the Freaks, 2015’s Country Agenda. Whereas that album had a more full-bodied explicitly folk-y feel, Heaven on the Faultline finds Bleeker getting back to his homespun roots over the course of its 13 songs, from the jangly guitar pop of New Jersey heroes the Feelies and YLT’s hushed, acoustic reveries to the open-hearted folk rock that marks so much of the Grateful Dead’s early catalog.

Written and recorded over the last several years, Heaven on the Faultline’s songs were initially recorded straight to GarageBand in Bleeker’s bedroom before receiving further studio refinement in co-producer Phil Hartunian’s Tropico Beauty space in Los Angeles. With contributions from Confusing Mix of Nations’ Josh Da Costa, Cameron Stallones of Sun Araw, singer-songwriter Kacey Johansing, and Parting Lines’ Tim Ramsey, Heaven on the Faultline achieves a warm and intimate feel that defines Bleeker’s mission for the album: “I wanted to capture the moment in which I fell in love with making music to begin with. This is music for myself—me getting back to music for music’s sake.”

The unsteady times we live in certainly creep into view on Heaven on the Faultline. The deceptively easygoing “D Plus” was written on the day of President Donald Trump’s inauguration with the cursed event in mind, while the anxiety of climate change hovers just above the lovely guitar loops of “Felty Feel.” “The album is very much about dealing with the anxiety of a sense of impending doom,” Bleeker states while discussing the album’s portentous vibes. “When is the hammer going to fall? How do we go forward in the face of such anxiety and experience the complexity of life?”

Tough questions with few answers, but try not to stress too much. It’s possible to experience such existential doubt while also enjoying the simple pleasures that life has to offer, and that ethos is square at the heart of Heaven on the Faultline. It defines who Alex Bleeker is, too, and is one of many reasons why I’m proud to have known this special person and artist for so long.

Larry Fitzmaurice

The National’s second album, Sad Songs For Dirty Lovers (2003) proved a leap forward from 2001’s eponymous debut, showing a band adept at delivering warm embraces and gut punches in equal measure. With word of mouth now spreading on the band, critics proved equally enthusiastic... Pitchfork in their glowing review called it a “Gorgeous train wreck” that “Lives up to its blunt title (with) Matt Berninger’s self-eff acing barbs matched by the band’s equally potent hooks,” while Uncut also became early champions saying the album was “A genuine treasure... Livid as a bruise, this is brave, desperate, beautiful music.” No longer a secret among those that know, Sad Songs For Dirty Lovers is an important record in The National’s discography with this new remaster showing that it’s more than standing the test of time.

Montreal-based producer & DJ Slick Shoota brings us Function, his debut LP and first solo release on the Teklife imprint. A native of Norway known for his renowned Oslo club night Ball Em Up, he's been a member of the elite crew since 2015, contributing tracks to the label's compilations such as On Life Vol. 2 and VIP Trax. Using a unique palate that combines both traditional footwork drums and eclectic otherworld sonics, this album expands on the signature sound he's been brewing during the course of his career, celebrating his longtime love of the Chicago soundscape, with a healthy helping of UK rave, jungle, and vibes from other fast paced club realms. Slick starts the record off with Hovercraft, a big burly mutant rap beat riding a glowing titanic wave of jungle subbass, with vicious hi-hats stabbing through the mix. Desire Path follows with hysterical horns cruising along a stampede of erratic Chicago percussion. A glitchy, malfunctioning computer meets drumline stomps on See Me Flex, resulting in a psychotic, yet psychedelic sci-fi soundscape. Ultra-distorted hardcore kicks open up Jellyneck, dropping straight into a dungeon of ghostly vocals and headlong toms. Warehouse 2K opens up the B-side with R&B chops and lasers floating on a charming cloud of pulsating pads. Mad doppler sirens loop around your head on Delahaze, as distant clangs and crashes fight an impatient, throbbing bassline. Classic rave atmospheres are met with Slick's elegant sound design on MTL Hardcore, his ode to his adoptive city. The album closes off with Special Tek, channeling the signature quirky drum sounds of the late DJ Rashad over a pounding, fast paced house beat, a wonderful nod to the Windy City and its influential sonic culture. Carving out his own sound from the legacies of Chicago, the UK, and other underground club hotspots, Slick Shoota has found his own recognizable voice within these realms of dance music, and this LP serves as documentation of that solidified voice. Years of studying the masters and immersing himself with their work has clearly paid off, and he's respectfully taking these sounds he loves in exciting new directions. Bridging gaps both historical and geographical, Function marks a pivotal point in his career, and is clear evidence that Slick Shoota is vital member of the legendary Teklife family.

Running Circle presents China-born DJ and producer Guohan, with his debut LP Lost Sound Book.
The 16 track publication charters an otherworldly inward journey, with influences ranging from ancestral rock carvings to bustling city streets, mythical tales to sunrise and sunset. Guohan draws from many places and cultures, hiphop and jazz, traditional music and everyday life, documenting the moods and colours left out from today’s society.
The fractured rhythms and harmonies on Lost Sound Book feel like a reconstruction of memories and missing links.

Distressed of sound and disturbed of subject matter, “Down-Faced Doll” sees the classic indie outfit connect with their dark-sides to deliver a cacophonous alt/folk stomp unlike anything they’ve released before. Based on a chilling true story told through the eyes of a discarded toy, its lyrics like clues, begin to lay evidence to a scene enough to turn anyone’s blood blue.

As vocalist Ian H. says:

“By far the most disturbing song I’ve ever written. Some songs seem to have a strange compelling energy which no one can rightly claim authorship to. They ‘write themselves’ but of course a great deal of working and shaping occurs too… A true story - well the first two verses are. The last two verses are my attempt to imagine “how did it ever get to this”…”
Customised with discomposing Eastern-inspired guitar riffs and clamouring percussive rhythms, “Down-Faced Doll” instils an unshakable feeling of paranoia, pursuit and unsease to match its haunting storyline. “Ewan and Stephen immediately tuned into its unsettling vibrations to create sounds and dark corners as you are unwillingly dragged through the scenario.” Ian adds.

Created & produced by Bradford (Ian Hodgson, Ewan Butler & Stephen Street), “Down-Faced Doll” was mixed by Stephen Street (Blur/New Order/ Kaiser Chiefs) and mastered by John Davies. It is taken from what will be Bradford’s first new studio album in over three decades: ‘Bright Hours’ - set for release early-on in 2021.

Bradford are a revered indie band formed in Blackburn in 1988. Championed by Morrissey, the band earned a cult status with their acclaimed debut album 'Shouting Quietly' in 1990, a record as-produced at the time by Stephen Street. Touring with the likes of Joe Strummer, The Sugarcubes, Morrissey and more, the band burned brightly and brilliantly. Fading away against the neon glow of the Madchester era, the band split in 1991.

Fast forward to 2018 and a re-mastered 30 song collection entitled ‘Thirty Years Of Shouting Quietly’ was released on Turntable Friend Records. The album was re-appraised as a 'lost English classic'. This rekindling of belief slowly re-ignited the magic and chemistry that always existed between the band now Ian H and Ewan Butler and Stephen Street. So much so, that Stephen decided to join forces with them and become a fully fledged member of the band.

With a new look line-up on illuminating form, as a trio Bradford have lovingly crafted a jewel of a new album: ‘Bright Hours’ to be released early in 2021.

Directly following “Like Water”, their latest single “Down-Faced Doll” is a definitive signal that ‘Bright Hours’ will be every bit worth the long wait...

Estonian composers Timo Steiner and Sander Molder team up to create music for a modern ballet inspired by Yukio Mishimas famous novel ''The Temple of The Golden Pavillion'' The album follows the emotional narrative and delves into the charm of both - beauty and repulsiveness of the ugly. The 16 tracks oscillate between serene meditative cello melodies, lush harmonies and oversaturated noise. The ballet choreographed by Teet Kask premiered in 2020 in Tallinn, Estonia. Cello by the Solo Cellist of Estonian National Symphony Orchestra Theodor Sink. Cover art by Mart Anderson

Harry Bertoia's Glowing Sounds LP contains three versions of the same composition, each transferred at different tape speeds in accordance with the artist's instructions. This is the third LP to be released from Bertoia's extensive tape archive and it's the first, of many, to be released using instructions left behind by the artist himself.

Bertoia wrote the concept for this Glowing Sounds LP on a note in 1975 and slipped it into the master tape case where it sat unread for 45 years. The idea was simple, transfer the original recording at its original speed and two slower speeds. Bertoia noticed that the results, however, were profound.

Recorded on January 20, 1975 using two large gongs, Glowing Sounds is one of the most powerfully minimal recordings yet discovered in Bertoia's collection. The artist's note left with the tape indicated that it was recorded at a speed of 15 IPS (inches per second) but slowing it down to speeds of 7.5 IPS and 3.25 IPS were quite effective for enhanced playback. Side A features the original 15 IPS recording and the 50% slower 7.5 IPS recording. Side B features a 20 minute, ultra-slow version at 3.25 IPS.

Long, deep drones and powerful overtones define the sound of this recording. Comparison of the three speeds provides a revealing magnification of Bertoia's gongs, overtones and the artist's inventive approach to performance, composition and recording.

Bio:
Harry Bertoia first gained some artistic visibility in the early 1940s, then came into prominence with his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, which quickly became classics of modernist furniture. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the late 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Harry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years of adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a the artist's logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

Two years after the release of 'Kreise' Selm have once again peered out from the torture racked enclave they call a studio. Originally conceived as two separate EP's and later stacked into an all-consuming album over 44 minutes 'TiiiER / Post-Adrenaline' pushes Selm's agenda of black dwarf techno and physically exhausting industrial churning to new levels. The opening salvo of tracks that form the 'TiiiER' disc (tracks 1-5) posit a techno minimalism coated in the incredible, almost edible crust of controlled distortion and flaking edges garnered through masterful gain staging. Opener 'Sin' accrues greater density with each iteration and pass. 'Kreise' is classic DBX style beep ran into manic filters and weight gain classes.'Moger' is a truly sinister and clinical piece of industrial sound design raising blood pressure with its stainless steel poise. 'Laus' is a real percy, syncopated just the right side of falling over and baked into the toughest compression throbs. It closes the first 'disc' and perhaps what could be considered the more straight forward tracks of the album. 'Post-Adrenaline' the second disc of the set is where Selm's love of intensely textural sound design work can be best felt. 'Nineteen Voices' opens with its disembodied conversations utterly smothered by the roiling mass of bass synth which surrounds on all sides. 'Irr' terrifies the young with it's truly OTT undulance of seismic tone, as reverential to death industrial as it is to guitar music, the riff laid bare. 'Brett' is a damp, warm environment of intelligent growth. Fermenting itself again in a stew of gnashing bass heaviness now crowned with glowing bowed metal and tuned feedback. 'Sommeil' closes the second disc with not a single positive note played, it's a dreary escalation of all the albums previous incarnations, flickering noise shaped rhythm, serpentine bass formations and no rush to please or to entertain. At just under 6 minutes, it and the album are over. Selm do not hold up on this follow up to Kreise. While the albums share ideas they are refined to a point of punishment here. 'TiiiER / Post-Adrenaline' is hyper-modern music that sounds like it's made from air, stone and rust.

arbitrary presents the 2020 remaster & vinyl reissue of PM016 by Danish musician Mads Emil Nielsen, re-mastered and cut by Kassian Troyer, with cover artwork by visual artist Dane Patterson.

Originally released as limited edition C30 tape on Plant Migration Records in 2014, the four pieces on Nielsen’s first solo release are based on short orchestral and percussive samples manipulated by various synthesizer modules and effects processors. Variations are created by emphasizing different frequencies, harmonics, sections of short loops and the various surprises that result from the idiosyncrasies of each machine.

This vinyl reissue is part of the Black Box series of releases with music & audio originally made for theatre pieces, performances, installations, radio soundtracks, compilations and remix collaborations. The series showcases a more melodic side of Mads Emil Nielsen’s work, who, during recent years, has been focused on more abstract electronic/acoustic material – such as his collaboration with Andrea Neumann and Framework series (graphic scores & recordings).

Written & produced by Mads Emil Nielsen, Copenhagen, 2013. Originally released as limited edition C30 tape on Plant Migration Records (US), 2014.

'Available exclusively on Disney+ beginning Dec. 25, 2020, Disney and Pixar’s feature film “Soul” introduces Joe Gardner, a middle-school band teacher with a serious passion for jazz music. The story is particularly relatable to the artists behind it. For Jamie Foxx, who lends his voice to Joe, it begins with jazz. “Like Joe, I hear music in everything,” said Foxx. “When you’re a jazz artist, man, you talk a little different: ‘Hey, cat!’ I got a chance to go to a few jazz fests and meet Herbie Hancock, Chick Correa—hang out with those guys. They have a way of talking, a way of dressing—everything funnels toward their music, toward the jazz."

Effervescent, even buoyant optimism shoots effortlessly through this quartet of tunes. The vivid neon melody rippling at the core of Post-Typhoon Shakeddown moves towards a more subdued soaring warmth on From The Cockpit. Love The Lights is propelled by a glowing momentum; Paw Print closes the record with a carefree breeze. Conoley Ospovat is back on Kimochi Sound.

While festivals on grass are suspended, festivals on vinyl are in full swing. Filament brings you their third VA which recounts those summer moments as envisioned by Glowing Palms, Super Drama, Ghostwhip and their own Filament Deejays. Expect everything from eastern-infused disco & tropicalities, to woozy italo and UK garage.

We’re excited to presentStill Hope–the firstfull solo EP from Fluidity for Integral Records, following the success of ‘Feeling Inside’, his debut feature on the Glow VA series. This Bristolian is one of the future Dnb collective's rising talentsswiftly making his mark on the scene with a liquid style all his own;refined, subterranean, rolling.
Coming with four explosive tracks covering the full intelligent spectrum; fromthe very deepest and most intricate melancholic vibes, through to the harder edged sounds the listening journey is nothing short of pure vibe. Intertwining atmospheric pads, blissed out chords, slickened percussion and groove pass through harmonic growls and alluring sub basslines of infinitely emotive soundscapes.

Much like a bird of prey, Oliver Moir (FKA Flora Tucker, AKA
Sandman) has hovered over CV’s operations for quite some
time, diligently picking at releases, parties here and abroad,
and mixes; waiting to strike. Now, and after what seems like
an aeon, Connection Veri¦ed is proud to present: I Rocked Till
the Midnight Hour at Melissa’s Bat Mizvah. The 8-track
ambient LP is a glowing excursion through Moir’s perception
of the world, as the album hums across vast plateaus, gently
weaving in and out of endlessly complex pads, and into the
pliant ears of listeners. Emotions gush as a mood of warm
introspection sets in, with Moir taking us onboard as he sails
across the glimmering sonic waves. The LP comes off the
back of a long but bountiful path through electronic music,
and CV is proud to exhibit it in full, with our ¦rst dedicated
ambient release.

Automatic Tasty (Jonny Dillon) has been away from Central Processing Unit for five years now, releasing on labels such as AC Records and Furthur Electronix in the intervening time. However, new EP The Future Is Not What It Used To Be shows that the chemistry between label and artist is still in good nick by offering up four tracks of contemplative electro-boogie.

While the preceding CPU/Automatic Tasty drop may be 2015's The Life Parochial, The Future Is Not What It Used To Be actually has more in common with Sentimentalist's Choice, Automatic Tasty's CPU debut which came out back in 2013. This is not due to a huge stylistic shift - all three records bring together classic electro, techno and boogie sounds to create charming and melodious tracks - but more to do with the tone of the record. You see, while The Life Parochial was a squelchy machine-funk delight, The Future Is Not What It Used To Be is a more pensive affair befitting its title.

This isn't to say that The Future Is Not What It Used To Be is a muted EP. Far from it - this record contains some of the most gorgeous electro joints you'll hear all year. The vibe is established on its eponymous opening jam, a vocoder-laced production pitched somewhere between the more ruminative tunes on Posthuman's 2018 LP Mutant City Acid and contemporary boogie acts such as Funkineven/Steven Julien and Galaxians. The track is made by the beautiful, bittersweet timbre of its synths, and these are maintained on following number 'Romance In The Old Country'. Given the offbeat skip in its groove and sunset-glow ruefulness of the keys, 'Romance In The Old Country' is a cut which invokes the instrumentals of Jessy Lanza LPs - and even (whisper it) a little Sade.

The Future Is Not What It Used To Be is an EP of evocative track titles, but there may be none more accurate than first B-side 'Rising Sun'. Here, Automatic Tasty tweaks the wistfulness of the A-side cuts into something more uplifting. While a thoughtful quality remains in 'Rising Sun's soft synths and skittering 808s, the track is driven by the exuberant energy of the 'Woo! Yeah!' drum break to become the sort of tune you drop as dawn begins to break over the rave. 'Rising Sun's afterglow falls over the closing track 'Adventures In The World Of Becoming', a steady IDM-electro pulse that channels the spirit of Aphex Twin's seminal Selected Ambient Works 85-92.

'The future is not what it used to be - no past, no memory'. With this robo-voiced intonation, Automatic Tasty returns to Sheffield's Central Processing Unit with four moving, poignant machine-funk tracks.

Composed, produced, and arranged by Eartheater alone, Phoenix: Flames Are Dew Upon My Skin draws a path back to the primordial lava lake from which she first emerged, as it also testifies to the reincarnating resurrections the project has undergone over its first full decade of existence. While the album renews her focus on guitar performance and legible structure, Eartheater balances the unabashed prettiness of acoustic harmonic songs with the dissonant gestural embroidery of oblique instrumentals. Having fallen back in love with the idioms that first captivated her, she worked to crack open the techniques that had fossilized inside of her, while still seeking to apply the electro-alchemical knowledge she picked up along her journey. The result of a laborious revival in fire, Phoenix recontextualizes Eartheater’s combinatorial approach to production within her most confident abstractions, adjacent to some of her most direct songs to date.

Eartheater composed and workshopped most of Phoenix over a ten-week artist residency (FUGA) in Zaragoza, Spain, housed in a sprawling, cubic glass facility that looked out over wildflower-flecked mountains. Following an intensive period of recording and touring, the residency provided her with an unprecedented period of solitude in the small Spanish town. Her newfound sense of isolation ultimately became liberating, leading her to sidestep the crutches and steady grids inherent to electronic music, and to conceive pieces rooted in her guitar and her desire to perform with other players live.

Eartheater’s voice glows brighter than ever at the center of Phoenix’s arrangements — her familiar operatic highs are grounded by newly expanded velvety lows, leaping lucidly up and down octaves. Her intricate guitar work flits across baroque fingerpicked passages and latches into cyclical figures that meet her voice in lush harmonic progressions. From her own guitar parts, to the orchestral string arrangements she wrote for the Spanish conservatory group Ensemble de Camara, to the harp and violin lines performed by her close friends and collaborators Marilu Donovan and Adam Markiewicz of LEYA, Eartheater’s applications of acoustic instruments bring an extraordinary emotional emphasis to her compositions. Phoenix prepares for a future where electronic sound — or even electricity itself — isn’t guaranteed, but where her music could still come to life with a group of hands dexterously winding across instruments against the light of the fire. Eartheater drew inspiration for Phoenix from geological imagery, whose turbulence and potential for genesis mirror the trajectory of her own life and relationships. The album’s instrumental pieces directly reference these moments of upheaval, colliding audio of volcano and lightning storms with resplendent string and vocal arrangements. “Volcano” looks out over the album from its peak at the center, its tectonic plates colliding in towering melodies and layers of vocal harmonies, as piano accents crest and cascade down the mountainside. When Eartheater sings, “I’m still building mountains underground,” she is trying to reconcile the pinnacles of her ambition with the comforts of a simple existence buried beneath the surface. “Diamond in the Bedrock” finds her admiring the gemstone forming under intense pressure inside her, but rejecting the romantic promise that the diamond signifies, choosing instead to escape a relationship that has come to stifle her.

With the album’s subtitle, Flames Are Dew Upon My Skin, Eartheater imagines being tempered to a state of perfect equilibrium, suspended between melting and freezing, where fire could streak across her body and appear as a crystalline blush. This image captures the tension at the heart of the Eartheater project, as she decides how best to distill her passion and render it cool to the touch; to find beauty in simple pleasure, while keeping one eye fixed on the peaks that loom in the horizon. The album is mixed by Kiri Stensby and mastered by Heba Kadry, featuring photography by Daniel Sannwald.

Between Christmas 2000 and New Year 2001 producers Ekkehard Ehlers and Stephan Mathieu recorded an album of warm, soft, delicately crackling electronic music in the space of that week. It was christened with the ambivalent title "Heroin" and was released on CD via the label Brombron in 2001 and later in 2003 re-issued on Kit Clayton's Orthlorng Musork on double-LP with remixes the pair had commissioned as expansions.

17 years later Heroin sees its first vinyl release to include all 13 tracks from the original CD track-list on this LP + 12“ set. The centerpiece "Herz" finally receives its long deserved vinyl treatment (side C, at 45rpm) and on the flip side Thomas Brinkmann contributes a mirror in a magnificent remix of that very piece on side D.

Ehlers and Mathieu were both highly prolific solo artists during the period 2000-2004, and in just two years after the initial release of "Heroin" each had produced over half a dozen new solo recordings: among them the serial masterpiece Ehlers' "Plays" (Cornelius Cardew, Hurbert Fichte, John Cassavetes, Albert Ayler, Robert Johnson) released as 5 stunning LPs in a series on Staubgold, while Mathieu's 'Full Swing Edits' spread over five 10" records plus his album 'FrequencyLib' on Mille Plateaux, 'Die Entdeckung des Wetters' on Lucky Kitchen and ‘The Sad Mac’ on Atsushi Sasaki’s Headz label were greeted to critical acclaim.

Both artists were expanding their conceptual sonic approaches in the glow of developing laptop technologies which would to these times in 2020 seem quite primitive, but these two in that period used the state-of-the-art to aid and abet their conceptual visions, while at times the duo used unorthodox experimentation - yet always had a distinctively melodic and musical form at its heart and soul.

Ehlers can be seen as a conceptualist, as a meta-musician who interrogates the mediums and methods of sound production - reflecting on the conditions and possibilities of improvisation (e.g. "Plays Albert Ayler") and exploits ideas of mutation and distortion of popular aesthetics played out within a ghostly form of divine pop beauty in his project März.

Mathieu, originally a drummer and co-founder of what has come to be known as the Berlin 'Echtzeitmusik' scene. His approach could be similarly described as working a critical analyst and researcher: Subtly and precisely working in the realm of processing as a method of intervening in melodious/harmonic analog sound sources.

Ehlers and Mathieu may not think too much about their singular productions and publications outcomes, but instead concentrate on the process and musical personality that characterizes their gesture- style itself stays in the background - and they usher a music from small minimal sound sources coaching a patient music of slow intervention - much like a refraction of light than a concrete painting or a blurred photograph - beatus accident.

And indeed, "Heroin" is an album that embraces the happy accident being made up of reduced, often very catchy and very direct micro hooks which seem laser-guided into a space accepting obvious melodic beauty in what feels like an observation of musics unfolding and revealing it's DNA, embed with for a kind of yearning for innocence and naiveté - as if Satie were on the jukebox in "The Crying of Lot 49". Not to say the music is "reduced", but rather: 'restricted' and born from acceptance of limitations, and the artists allowing the sounds to just "be.." with some incremental degrees of coercion.

The album not only sounds like that of 2 producers who are both dreamers and scientists, but that Ehlers and Mathieu chose to work with these means in a dialogue together to reduce pop music to its musical/tonal core, it is not Pop music anymore, rather a ghostly pointilistic itteration of song. "Heroin" is located at this transition, around that point at which tracks, that were or could have become pop compositions, irrevocably slip into a static harmonic nirvana. We are invited to follow the arch of Heroin in a slow-motion morphine musical haze.

Heroin sounded timeless when originally released and proof is that it remains so, one wishes that Ehlers and Mathieu would convene again for a week, a month or an entire year to continue this process of slow rumination, picking affectionately over the sounds they both love - and then maybe when everything is condensed, evaporated they would write more songs with those sonic refractive elements that remain.

Following up on their debut LP Kick Drunk Love for Marcel Vogel’s Intimate Friends imprint a few years back, we are proud to present the next installment in the sporadic KAMM legacy: Cookie Policies.

Far more sonically rich and musically adventurous than its predecessor, Cookie Policies sees the band make bold strides into new territories where classically hardwired categories such as jazz, indie rock, and electronica melt into one another with immaculate, timeless ease.

The band members’ positions are more clear cut as well this round, with Marc David Barrite (aka Dave Aju, who also did one of his coveted mix engineering jobs on the LP) on prominent lead vocals in many of the pieces, Alland Byallo on trumpet, Kenneth Scott on synth bass, and Marc Smith adding guitar sections while the others shared the arranging and programming duties. This makes for a deeper continuation of the otherworldly combination of their known individual production styles, as well as a musical whole truly greater than the sum of its parts.

The set starts off with “Bird Call”, whose opening ode to Morricone ok corral-meets-samurai showdown riffs flow into a loose and drifting psychedelic boom bap blip, building until a glorious change-up of key and energy brings the track to its peak and deconstructed back down. “Rachel, the Largest Bullfrog” then takes things in a sweeter, slightly more traditionally-structured direction where dusty indie-folk ballad vibes intersect with an array of twisted cosmic tones, bits of computer keyboard percussion, and deep rolling sub bass. “Buckle Down” then moves things back away from acoustic restraints into a beautiful synth-laden musing on potential regret, with an ultra-potent horn section from Byallo vs a nasty stacked Roland SH-101 finish.

“CCBPGC” cools things off for a few minutes with an ambient field recording slice-and-dice motif, which slowly but surely evolves into a slinking jazz noir groove from another dimension. The more traditional song structures return on the lovely “La Luna”, where Barrite’s pen and soulful voice take to nautical longing themes over apropos waves of sonic textures. The ebb and flow of the verse/chorus sections eventually rise and give way to an absolutely gorgeous denouement. “Shleem” then takes us into pure unadulterated soaring sci-fi soundtrack ambient blast-off bliss, while the epic closing track “The Soft Glow of Electric Sex” gives a hearty nod to early masters of sprawling psychedelic jam sessions, from Pink Floyd and Can to In A Silent Way-era Miles and Liquid Liquid, while bringing it clearly into futurist millennia. The gradual evolution of the piece into its grand finale is the stuff we true music-lovers live and die for. We hope you enjoy the ride as much as we do.

Absorbing new album from this very special artist. Hand printed sleeves. Very limited edition.

Marta De Pascalis is an italian composer living and working in Berlin. Her solo works employ analog synthesis and tape loops, incorporating free playing into steady, repetitive patterns. She has produced two albums of Berlin School minimal synth excursions: the self-released Quitratue (2014) and Anzar (The Tapeworm, 2016). Her new piece ‘Her Core’ has been published on spring 2018 by The Wormhole. Marta creates densely layered collages of glowing melodic shards and growling bass lines, her hypnotic minimal synth figures warping and whirling around each other before dissolving into entropic oblivion. For her compositions she uses improvisation on a tape-loop system, in which patterns of repetition create a sense of a dense, dynamic and cathartic distance.

All music by Marta De Pascalis Recorded at WORM Sound Studios in Rotterdam, artist's studio and Big Snuff Studio in Berlin, between 2019 and 2020. Mastered by Giuseppe Ielasi. Artwork by Lorenzo Mazon Studio. All rights reserved to the respective owners. doser039LP - Morphine Records 2020

Lack celebrates 20 releases by welcoming newest member Actefy, who's debuting in style with a 4-tracker packed to the brim with grooves.

Repress!

For its second release, Radiant Love sticks to family values. Paying homage to the party and label’s co-director and resident Byron Yeates, Byron’s Theme comes from the likes of Vani-T (one half of Berlin’s forceful, femme party Climax) and D. Tiffany (who threw down a ruthless remix on the label’s first release by Fio Fa). Together, they take the name of Pillow Queen – a semi-pejorative term for the kind of sub who expects to receive pleasure like a well catches rainwater. No reciprocation, just a reign of sexual passivity.


Their tracks, however, give plenty. “Byron’s Theme” presents a rich palette in its 2-minute buildup: a dry trance hook, high-end synths buzzing and wavering, pitch-shifted voice samples and a pan-flute ran through with tremolo. Throbbing, the 303 bassline picks up after a breakdown at the 4-minute mark, and only then does one realise the song’s still building. There’s still room in the last 40 seconds for some percussion modeled on a breakbeat loop – which is to say, the track is incredibly cheeky and hard-hitting – all that I would hope for in any lover.

While the EP’s first track feels wide, rangy, “Estrel Nights” opens the EP’s B-side in a much closer, tighter space. The build is percussive: bongo taps, claps, cowbell; then a hi-hat snaps things into shape, and in lopes the kick drum. And rhythm remains the central player here. It’s not until 3 minutes in that the percussion finds a melodic backdrop – a dreamy, detuned pad, choral, like a moan.

Ex-Terrestrial’s remix of “Byron’s Theme” repositions some of the elements and ratchets up the tempo of the original, but maintains its respiration: the energy and erotics flow into a different structure, closer to traditional trance, with sharp hi-hats and loopy arpeggios that phase in and out of syncopation, measure to measure. Diagonal, we incline to a climax that dizzily plateaus at 6 minutes, de-escalates and breaks down over the next 2, glows until it’s just a kick drum, slower, slower still; we’re catching our breath.

Mysterious and masked techno talent Paul Villard unveils more of his musical weaponry on the Lone Romantic label this August.

Nothing is known about this artist but from the fact that, “strange and unusual superhuman powers and abilities” came to him after a “gamma accident.” He has released on Blind Allies and Applied Research, remixed Carl Finlow and is a producer with a cinematic electro sound.

Futuristic opener 'Side Effects’ is a bumping electro cut with a stuttering drum pattern and squelchy synth funk from another planet. ‘Submarine Limousine’ keeps up the cyborg styles with a crisp electro groove that is run through by sci-fi vocals and effects, while ’Fluid Dynamics’ is all watery synth droplets and fractured vocals panning about the mix. Taught bass stabs keep you on your toes and make for an otherwordly robot disco vibe.

The second half of this well-crafted EP starts with the glowing pads and creepy atmospheres of
‘Bioluminescence’, a classic Drexcyian electro jam that charges hard and deep into the cosmos. ‘Neon Death’ is an explosion of coruscated synth lines and bumping bass, tripped out machine sounds and warped electro-techno before closer ‘C.A.R.R.I.O.N.’ zones you out with intense ambient pads and modulated synths that are restless and paranoid.

With this majestic EP, Paul Villard paints and vivid picture of some distant interplanetary world.

Triangulating a slinky signal to a square mile off the Swan River, Glowing Pin bring us ‘Pentagon Palette’, a master blast of frequency adjusted house, swamp stomp and chakra charmers from Australian newcomer Jonus Eric.

Though opening brace ‘The Cult’ and ‘Collect’ made first contact back in 2014, a loose connection between Perth and Hamburg hindered progress before ‘Mirrors’, ‘Emulator’ and ‘Waterfall’ walked across the web in 2019 to round out a dope debut release from this house auteur. Specialising in mind altering sound design and melodic flair, Jonus generates a neon swamp on ‘The Cult’, serving up a psychoactive roller caked in radioactive fuzz and insectile fizz. Thick bass swells and circular marimba make for a hypnotic rhythm, while a shapeshifting vocal and moody keyboard riff drag us back towards terra firma. The paradisiac refrain of ‘Collect’ soon sounds out through the jungle with a euphoric haze,

its sub-tickling bass and acid gurgle riding hyperactive drum programming as the track warps in the humidity. Soaked in serotonin and brisk at 137 BPM, ‘Mirrors’ burns off the mist to offer an airy update on the French Touch template. Though frazzled circuitry and dislocated vox serve this one with a twist, the chiming pianos and bouncy beat are still best enjoyed in a Golf GTI in the summertime. Jonus reaches for the lasers via the restless rhythm and rave sirens of ‘Emulator’, a fresh take on the funky house of the late nineties updated with unexpected breaks, squealing feedback and treated vocals usually found on a Four Set banger.

Next it’s off to the chillout room for ‘Waterfalls’, a fourth-world tone poem describing crystal caves, undiscovered wildlife and a holographic waterfall. Ditching the doof, and letting those colours tesselate, Jonus offers a +2 bump to your mana, before the post punk bassline, growling EBM vocal and off key organs of ‘YR Mind’ combine for a confrontational bonus track, only available in digital format.

The second offering by Julie Carpenter’s textural orchestral entity Less Bells takes its title from a storied strain of decorative objects worn in remembrance of lost loved ones: Mourning Jewelry.
The album shares a similar mood of devotional pageantry, stirring ornamental laments born from a need to “create beauty out of grief.” Utilising an amalgam of strings, synthesisers, and choirs, the pieces ascend and descend in grand, glimmering arcs, ebbing from passages of “baroque complexity” to expanses of haunting emptiness. Certain songs also skew more overtly western than ever before, deeply reverbed plucks of banjo refracted against glowing horizons of sunrise drone: Americana gone ambient.

Furthering the music’s mystic intentionality, the track titles comprise “the major arcana of a tarot deck from an alternate universe,” lorded over by the “Queen Of Crickets,” ruler of “The Gates,” “The Fault,” and “The Fang.” Even so, the record requires no psychic divination to glean its fragile majesty, its muted tumult of mirage and melody. The beauty it possesses is too blatant, and bountiful.

The Story Itself

On the 12th of April 1961, Yuri Gagarin was launched into orbit for the first and - so they tell us - the last time. Upon returning to Earth, Yuri became a global hero, travelling the world to tell of his adventure.

Secretly, he was plagued by strange hallucinations and a persistent glow around his vision; a cornucopia of colour in a constant corona. In 1964 - following a silent coup by Leonid Brezhnev - Yuri was banned from embarking on further manned missions into space. At first fearing madness, the cosmonaut came to see these apparitions as a signal, an invitation, a welcoming beacon from a distant lighthouse blinking across the cosmic void.

On the 27th of March 1968, aided by trusted friends within the space program, Yuri Gagarin swapped places with another cosmonaut on a secret test flight and was once more blasted into outer space. Knocked unconscious by the extreme velocity of his experimental craft, Yuri awoke a mere 15 minutes later in view not of the rapidly shrinking Earth, but an entirely alien vista; he was elsewhere...

About Tony Neptune

Tony Neptune is a multi-media persona created by the Leeds-based artist and producer Sam Jefferies who, inspired by the narrative and musical legacies of early Detroit techno culture, aims to tell a complete story for the senses through a combination of image, sound and text. Asa member of the DimensionsDJ Directory three years running, some know Jefferies for his notorious DJ sets—whether he’s playing new wave or booty bass; as Tony Neptune or Yuri; solo or alongside Mark ‘Turbo’ Turner in another peak time marathon b2b, it doesn’t take long for crowds to catch on to his deep knowledge of all things riddled with Hi-Tech Funk and Soul. But this isn’t the only storm he’s cooking up: in his visual work, Jefferies uses oil paint to unveil the surreal and celestial adventures of the original cosmonaut and space pioneer, Yuri Gagarin, capturing every aspect of their dream-like surroundings with an eye devoted to detail and depth. This painting lies at the heart of his debut EP, Reflections on a Daring

Acens last EP on Kniteforce was KF113 Play 2092 and it sold out, and we ordered a few more, and sold out again, and recently we ordered another repress which have almost all gone already. We have no idea how many we will need of this new EP, but probably loads because its brilliant, which is exactly what we have all come to expect from one of the most legendary producers ever to grace the world of hardcore

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Frankly, this EP is ridiculous. It was originally planned as a double pack, so we were excessive with getting both a Pete Cannon remix and a Hyper On Experience remix. I was tempted to do one myself but I though "nah, no one can top the original" and then had to eat my words because all 4 of these meet, if not beat, the original classic tune. Petes is of the hook madness, hands in the air biznizz. Hyper On take it to a whole new crystal clear and completely complex level. HSI changes it from what Stompin Tunes would do to what perhaps Reinforced would do. And Wislov roles it back in time to an almost Njoi-esq style 1991 banger. Absolutely amazing...

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

RSD2020 TITLE
After collaborating on a number of award winning vinyl albums, box sets and singles totalling over 80 songs together. They are back once again with this special, limited edition Vinyl Dub album.
Taking the original multi-track recordings of their co-produced 2016 sell out Roots Album for Max Romeo, ‘Horror Zone’. Lee & Daniel have created a new analogue Dub journey from those multi-tracks.
The original album was recorded live, using vintage Black Ark equipment to recreate Lee’s famous Lo-Fi Drum sound. With veteran Upsetter and Bob Marley and the Wailers musicians –
Glen Da Costa, Vin Gordon and Robbie Lynn, alongside Daniels Rolling Lion All Stars session band.
It has now been Deconstructed and Dub mixed live on Rolling Lion Studios SSL mixing console, using entirely vintage analogue equipment including the same pieces from Lee’s original Black Ark Studio. Driven by the idea to merge Lo-Fi and Hi-Fi. Merging the absolute best in class Analogue equipment available on the planet, with the very best Vintage equipment from the 1950’s-1970’s They have Dubbed these Bass heavy Lo-Fi recordings live, using space, depth and width. Paired with Phasers, Filters and Delays, resulting in a deep meditative, cinematic, psychedelic Dub journey into the stars.
Bought to you on super rare Glow in the Dark Vinyl, with a hand painted cover by Ellen G, the result sees the pair jumping into Lee’s Dub Starship to drive it straight through the Horror Zone!

Paul Bradley returns with another massive EP, and this time he means business. Stretching his creative muscles as well as the tempos, this EP ranges in style and speed from late 1991 to early 1995 and contains everything a growing raver needs. Hefty beats, uplifting piano riffs and wicked stab sections all rolled together with a light, humorous touch. Its an unbeatable combination…

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

It's no big secret: The elements of trance music have always played a vital part in the music of Prins Thomas. In fact, there are scholars who argue that these stylistic attributes were the ramp that shot his disco into space. But let's not pour hot coffee onto the cold one. When the king they call Prins sent a loose bunch of tracks to Gerd Janson to get some sort of feedback, it was like an epiphany: the calling for the missing link between "Logic Trance" compilations of yesteryear and the honey for the strobe light bees of today has finally been answered. Naturally, it's not all ice cannons and glow sticks, endorphins and euphoria. The private and poetic Prins stands just one step behind the sweaty one - in alphanumeric track list order. If there has ever been something like thinking-(wo)mans-trance, this is the album for it.

For their sophomore album, Chemical Reaction, Galaxians have stripped back the music and pumped up the vocals. Emma Mason's unstoppable voice elevates the group to a fully-formed musical act. This new LP is all about her voice.

Mason's powerhouse vocal on the West End Records-inspired Chemical Reaction beckons you onto the dancefloor. Jed Skinner's bright and breezy synth melodies allow the song to really breathe, whilst Sam Bell's front-and-centre conga groove (straight out of Double Exposure's My Love Is Free) and Matt Woodward's intricate rolls ramp up the track's energy and momentum. The shorter Mama Ghetto Vogue Edit is brought to life by Darren Pritchard, vogue dancer and mother of Manchester's House of Ghetto, who meets a neon wonderland in the electrifying video.

Elsewhere on the album, Heartbreaker champions female empowerment and personal freedom over a pounding boogie groove. It's a tight arrangement which drops into a delay-drenched Levanesque drum break before crescendoing back into a final chorus via one of Skinner's trademark JX-3P synth solos.

On the proto-house funk of Fight For Love, where Emma flexes her vocal chords to jaw-dropping effect, a failing relationship is thrust into the spotlight over a punchy Linn Drum groove. On the silky shuffle of after-hours jam Work It Out, which brings to mind the classic Sly & Robbie Compass Point productions, Emma croons about a lover, her voice cast in a softer, more subdued glow. Heat of the City sizzles with the essence of an urban summer, and is peppered with heart-stopping hand claps.

Third single Horizon sees the band in more reflective low-key mode, and could be their minor hit of the summer. There's some neat drum programming here, intertwined with Woodward's intricate fills and hi-hat playing.

On Not The Money, Mason's vocal shifts to a lower register in the mid-section, bringing to mind Grace Jones at her most commanding.

All in all it's a life-affirming experience, one born out of a sense of community and collaboration. Seven years on from their early explorations Chemical Reaction sees Galaxians retain sight of the principles that make their output, and dance music as a whole, so vital - commonality of experience, singular moments shared by a crowd, and rhythm as the best medicine.

Repress

MARA is the debutalbum of Munich-based jazz group FAZER. The young musicians combine African and Latin rhythms with dubby basslines and melancholic melodies. The unusual lineup with two drummers (Simon Popp, Sebastian Wolfgruber), bass (Martin Brugger), guitar (Paul Brändle) and trumpet (Matthias Lindermayr) leaves an open space for unfettered improvisation. Through the concept of repetition and finely measured dynamics, Fazer create a drawing energy that can be felt directly at their live shows and has been captured perfecty on this record.

We are extremely happy to introduce you to Møzaika's first full-length record titled "Silver Tide". Its healing music has been a constant companion to us over the past two years. 2020 finally seems to be the right time to share it with the world. It is a wonderful album to be listened to as a whole - a continuous piece of music with many exciting turns showing the artist's close connection to nature as well as a deep knowledge of his musical ancestry.

Theresa Stroetges has and always will be a traveler. Under the name Golden Diskó Ship or as a member of bands like Soft Grid or the improv collective Epiphany Now!, the Berlin-based multi-instrumentalist has continuously been moving through the fringes of experimental music, but also extensively explored the possibilities of tried and tested formulas - whether folk, rock, techno or pop. With her fourth solo album, her first for the Karaoke Kalk label, the Golden Diskó Ship is yet again venturing into unknown territory. »Araceae« is inspired by environmental changes and the eerie feelings that arise when faced with natural beauty - when everything seems perfect on the surface but something feels off underneath it all. As a whole, it is notably more focused on electronic grooves that provide the foundation for Stroetges’s poetic long-form storytelling.

Partially conceived during a residency in India, »Araceae« is the first Golden Diskó Ship record to feature two guest musicians. For »Wildly Floral, Slightly Damp,« Stroetges collaborated with percussionist Dripta Samajder who with his Sri Khol contributes complex rhythms to a driving beat that wouldn’t be out of place in the record bags of daring DJs. Sophia Trollmann takes over saxophone duties for »Ortolan,« a riveting coming-together of intricate, IDM-flavoured techno and jazz-inspired improvisation. Both are integral standout tracks on an album that clearly follows a holistic plan. Already the opener »Clouds of Neon Limelight« dips into anthemic synth pop territory, but unfolds into a great saga full of ominous undertones and Stroetges’s trademark: layered vocals that at once evoke feelings of uncanniness and intimacy.

It’s a juxtaposition that runs throughout »Araceae,« thus enforcing the album’s overall themes of sensual experience and alienation. »Game of Biryani« for example lends some of its musical structures from pop music, calling into question traditional songwriting conventions which here reappear as irritating echo effects rather than recycled old tropes. With the lush »Limping over the Prairies« and the adventurous »Glow-in-the-Dark Gloves,« Stroetges further challenges her audience by applying noise and a heavy dose of autotune respectively to disorientating effect.

The couple makes for an impressive finale of an album that scrutinises our ideas of what is natural - whether in music or the world around us. »Araceae« was inspired by the travels of its creator, but also sets out to ascertain what lies beyond everything that eyes or ears can perceive.

This massive 12” EP combines some of Sublove’s rarest releases with a brand new surprise. Vexation is an AMAZING track that was recently discovered by Sublove sitting on a DAT. How this superb piece of amen mayhem wasn't released I just do not know, but finally it gets its day on wax, where it always deserved to be. A huge 1994 styled jungle Amen roller, truly amazing. This track sits next a bunch of other tough to find and mindblowingly good Sublove tunes. Get in!

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

‘Reality Tunnels’ is a concept that was originally introduced by Robert Anton Wilson in his 1983 book ‘Prometheus Rising’. In essence, the concept of a reality tunnel relates to an idea on how we create our own perspective – the subjective filter that we each apply to the world around us; the things we perceive and what our consciousness deems worthy of attention, IE what we see and hear is entirely relative to what we do not.

At points angular and uncompromising with levels in the red, frequencies pushed out and EQ curves stretched into strange new shapes, Pinch mixes both low and hi fi on this boldly distinct sonic statement. It sees him flexing years of production skills – but unconventionally so – knowing well that safe predictability and rounded polish don’t get the most interesting results.
Dark trip hop Bristolia segues into blistering jungle on album opener ‘Entangled Particles’, before planet-hopping onto the spiky insidious grimestep of ‘All Man Got’, featuring the rugged rasp of OG warhorse Trim.
Beginning a triptych of future techno, ‘Accelerated Culture’ offers the album’s most relatively straightforward moment, albeit one of scorching, anthemic dancefloor heat. Delving deeper into the vortex is the synapse sparking wobbler ‘Returnity’, before ‘Finding Space’ reaches to the cosmos’ far-flung, glowing outlands.
Back to an urban reality is ‘Party’, where a subtly menacing sense of dread is ignited by Killa P’s incremental flow, which ramps-up and pairs-back the intensity in unexpected ways. Still moving freely between different realities, ‘Back To Beyond’ is beautiful gloaming ambience, executed with equal fine-tuned grace as the genre’s masters.


Jamaican vocalist Inezi lends sweet tones to the slow burning, roots-meets-modern-bass spiritual ‘Change Is A Must’, and on ‘Non-Terrestrial Forms’ an atmospheric, misty steppers intro segues stealthily into fiercely dystopian, amen-fuelled jungle tekno; marking one of several surprise attacks on the album, where a subtle-slight-of hand shoots the intensity level dynamically up.Closing as it begins, the album is bookended by a piece that recalls the dark, intricate soundscapes of Massive Attack’s ‘Mezzanine’ and Tricky’s ‘Maxinquaye’ – found here in ‘The Last One’s scorched, smoky rocker.

Hit the vinyl double pack for an exclusive and quite unique sounding 120bpm glitchy techno roller featuring man like Trim once again and live cello recordings.

‘Reality Tunnels’ is a concept that was originally introduced by Robert Anton Wilson in his 1983 book ‘Prometheus Rising’. In essence, the concept of a reality tunnel relates to an idea on how we create our own perspective – the subjective filter that we each apply to the world around us; the things we perceive and what our consciousness deems worthy of attention, IE what we see and hear is entirely relative to what we do not.

At points angular and uncompromising with levels in the red, frequencies pushed out and EQ curves stretched into strange new shapes, Pinch mixes both low and hi fi on this boldly distinct sonic statement. It sees him flexing years of production skills – but unconventionally so – knowing well that safe predictability and rounded polish don’t get the most interesting results.
Dark trip hop Bristolia segues into blistering jungle on album opener ‘Entangled Particles’, before planet-hopping onto the spiky insidious grimestep of ‘All Man Got’, featuring the rugged rasp of OG warhorse Trim.
Beginning a triptych of future techno, ‘Accelerated Culture’ offers the album’s most relatively straightforward moment, albeit one of scorching, anthemic dancefloor heat. Delving deeper into the vortex is the synapse sparking wobbler ‘Returnity’, before ‘Finding Space’ reaches to the cosmos’ far-flung, glowing outlands.
Back to an urban reality is ‘Party’, where a subtly menacing sense of dread is ignited by Killa P’s incremental flow, which ramps-up and pairs-back the intensity in unexpected ways. Still moving freely between different realities, ‘Back To Beyond’ is beautiful gloaming ambience, executed with equal fine-tuned grace as the genre’s masters.


Jamaican vocalist Inezi lends sweet tones to the slow burning, roots-meets-modern-bass spiritual ‘Change Is A Must’, and on ‘Non-Terrestrial Forms’ an atmospheric, misty steppers intro segues stealthily into fiercely dystopian, amen-fuelled jungle tekno; marking one of several surprise attacks on the album, where a subtle-slight-of hand shoots the intensity level dynamically up.Closing as it begins, the album is bookended by a piece that recalls the dark, intricate soundscapes of Massive Attack’s ‘Mezzanine’ and Tricky’s ‘Maxinquaye’ – found here in ‘The Last One’s scorched, smoky rocker.

Hit the vinyl double pack for an exclusive and quite unique sounding 120bpm glitchy techno roller featuring man like Trim once again and live cello recordings.

Rising Manchester star FINN takes the helm for the next release on Ruf Kutz with two hyper-real contemporary raw bangers crafted for maximum emotional impact backed with remixes from RK big guns RUF DUG & GLOWING PALMS.

Even though he's a comparative youngun, this is by no means Finn's first time at the rodeo - he's a label boss, an NTS pioneer, a Boiler Room veteran, a Defected Records Old Boy and also holds down the coldest twitter account on the information superhighway. It's a big deal to us that we managed to snare him for a release on his ascent to whatever accelerated dimension he is headed for.

Purposely conceived as raw club tracks after a heavy Paul Johnson listening session, TRICK TRICK and BELLE THEME contain many of his beloved hallmarks while also showcasing new creative pathways - the title of the EP surely alluding to what Finn is about to pull from up his sleeve...

Opener TRICK TRICK is many things all at once - a raw turbo-jacker, a hugely emotive bassline roller, a super-fresh club banger that has few elements, yet uses them with such efficiency it's impossible not to be drawn up into its vapour trail.

BELLE THEME winds the pace & harmonic tension up with manic abandon as we find ourselves in Finn's familiar 130-plus territory but while the tempo is slamming he somehow manages to drape everything in a lacy coating, as if we were playing a bonus level from a lost Studio Ghibli PS1 beat-em-up.
Back in the real world we flip the record for 2 textbook Ruf Kutz remixes. First up label boss RUF DUG guts Trick Trick and serves up the fillet on an unashamedly tech-house bed, purpose-built for DC10 circa 2009 - meanwhile Ruffy's partner in crime GLOWING PALMS dips into his secret stash of double doves and takes Belle Theme for an unforgettable night out in a Burnley warehouse.

Of the release Ruf Dug says "It's been a big thrill to follow Finn"s development over the years since we first met. I've been hoping to collaborate with him for quite a while so for it to be finally happening especially at this stage in his career is a genuine mega buzz!"
Finn says: "Been a keen Ruf Kutz fan since Rachel's Team in 2016! So happy to contribute to the label with two rough (ruf) and ready club tracks - late night/early morning hymns"

Los Angeles based artist Evan Caminiti returns with the follow up to 2017’s Toxic City Music.

Living in the wrong timeline, dreaming of possible utopias; Varispeed Hydra beams in like a collection of broken transmissions, terrestrial sounds melting into the abstract and rising again as vaporous specters. Three years in the making, Hydra was recorded utilizing a variety of electroacoustic processes and honed in live performances ranging from the sound art setting of NYC’s Issue Project Room to the future-club environment of DOMMUNE in Tokyo. While thematically following Toxic City Music, it moves past that album’s emphasis on superfund sites and the proverbial rat race to turn an ear towards more rural environs.

With a focus on some of the sounds we stand to lose if we continue on our current trajectory of ecological destruction, birds, insects, and water are most often found among the glowing synthesizers and warped electric guitar that comprise the album’s melodic and rhythmic core. Connecting a thread between musique concrete and dub, these sounds are atomized and diffused before being woven together with a sense of urgency, a colorful and restless haze. Phasing percussion and blurred melodies are wrapped in a fog as they tumble and glitch, occupying a space where ominous rumblings and bucolic bliss blur together. An offering of cautious optimism in the age of anxiety.

Written and produced by Evan Caminiti, featuring electronics by Lisa McGee.
Mastered by Rafael Anton Irisarri at Black Knoll Studios.
Artwork by Michael Vallera and Zane Morris.
Vinyl cut at Dubplates and Mastering Berlin.

Following 2019’s New Atlantis LP under his experimental techno alias Efdemin, Phillip Sollmann’s Monophonie is a project dedicated to uniting different strands of utopian music. His approach: combining and recontextualizing rare historical instruments of sonic research of Hermann von Helmholtz (19th century) with the self-designed, microtonal instruments of Harry Partch and metal sound sculptures of Harry Bertoia.
The result is a psychedelic investigation into just intonation – alternative tuning systems that create unique sets of harmonics not found in conventional scales. Monophonie recasts these sounds into new rhythmic environments where epic kosmische, polyrhythms, acoustic techno and microtonal glow are interwoven into a rare music.
Over nine tracks, the album explores multiple forms of minimalism, from unwavering repetition to paired-down chords and sparse sonic environments. But it also seeks to expand the sound spectrum of Partch’s custom built organs and melodic percussion instruments as well as Bertoia’s sonambient singing metal rods into a atmospheric otherworldliness.
Monophonie was first composed in 2016 and premiered at Berlin’s Volksbühne theatre in 2017, before it went on to the renowned Ruhrtriennale and Kampnagel in Hamburg. It was performed by one of Germany’s premier neue musik collectives Ensemble Musikfabrik together with Sollmann himself on von Helmholtz’s original double siren, with set design by Michael Kleine and wardrobe by Peter Kisur of Honeysuckle Company.

The first collaboration between frequent Past Inside the Present contributor Slow Dancing Society (both as an artist and in-house engineer for other PITP releases) and the label's founder zake, present 'Mirrored'; a wonderful meditative exploration of glacial drones, atmospheric hum, and touches of restrained ambient techno.

Mirrored is a quietly powerful, contemplative album with a beautiful stillness at its center. Layered dronescopes are intertwined with murmuring electronic rhythms, hypnotic bass, and the occasional pneumatic beat resulting in a collection of pieces that radiates a glowing warmth.

2x12"

Having made initial waves on Cold Recordings and Osiris, Eric Baldwin returns now to Tectonic to release his eponymous album ’Cocktail Party Effect’, bringing his South London roots to Berlin for an all-weekender, under strobe lights.

Drawn by his appetite for powerful rhythmical forms and inspired by the likes of Daphne Oram, The Residents and Captain Beefheart - Eric takes uses background in sound design, knowledge of hacking VST software and adapted spring reverbs and other hardware, to create a truly unique vision of contemporary electronic music. It sits somewhere between Jeff Mills, Aphex Twin & Squarepusher - held together by a connective UK Bass Music spinal chord. A weird but intriguing beast.

We open the track with Japanese cocktail recipes, before moving into the only vocal track of the album, ‘Talking To Bricks’ featuring Bristol vocalist Redders on fine form - charged with disjointed energy and run ragged across a technologically charged dancehall style beat. The LP progresses through the rolling breaks and bleeps of ‘For The Memory Exchange’, into an IDM side-step in the shape of ‘Brutalism’, moving into the gentle, beautiful flickering glitches of ‘PDA’, before we get to the hyperactive twitching alien charge of ‘War On Codex’.

Taking a leap in another direction, we reach ‘Cause For Bad Shelving’, which sounds a bit like Squarepusher when he was on late 90s, immaculate form - taking the tempo up a few notches, while building melancholy. ‘Lack Of Wrong Format’ then gives us a moment to breathe, before diving into ‘Deerhorn’ which brings us right back to the dancefloor. Things are then turned inside out with the jittery wonder of ‘I Get It (Lost Banknote)’, redirected via the industrial clangs of ‘Low_Rise’, before rounding off our sonic adventure with the ponderous tones of ‘Loner’ - which leave you glowing and drifting off into space.

A bold album that’s just brim with a strong sense of originality, direction and grand narrative. From international dancefloors to post-clubbing ear-worms, Cocktail Party Effect is just getting started and you’ll be hearing his name more and more now.

Industries Of The Blend is the latest project from Dj Luna-C, and it a step back into the original sounds of 1990 and 1991 old skool. Slower bpm and all hardware lead to an entirely authentic sound for this EP, and that authenticity continues with the style of sleeve (Spined like an old Euro EP) and in the overall concept. Proper underground, original, rave music. For those who know.

Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Tilman Robinson’s third album, CULTURECIDE, is an investigation of the anthropocene; a seven part lamentation for our chaotic world.

Tilman Robinson is an Australian composer and sound designer creating electro-acoustic music across a range of genres including classical minimalism, improvised, experimental, electronic and ambient. Tilman’s diverse output focuses on the psychological impact of dense sound employing acousmatic and psychoacoustic principles. His third album CULTURECIDE will be released on Iceland’s Bedroom Community label in April 2020.

CULTURECIDE: “...processes that have usually been purposely introduced that result in the decline or demise of a culture, without necessarily resulting in the physical destruction of its bearers.” D Stein

CULTURECIDE is a rich sonic collage, harvesting sounds from a range sources including field recordings, medical machines that monitor the human body, traditional instruments and synthesisers, often melted electronically. The result is an unsettling paradox with sounds constantly on the edge of recognition. Each piece references a specific socio- political issue ranging from colonialism to neo-liberalism to climate change and the impending singularity of humans and machines. Far from an answer to these questions, CULTURECIDE invites us to meditate on their place in our life and approach personal understanding.

Recorded and produced almost completely in Australia, a land at the forefront of the devastation of climate change, CULTURECIDE was an attempt at catharsis for its author frequently appalled at his country’s incredible apathy and inaction. Mixed by Bedroom Community regular Daniel Rejmer and mastered by Lawrence English, works from the ambitious and unsettling record saw Tilman nominated for the 2019 Melbourne Prize for Music.

"I'm Always Right“ by Imagination is an unreleased jazz rock LP recorded in 1977, 3 years before their sought after “Shake It” debut from 1980. Comprised of five tracks with a playtime of roughly 30 minutes, you will hear one of the finest German late-70s rock-tinged electric jazz albums of the era. The recording is a delightful stand-out with unique compositions, aspiring solo work, and a soulful spirit throughout. Additionally, the album veritably glows with exceptional sound quality, as it has been remastered from original tapes that were cut more than four decades ago at the WDR Funkhaus, Cologne.

Impromptu muscovite supergroup Lilipulu turn the needle neon with a quartet of unexpected killers for club cosmonauts, rainforest ravers, anxious insomniacs and giddy punks.

Unplanned, inspired and all the way live – the pin is glowing! Ever wondered why the Growing Bin releases sound so damn good? Well, it has more than a little to do with mastering magician Sergey Luginin, whose eagle-ears and technical know how have been a part of the process since GBR002. For the latest Glowing Pin powerplay, our man in Moscow joins some close friends on the other side of the console, letting the creative juices flow for ‘Four Amazing Tracks’. Luring Simple Symmetry brothers Sasha & Sergey and DJ & photographer Ivan Pustovalov into his studio with the promise of an afternoon stroll through the nearby Elk Forest, Sergey set the circuitry in motion and the quartet got lost in music. What begin with a plan for some simple edits and a woodland walk quickly became a full scale studio throw down, reimagining forgotten favourites amid a multi-instrumental stew of propulsive polyrhythms, low slung bass, cosmic synths and frazzled guitars. There’s techno-tribal hypnosis on the mind bending, brain blending A1, poetic post punk on the angular, janglier A2, outrageous Afro-cosmic on the freaky Floyd-in-Lagos B1 and languid ambience on the lysergic lullaby which closes the set. Recorded as they worked and presented in chronological order, this EP is a triumph of inspiration over perspiration - a snapshot of a moment which will last forever.
Patrick Ryder

Seb Wildblood readies his first new release of 2020, the ‘Hazy House’ EP. After a year that saw Wildblood releasing his landmark LP, ‘sketches of transition' – which received a glowing 8/10 review in DJ Mag and made it into Mixmag’s of Albums of 2019 round-up – his new two-tracker is set for release via his London / Los Angeles based label, all my thoughts, on April 17th. Along with his recently released edit of Rosalia’s ‘A Palé’ for charity, the EP marks the DJ/producer’s return to a more dancefloor-focused sound, having ventured further into the worlds of downtempo electronics, R&B and Balearic-imbued house on his introspective and accomplished debut album.

‘Hazy House’ is an encapsulation of what a Seb Wildblood DJ set sounds like in 2020, fusing tough house rhythms with electro’s futuristic atmosphere and an ear for emotive melodic hooks. With dreamy flourishes and subtle complexities, the EP retains much of the depth that ‘sketches’ emphasized, despite being his most club-ready work since 2018’s ‘Grab The Wheel’ EP. The resulting release is one that showcases Wildblood’s considered, painterly technique, and his capacity to create thoughtful soundscapes even when focused on mobility and energy.

‘Hazy House Vol. 1’ on the A-side is buoyant and lush, with a warm synth bed hovering on top of its bouncy beat before a soft, chiming arpeggio motif floats into the mix, tying everything together in a silky deep house bow.

‘Vol. 2’ is similarly inviting, if a little more robust. With a sharp beat, angelic choral synths, and a subtle vocoder, the track is one for the depth of the night, when the last push of energy carries you through, right into the warmth of the afterglow.

Inspired by moments experienced throughout his second world tour in 2019, which saw him playing DJ sets everywhere from Australia and Japan to the UK and across North America, the title ‘Hazy House’ is a tongue-in-cheek nod to the assumptions some may have about Wildblood’s sound. But as the EP highlights, there’s a subtle intricacy at play in the producer’s work that further establishes him as a distinct voice for both club-driven sounds, and for those more suited to headphones.

Brooklyn-based cellist Clarice Jensen’s gorgeous
sophomore album and first for FatCat’s pioneering
130701 imprint, ‘The experience of repetition as death’
was recorded and mixed by Francesco Donadello at
Vox-Ton studios in Berlin in late 2018 and mastered by
Rafael Anton Irisarri.
 Following up her hugely impressive 2018 debut, ‘For
This From That Will Be Filled’, which included
collaborations with Jóhann Jóhannsson and Michael
Harrison, all of the material on this new album was
written and performed by Clarice alone and all of the
sounds on it were created with a cello through a
variety of effects and effects pedals.
 Clarice has recorded and performed for a host of
stellar artists including Jóhann Jóhannsson, Max
Richter, Björk, Arcade Fire, Nick Cave, Jónsi, Stars of
the Lid, Dustin O’Halloran, Joanna Newsom, Nico
Muhly, Dirty Projectors, Frightened Rabbit and Beirut.
 Receiving glowing critical acclaim, both her previous
releases made it into Pitchfork’s End Of Year charts.
 For fans of Jóhann Jóhannsson, Hildur Gudnadottir,
Stars of the Lid, Max Richter, Pauline Oliveros, Harold
Budd, A Winged Victory For The Sullen, Sarah
Davachi, Resina, Maria W Horn, Ellen Arkbro, Kali
Malone, Christina Vantzou, Abul Mogard, Galya
Bisengalieva, Richard Skelton, GAS, Steve Reich.

After a 10 year absence Horizontal is back. 3 songs that revolve around Dinky’s pure musical dogma, arpeggiated basses bounce with the beautiful and contorted voices that play within this psychedelic party. Bathing in blue skies and a deep warm acid glow, this is music to capture your body and soul, made with love whilst dreaming of a brave new world within these innocent melodies.

Like an ode to your Walkman and to those 90-minute tapes that you used to rewind with your pen, DA BREAK's first LP was all about Funk & Hip Hop 90's flavors. Like an ode to your Walkman and to those 90-minute tapes that you used to rewind with your pen, DA BREAK's first LP was all about Funk & Hip Hop 90's flavors. This was completely unexpected, a major learning experience, and above all a lot of fun and gave the Lyon-based gang a whole lot of ideas for the next stage in their musical journey, propelling them towards new musical horizons: infectious riddims with grooving keyboard & guitar licks as their bedrock and free association leading them into jazz, broken beat, soul or disco vibes … During the creation of Let It Shine, all doors were wide open and all musical genres potentially welcome. The production still has a « home made » feel to it, like the previous album, but with a modern, sonic twist when needed- a result of three years on the road together and new creative input from group members. Whether it be on a New York summertime roof-top, or settled in a Low-Rider with some G-Funk, or moving to some phat Jamaican style bass-lines or getting sensual on a tight breakbeat, lead singer Hawa knows how to shine her feminine and versatile brilliance on the project. She gives to the songs the final touch and the emotion needed to share with us her stories about human relationships - everyday tales sharing her real life-experience. This ever-expanding musical spectrum, Da Break play with it, explore it and also let it kick
completely free at times ! Song after song, they bring a magic glow to LET IT SHINE.

Another win for the Glowing Pin as Müller & Wandt drop a fresh new age groover on a killer club dub tip. Elsewhere Phazer Boys, Suzanne Kraft, Philipp Otterbach and River Yarra remix the pscht out of their favourite tracks from ‘Instrumentalmusik..’. Expect Goan hits, cosmic trips, loved up rave and chilled out wave on this flawless five tracker.

Growing Bin becomes Glowing Pin for the most anticipated rematch of the century. Back at the beginning of 2018, Wolf Müller and Niklas Wandt went head to head for a box office smash, throwing a high school percussion tray, wall of hardware and voodoo skull into the ring for the tribal trip of ‘Instrumentalmusik Von Der Mitte Der World’. Now the multi-instrumental duo face off once again, but this time it’s a royal rumble with Phazer Boys, Suzanne Kraft, Phillip Otterbach and River Yarra all bringing the noise to the Glowing Pin.

Müller and Wandt dominate the action on the A1, playing loose with sampler vox, serene pads and future primitive rhythms on the unreleased ‘Fun Dub’ of the also unreleased ‘Dub Dub’. Imagine Ferris Bueller’s trampoline tumble trading Chicago to the Weissenhof and you’ll sense the mood of this New Age groove. Germany’s number one party dudes, those freaky Phazer Boys take a break from dropping killer Candomblé cuts to reach for the lasers on the A2, taking ‘Ahu’ to another dimension. Dripping in neon body paint and armed with fire poi, the Düsseldorf duo power up progressive house sequences, didgeridoo bass and thumping tribal house percussion for a wall-shaking, speaker-breaking remix.

The B1 belongs to synth whiz Suzanne Kraft who revels in glistening, gliding glory on an expansive remix of ‘Auflösung’. Sleek, serene and futuristic, the track shimmers like Fritz Lang’s Metropolis, free from inequality and rendered with the 5D(ub?) majesty of a DMT breakthrough.
B2 hears Salon associate and serious talent Philipp Otterbach take over on a stripped back and psychedelic post punk dub of ‘Expedition’. Angular bass by Süne Große and a stuttering rhythm underpin astral flourishes and the hazy vocals of Lucas Croon before the African elements begin to move to the forefront.
Last man standing is Australian outlier River Yarra, who leads us into the Krautback with a chugging dub of ‘Weltraumsandalen’. Lent a lysergic sparkle by a percolating one-note bassline, this slow motion stunner masters perpetual motion amid the eerie echoes of the bush, organic percussion and electronic animal cries fading into the night. Let the pins glow again.

Patrick Ryder

Kniteforce head honcho Luna-C once again teams up Kniteforce Radio manager and all round oddball the Lowercase for a follow up to their well received Heavy Beats EP. This time, moving on to a more 92/93 sound, and cleverly crafting an EP that has 4 tracks while also having 5 tracks. It will take a skilled Dj to work it out though! All 4 (5) tracks are proper old skool, built almost entirely on hardware, and lovingly crafted for the discerning hardcore ear!

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Rune's ever dependable Drum Island return for a new decade with a life-affirming celebration of the sunset moments which underpin his always excellent output.
Hierbas has been causing euphoric dancefloor moments for a handful of selectors for over a year, but it's now - as the nights bristle with cold air - that we receive this warming hug of a track, a brief window into the promise of summer, the freedom of letting loose outdoors, and then basking in the glow of love with the celebratory chug of 'Mina Musica' and transcendent 'San Augustin'

Beautiful stuff from our favourite barefoot viking.

Kniteforce and Just Another Label (owner of the Bear Necessities Sub Label) have been friends since the early 90’s, so when JAL wanted to remaster and repress some old and much sought after classic EPs, it was only natural for Kniteforce to take on that roll. Here we have the third of those EPs, and its another one that many have been looking to get hold of for a long time! A timeless old skool EP and one that has been high on many a collectors wants list for decades!

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Kniteforce and Just Another Label (owner of the Bear Necessities Sub Label) have been friends since the early 90’s, so when JAL wanted to remaster and repress some old and much sought after classic EPs, it was only natural for Kniteforce to take on that roll. Here we have the fourth of those EPs, and it’s a 4 track stunner that many have been looking to get hold of for a long time! A timeless old skool EP and one that has been high on many a collectors wants list for decades!

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Completing a red hot trio of remix EPs of Calm’s By Your Side album is this final part with Lucas Croon, Cantoma and Gallo and Yuri Shulgin all serving up expansive and mind altering new versions.

He doesn’t release often but when he does you need to listen to Lucas Croon. His unique take on ‘Before Landing’ is a proper dance floor heater to get you on your toes. Once you're there, a gentle rush of rave euphoria tases over you and sends shivers down your spine as old school breakbeats and glowing pads complete the trip.

Elsewhere, long time Balearic pin up, scene hero and all round blissed out boss man Phil Mison has a new album corn gin the spring. Before that, he becomes Cantoma for a timeless version of ‘You Can See The Sunrise Again’ that has bright blue skies and jaunty chords making you move.

Regular label artist homie Gallo is in the form of his life right now - he's resident DJ at Hell Yeah's weekly Balearic night Buena Onda in Berlin, has a growing reputation for being one of the best eclectic selectors in the game and is currently working on compiling the forthcoming BUENA ONDA comp with label head Marco. He gets long legged on his deep cut remix of ‘Sky Color Passing’ which is another killer that slowly but surely works you in a slow motion acid trance.

Completing this most exquisite outing is Yuri Shulgin, a multi-instrumentalist music producer from Tajikistan with credits on Cocktail d'Amore Music. His spellbinding take on 'Ending of Summer, Beginning of Autumn' is a fusion of jazz, leftfield and electronica will have you in a spin and your head lost in the clouds amongst the twinkling stars and cosmic pads.

The second EP of remixes from Man Jumping's reissue on Emotional Rescue features luminaries Bullion, Reckonwrong, Gengahr and William Doyle with their reversions of songs from the Jumpcut album.

Nathan Jenkins aka Bullion follows his recent rerub of Thomas Leer (ERC072) to provide two remixes. His remake of In The Jungle keeps the originals (leftfield) dance floor roots, but sprinkles the ubiquitous warm glow and off kilter fun(k) that he evokes; while his retake of Walk On, Bye drifts back, highlighting intricate percussion; congas, bass and vocal atmospherics along some breezy swing.

Reckonwrong is next; turning the bossa vibes of Sqeezi into his own new wave meets italo reversion; topped with his unique 'under the cupboard stairs' vocals. Funky, driving, this overlooked star adds to his cannon for Whities, Pinkman and DEEK.

After a string of impressive releases for Trangressive / Beggars, Gengahr make a surprise addition, lifting Down The Locale from deceptive beginnings to anthemic heights, adding echo-laden guitar and vocals to the original's underbelly, before a bass break and return lifts to the heavens.

Finally, William Doyle provides perfect closure. Moving away from his East India Youth moniker (XL Recordings), his output has drifted towards ambient introspection, however, here points to addtional layers; rebuilding Belle Dux On The Beach with added bass, guitar, drums and finally vocals that culminate in a prefect 'to the skies' outrospection.

The Death To Digital series comes to a (perhaps temporary) end with volume 5. And what a way to end, with four slamming tracks that maintain the original concept of diversity in style while staying true to the Kniteforce ethos of, well diversity and style!”. Sunny & Deck Hussy drop a traditional styles beakbeat piano anthem, while Shadowplay brings something that is not quite everything. Abyss shocks us all by making something a little happier than usual while retaining the heaviest of beats and bass, and Idealz brings a rolling, thoughtful d’n’b tinges lick to close the series. Big stuff.

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

'WRWTFWW Records' is insanely excited to announce the first ever vinyl release of Tom Raybould’s award-winning movie soundtrack for excellent AI-themed sci-fi thriller The Machine (2013). The limited edition LP boasts 16 superb tracks and is housed in a special glow in the dark sleeve.

"Tom Raybould’s Music For The Machine Is Amazing" - Bloody Disgusting.

Undoubtedly one of the greatest (and most overlooked) movie scores of the 2010's, The Machine finds its influences in the works of John Carpenter, Vangelis, Brad Fiedel, and Tangerine Dream, but presents its own unique twist, one that cleverly evokes the thin line between man and machine that haunts the whole film.

Cold and tenacious rhythms suggest mechanical killer instincts, brooding synths crystallize the fear of an AI-controlled future, but the warm and gentle sounds of guitar and piano ease the tension and bring hope of humanity. From its menacing introduction to it's tender ending, Tom Raybould’s masterwork ingenuously blends ambient, electronic, neoclassical, and synthwave to recontextualize and upgrade the classic 80's sci-fi movie score template, holding it's own against mammoth soundtracks like Blade Runner or The Terminator. Truly.

Cold with a touch of humanity like the perfect machine, Tom Raybould’s movie score won the BAFTA Cymru award for Best Original Music in 2013.

Stargazer is a huge tune beloved by ravers all over the world, but for a long time the rights to it were in legal limbo. Kniteforce/KFA un-limbo-ed them to create this superb EP of remixes, featuring the classic original, the also classic Reese remix, a fresh new … err … old take by Dj Luna-C, and a proper tough remix from Audio-X. All in all, this single record covers everything anyone could want in an EP …

Club/DJ Support: Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder, and ... many others.

This double 10" vinyl features some absolutely enormous remixes that are not to be missed! Hamilton (Dj Ham) steps up to the plate and delivers a blisteringly dark remix of an already dark tune. Tough and rough, this one has a bassline that shakes the speakers to death and is built to last in his customary RAM records style.
Abyss gives us a glorious old skool drum and bass remix, in line with the 1994 sound, full on amen cuts, heavy sines and deep atmospherics.
Lowercase and Psycangle move the whole track into early 90's Ruffneck Records / Malice territory, with a furious old skool gabber remix, hard as nails and noisy as hell.
But perhaps the best is saved for last, because Sunny & Deck Hussy do the near impossible and take a dark tune and flip it on its head, making it euphoric and deep without losing the essential character of the original.

Club / DJ Support
Shimon, Andy C, Randall, Ray Keith, Chase 7 Status, Zinc, Jack Frost, Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder and many others

The hyper talneted Stellar Om Source (NOT NOT FUN, RVNG, NO 'LABEL) blowing up new styles on this one!

"If there is one thing that leaps out from Stellar OM Source’s music, it is the sense of a highly active mind at work. There is an indivisible feeling that a real person is behind this dynamic flurry of tones, waves, vibrations and modulations. On I See Through You, the first full Stellar OM Source release in over four years, the spark that first LP piqued the interest of so many listeners is glowing stronger than ever.

In the 2010's, Christelle Gualdi carved a name as one of the most essential live electronic musicians around, dazzling dancers and home listeners in kind with her bombastic, acidic hardware jams. Circumstances outside her control forced a stop for the Stellar OM Source project. It was touring, including two shows in the summer of 2019 at Dekmantel Festival and Listen! that Gualdi credits as year highlights, which proved to be the integral jump-start to the engine.

Inspiration came rushing back thanks to the human connection of performing. Seeing a younger generation connect with her put fresh charge into the circuitry of her gear. All this accrued into new material on the road, and thus I See Through You was born.

The spirit of 2013’s cult favourite Joy One Mile is alive and well on I See Through You. There is once again immediacy, urgency and lust. But Stellar OM Source stepping into a comparatively more poppy and playful mode on these four tracks could also throw some. Fundamentally she says, it comes from a similar place, and ends with an enmeshed and positive outcome. Gualdi credits both “1995 rave” and “the clarity, bass and breath” of hi-def hip-hop productions as being twin northern stars for her to follow.

The artwork comes from friend and highly respected photographer & director Pierre Debusschere, whose work similarly flits between arresting close-ups and, well, the widescreen luxe of Beyoncé videos. “I’m definitely not a purist anymore,” Gualdi laughs – and with club-ready impact meeting human warmth, this shows in abundance.

“Night Alone” wastes no time in getting the listener up to speed. Is that an LFO sample running through “Night Alone”? Is this a lost Metro Area classic? Is that Stellar OM Source taking a diversion into searching Ibiza-rousing vocal for a moment, or did we imagine that in a heat haze? Where are the kicks? Oh there they are. How many elements are buried and revived within just over five minutes?
It’s hard to tell. Before we know it, “Lost Codes” is up and away, keeping pulses racing. A pitter-patter of baby kicks feel like a pre-tremor before a welting electro-Italo lead crashes into play. With fizzing energy, rasping synths and a frisson of danger, fans of Unit Moebius and The Hacker will be doing somersaults of joy.

“White Echoes” wastes kicks off the flip side with low gurgles descending briefly like a UFO reverse parking into the spot SOS had vacated. Soon, 303s are twisting like Chinese burns while warm chords offer a salve. The mood maintains on “Wild Palms”, the only song on this record not to feature additional mixing work from Peaking Lights’ dub-wise sensei Aaron Coyes.

True to form, the B2 is all Stellar: elements switching up and out, with all the fun and frenzy of capital-L Live action. Kick drums and bassline darting back and forth like a synchronised swimming routine, all elements in concert. The momentum of a runaway mine cart that you can’t help but strap yourself to. I See Through You is one for the dancers who have given Stellar OM Source the motive to move forward once again."

They Say: “Driving brass and sax ensemble over funky rhythm section, playing tracks of various feel and style”.

We say: From the Lincoln Continental that memorably adorns the cover to the tranquil funk contained within, this glowing ode to the grooving force of 70s American soul music is ice cool all over. With brilliant contributions from the Three Key Alans™ (Hawkshaw, Parker, Tew) as well as Mike Moran, Les Hurdle and Keith Roberts, this is driving music for only the vibiest cats.

Originally released in 1976, The All American Powerhouse is one of the very best of the Themes library releases. It’s killer. A feast of dramatic jazz, horizontal, melodic funk and bouncing sunshine-y West-Coast feels throughout, there also lurks an intense injection of the Blaxploitation sound. Understandable, given the subject matter and year it was released.

Highlights include Alan Parker’s confident, horn-heavy wah-wah-fuelled album-opener “Sweeny Todd”, Hawkshaw’s graceful “Getaway” glide and dramatic, breathless “Speed Run”, Mike Moran’s loose, organ-driven propulsive B-Boy classic “The Pick-Up” and Keith Roberts’ percussive tour de force “Overide” that closes out the LP.

Yet, perhaps the most significant track here is Les Hurdle’s long-adored “Soul Train”. A grooving, bass-heavy library classic, it’s all swirling strings, stabbing horns, heavy open drums and melodic funk-rock guitars. Add in the funky clavinet, and the combination works beautifully.

As with all of our other Themes re-issues, the audio for The All American Powerhouse comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

After a short hiatus, the dynamic duo of VSK & Conrad Von Orton return with their collaborative project, Symmetrical Behaviour.
After a steady stream of releases via Soma over the last couple of years. The pair took time out to focus on solo projects but return with a vengeance with the "Superconducting Harmonic Oscillator" EP which furthers their experiments in sound design and high-powered Techno.

Title track "Superconducting Harmonic Oscillator" kicks off the EP at a furious pace as highly charged atmospheres create and emphatically large sound for the pairing's suitably tough beats to hammer through. "Quantum Interference Device" goes down a more direct path as expertly crafted rhythms overlap against a backdrop of highly evolved drones and synths.

"Amplitude Spectral Density" keeps the tempo moving but leans on a more industrial tip with crashing beats submerged against articulately mangled synths that drive home the true force of the track. "Resonant Antennae" closes out the new EP from Symmetrical Behaviour and really has them show off their production prowess.

Jarring and off kilter rhythmic structure combine to deliver a truly head pounding track complete with the pairs stylistic atmosphere manipulation.

All Tracks Mastered by Conor Dalton @ Glowcast Mastering.

Following on from their stunning debut collaboration - “Fragile” on GLOW/3; we announce a full release from Edlan & Djah.
Introducing the Melancholy EP: 4 uniquely intricate doses of futuristic and deep liquid filled with vibe, funk and soul. Proof this Dutch wonderduo are two of the most forward thinking and exciting new talents emerging on the scene.
Make sure you reserve your limited vinyl copy of Edlan & Djah’s new instalment now to avoid disappointment, dropping this November across all formats.

A Unique EP of remixes from Kniteforce Head Honcho, Dj Luna-C. Each remix is firmly based in the vibes of the old skool, with the rolling basslines and touch of madness that is expected when Luna-C gets in the studio. The tracks were all chosen based on their ability to be folded into something both new and old, and then refashioned into something very different from the source material.
The result is a cohesive mess, an orderly panic, and a clash of harmony, and all the expected trademarks of a prime Kniteforce EP.

Club/DJ Support - Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder ...and many others.

Da Lata’s highly anticipated fourth album Birds is a genre busting journey through London Afro-Brazilian soul music.
The most homogeneous Da Lata record to date, Christian Franck has honed his craft and expanded his art to create a glowing testimony from the melting pot of the capital’s musical life.

Gathering his family of collaborators with diverse musical backgrounds in soul, jazz, and gospel as well as African and Brazilian forms, Birds is an album that finally lays waste to that tired idea of World music.

There are tracks that are inspired by Chris’ journeys to the source, there are elegant horn and woodwind arrangements recorded in Belo Horizonte, Brazil, there are lyrics in different tongues, but this is a London record.

Birds is an album of warm organic grooves infused with sophisticated funkiness and splattered with instrumental colour. From the Afro skank swagger of the low slung opener Mentality to the Beatles-esque pathos of the closing title track, it’s a record packed with soulful surprises and beguiling rhythms.

The sound is both intimate and expansive, drawing the listener into Da Lata’s London tropicalia and out into the cosmos.

Birds is an album about keeping doors open and conversation flowing, it’s about survival, hope, family, resistance, awareness, unity and love. 

The Tokyo based producer Yoshinori Hayashi will release his new EP, ‘Y’, on November 8th via Smalltown Supersound. The EP will be his first release since his debut LP, Ambivalence, from last year which received a glowing 4.0 review from Resident Advisor.
Hayashi has studied under Japanese avant-classical composer Mica Nozawa. When not DJing, he works in a record store in Tokyo. Thus far, Hayashi has released a string of 12”s on labels including Going Good Records, Jinn Records, Lovers Rock, Gravity Grafittiand Moscoman’s Disco Halal. Previous work by Hayashi has been called “a complex patchwork of studio gear, live instruments, dusty jazz records and smartly cut library sounds, whose textures are soft and inviting. But its arrangements are constantly ruffled, squeezed, brushed and pinched—which is to say, nothing stays still for long” (Resident Advisor).

Blaue Blume are a Danish alternative art pop band with a deep connection to the romanticism of the early 80s UK scene. Referencing artists such as Talk Talk, The Smiths and Cocteau Twins, it's clear their influences are with the more sensitive, magical aspects of music - and the eternal questions of love, life and death. Following two singles (Lovable and Vanilla) the album Bell of Wool is finally with us. It’s suitably enchanting from start to finish. Two themes dominate Blaue Blume’s new album Bell Of Wool, darkness and adventure. With the record mostly made before singer Jonas Smith slipped into a depressive episode, the album’s lyrics and moods draw pictures of the darkness, anxiety and tension that would mark Smith’s depression. Sonically, the album sounds a distance away from anything they’ve done before. Indie and electro pop and rock are out, and instead the album is crafted from soft, glowing synthscapes, dawns and skies transformed into sounds. Even on hints of their older work, like on the acoustics of “Rain Rain”, the synthwork comes into the picture and swells the song into something bigger and more majestic. Opener “Swimmer” introduces the listener to the softness and subtlety of the new sound, whereas songs like “Morgensol” and “Bombard” show it at its biggest and more grand.

There are certain records you have to earn the right to play. After buying the right kind of warehouse, you have to build the energy in the room for what feels like an eternity until the precise moment the vape circle starts gettin’ out of control and Dionysus the Greek God of Greek Promoters tears through the very fabric of reality and screams “t??a!” right in your goddamned face. All of which brings us to Color Code, the latest EP from new Turbo sensation Dean Grenier.

Every single one of these four tracks is killer, a term industry demands have forced us use lightly in the past, but not this time, mister. This is sexually-viable sci-fi techno that rewrites your genetic code to give future generations a better chance at exhibiting club-friendly phenotypes like dance antlers or even more powerful sweat glands. At the snap of a glowstick, any of these selections will take your next set from “good” to “very good” on a scale of “good” to “shitty” to “very good.” That is our promise to you, no matter who you are or how much we care what you think.

Humans is the new album from sought after international touring band the London Afrobeat Collective. From Europe to Africa, Glastonbury to Nigeria’s annual ‘Felabration’ festival, LAC
deliver party music born of their truly global DNA. The nine-strong collective from England, Congo, Italy, France, Argentina and New Zealand combine diverse influences such as Fela, Parliament Funkadelic and Frank Zappa to create an eclectic sound drawing on funk, jazz, rock, and dub to create something addictive and unique.
Their 2015 album Food Chain, received widespread radio support on stations such as BBC 6 Music, Radio X and BBC Radio 2, as well as glowing reviews in The Sunday Times, London Evening Standard, Blues & Soul and Songlines Magazine to name just a few. The new album Humans, (featuring artwork by Ben Hito, renowned for his designs for Parliament / Funkadelic), is a collection of anthemic songs with socially conscious lyrics, set to bold brass lines and hypnotic danceable grooves. In 2015 the London Afrobeat Collective toured Nigeria, appearing several times on national TV and performing in front of ten thousand people at the New Afrika Shrine during ‘Felebration’. They are no less respected in their home town, having collaborated with the likes of Dele
Sosimi and supporting legends such as Ebo Taylor, Fred Wesley And The New JB’s, Tony Allen, and Fela’s son, Femi Kuti.
LAC are now globally recognised for what they really are: not a tribute, but an ever evolving, international band of expert musicians, continuously inspiring each other as they create distinct, sincere and powerful music. Humans is an accomplished work with international flair and cultural relevance from London to Lagos.

Photonz is the alias of Marco Rodrigues a DJ, producer and driving force of Lisbon's underground scene. For little over a decade now, he's been crafting his own deeply personal style of Portuguese house and techno. As a DJ, Photonz grew a reputation for deep crates and intensely euphoric sets and in 2017, together with Violet (co-founder at his Radio Quantica) and Lisbon's own Rabbit Hole collective, he started the now infamous Mina parties - a monthly, sex-positive, queer and intersectional-feminist techno party aimed at using the dissociative potential of intense raving to create a temporary space of suspension away from patriarchal expectations. 'Nuit' is Photonz?s debut album and a simultaneous reference the Egyptian Goddess of the Stars or Night. Marco was really swept away by the concept of ?freedom of form under the night sky?, the accepting embrace of Nuit. Ancestral, but also socially advanced and utopian; a deification of the night time. These ideas manifest themselves as eleven songs spread across two LPs that wax and wane like the moon. Photonz channels early techno, Drexciyan rhythms, balearic & atmospheric house; layering sounds, creating moments. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a royal blue and neon yellow jacket with duality/birth symbolism and trance-hieroglyphs designed by Eloise Leigh. Each copy includes a glow-in-the-dark sticker and a postcard with notes

Dj Brisk is a legendary old skool artist who has been a force in both the hardcore and the hard house scene for decades, and remains committed to his craft in a way that many artists have not.

These timely remixes of his classic anthem “Airhead” run the gauntlet is style and texture, with the superb work from all involved. Sanxion brings a proper birth of rave feel to his remix, while Fracus & Darwin take it right up to today’s sound. The Sunny & Deck Hussy remix is an amen workout worthy of any 1995 set, and Audio X throws down a bright d’n’b roller.

Club/DJ Support: Billy Bunter, the Fat Controller, Dj Brisk, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder, and ... many others.