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Three years on from the desolate beauty of their debut, Quindi Records is proud to present the second album from Dead Bandit. The ghosts of their past endeavours still haunt their guitars, but on Memory Thirteen the duo's delicately dishevelled Southern gothic feels tonally distinct from their prior outing.
Dead Bandit is Ellis Swan and James Schimpl - the former a noted solo singer-songwriter from Chicago with a penchant for eerie, witching hour murder ballads and the latter an accomplished Canadian multi-instrumentalist with a bias towards heartworn, roaming soundscapes. Their instrumental collaboration has an open, lyrical quality which says as much as any spoken line, and on this album they've especially embraced the power of contrast as we're guided between scenes, sometimes within the confines of one track.
'Peel Me An Orange' is especially instructive in this regard, beginning as a blown-out paean to sonic degradation and the acute sense of hopelessness it projects, only to yield to a lilting tape loop of twanging guitar before entirely widening out in an emphatic burst of post-rock optimism.
Post-rock isn't noted for its banal cheeriness as a genre, and Dead Bandit aren't about to lay down feel-good drive-time anthems, but the sense of pulling at extremes of energy and introspection show Swan and Schimpl to be testing the emotional limits of their weatherbeaten sound. The cautiously sentimental mood of 'Blowing Kisses' hints at the hard-won light which can be encountered while pointedly driving into darkness.
Sometimes noise is a subtle device - a looming bed of unease under the forthright pluck of Swan's distinct guitar tone or the cracking round the edges of a beaten up drum machine. On 'Memory Thirteen' the distortion on the bass becomes a central figure in its haggard waltz, while 'Staircase' and 'Perfume' leave the signal wet until the delay feedback becomes the body of the riff. Either way, the sound is never left untouched as Swan and Schimpl grow more comfortable in their exchange, blurring their respective sonic languages as they expand their shared vocabulary to create an album of depth, difference and devoted distortion.

For the better part of the last 15 years, the duo of Max Dameron (guit/vox) and Sam Ford (drums/vox) have been too weird and too wild for this lame-ass planet. After enjoying vagabond stints living in Portland, Los Angeles, and Brooklyn, they now call Detroit home. Here they rebuild, out of the scraps and wreckage of the 21st century, something which casts aside any rules or adherence to banal tropes. Specializing in the unexpected, Max and Sam have wrought an individual sound that’s as much post-Melvins sludge punk as it is futurist prog metal. Their forthcoming self-titled debut, recorded in 2022 at High-Bias in Detroit, puts on display the fruits of their metamorphosis. From the soaring triumphal fuzz of “Uncanny Valley” or the sweep and thrust of “House of Butterflies” their craft is precise, they’re just making up their own shapes to sculpt. Times change and artists mature: now under the name PSYCHIC TRASH, Ford and Dameron come to Riding Easy Records as veterans turning a fresh page, reinvigorated at the prospect of forging a new path and the beneficiaries of about a decade and a half’s slog through the underground. Psychic Trash’s self-titled debut is unmistakably uncompromising, a little theatrical, intermittently manic, and deceptively broad in style for just how much punk rests beneath.

Nicky Prince has never been bound by musical genre. The Milton Keyes born and raised. Vocalist has the versatility to fit any vibe while not compromising her signature sound. Although best known for her Garage hits with Zed Bias in the early 2000s, Nicky was performing and recording with various acts well before the height of Garage’s popularity. She started her career singing in Soul and Funk bands, and over the last two decades has lent her voice to Electro, Hip-Hop, Drum & Bass, House, and Ska tracks.
In 2009 Nicky graced listeners with her debut solo EP “See What You Mean.” Within only five tracks the singer-songwriter displays impressive range, from the up-tempo, energetic funk of “I’m Hearing You” to a bluesy rendition of Nina Simone’s “Don’t Let Me Be Misunderstood,” to the hushed tones of the EP’s sole acoustic number, “Balancing Scales.” She is backed on this effort by her band Soul Selecta, which includes renowned UK session players Dave Baldwin on Hammond organ and Robert ‘Skins’ Anderson on drums/percussion. Sadly, the release was criminally slept-on.

While “See What You Mean” was available on streaming services and CD, the EP
never received the vinyl treatment. So, rather than simply reissuing the project, Nicky has teamed with KU to offer what she calls a “reincarnation” of her debut on wax.

Now retitled “Listen Up,” this underrated affair has had new life breathed into it. To bring out the best in the original recordings, each song has been meticulously remastered by Christian Obermayer at Strype Audio. Then to fill out the 12”, Nicky has added a handful of unreleased songs, including a heavy groove cover of Michael Jackson’s “I Can’t Help It,” which sees her reconnect with Zed Bias; a punchy, funked up tune titled “Listen Up;” and the original version of “Balancing Scales” that reveals what the track sounded like before it was stripped down to just guitar and vocals. This offering perfectly captures Nicky’s distinct tastes and inspirations. Further, it fills a hole in your record collection that you didn’t know was there until now.

Kaum eine deutsche Band legt so viel Wert auf ihren Sound, während sie gleichzeitig so gehaltvolle und doch zugängliche Songs schreibt. Und wer nimmt es schon freiwillig auf sich, bei den Album-Aufnahmen auf Taschenlampen und WalkieTalkies angewiesen zu sein? Ohne die ist es einfach nicht möglich, sich in dem langsam zerfallenden, ehemaligen Rundfunkgebäude des MDR und seinen vielen Studios
zurechtzufinden.

In diesem Lost Space in Weimar haben YUUN sich für die Dauer der Aufnahmen häuslich eingerichtet.

Möbel dafür finden sie im ganzen Haus verteilt. Ein Tisch aus dem großen ehemaligen Tanzsaal; ein Stuhl aus dem Untergeschoss, in dem der Schimmel zentimenterdick und pelzig von den Wänden wächst, sodass es nach 10 Minuten schon schwerfällt zu atmen. Wenn sie nachts in den riesigen, gruseligen Gängen des Gebäudes, das noch aus der NS-Zeit stammt, unterwegs sind, verständigen Basti, Jannis und Max von YUUN sich mit Hilfe von drei kleinen bunten Spielzeug Walky-Talkies, um sich nicht zu verlieren.

Zur Feier des 40-jährigen Jubiläums des belgischen Labels PIAS erscheint exklusive Auswahl an 12“-EPs mit Musik von einigen der wichtigsten und erfolgreichsten Wegbegleiter. Der kanadische Remixer und DJ Tiga ist seit über zwei Jahrzehnten ein fester Bestandteil der internationalen EDM-Szene. Angefangen hat er in seiner Heimatstadt Montreal, wo er neben zahlreichen Raves auch an der Gründung des SONA Clubs beteiligt war. Sein 2006er Album 'Sexor' mit dem Hit 'You Gonna Want Me' wurde schnell zu einem der einflussreichsten Alben der EDM-Szene.

Sam Barker returns with his first solo EP since 2020's BARKER002, this time on Oslo's Smalltown Supersound. While Barker's previous releases (2018's Debiasing EP, 2019's Utility LP) explored the possibilities of kickless dancefloor tracks, Unfixed sees him inverting the musical equation and exploring both the variability and sonic possibilities of a kick-drum - though the final result is not a concept EP. The four tracks emerged from a session that started out as both a technical study in bass drum design and cognition, specifically problem of "functional fixedness", which describes a mental block that restricts the use of an object to its traditional application. Exploring the so-called "generic parts technique", whereby an object is broken down into its component parts to help reveal novel solutions, the typical bass drum elements of waveform, transient, and noise were re-combined through modular synthesis to become fluid, expressive and dynamic. However, what began as a rule-based experiment was overtaken by a more organic music making process without specific conceptual constraints, which allowed the music to live and breathe. Tracks were started and then left unfinished, only to be approached again and again over lengthy intervals. Stylistically the result a mix of raw, stuttering, psychedelic growl, kosmische techno, and infinite iterations and of a single groove. In this regard, Unfixed sees Barker not only deeply invested in musical experimentation but also exploring his own biases in both composition and sound design. The result is, once again, a sound and musical framework all of his own.

Zur Feier des 40-jährigen Jubiläums des belgischen Labels PIAS erscheint exklusive Auswahl an 12"-EPs mit Musik der ersten und erfolgreichsten Wegbereiter. The Neon Judgement aus Leuven bei Brüssel waren mit ihrem Sound schon immer allen eine Schritt voraus und veröffentlichten eine reihe von faszinierenden Alben. 'Chinese Black', 'TV Treated' und 'Miss Brown' waren (und sind) reine Underground-Hits auf dem Höhepunkt der New Wave. Es ist daher kein Zufall, dass sie zu Recht als Pioniere des EBM-Genres gelten.

Zur Feier des 40-jährigen Jubiläums des belgischen Labels PIAS erscheint exklusive Auswahl an 12"-EPs mit Musik der ersten und erfolgreichsten Wegbereiter. The Neon Judgement aus Leuven bei Brüssel waren mit ihrem Sound schon immer allen eine Schritt voraus und veröffentlichten eine reihe von faszinierenden Alben. 'Chinese Black', 'TV Treated' und 'Miss Brown' waren (und sind) reine Underground-Hits auf dem Höhepunkt der New Wave. Es ist daher kein Zufall, dass sie zu Recht als Pioniere des EBM-Genres gelten.

Now, this release is really special. Warsaw's finest producer, envee (yes spelled in lower case) has been around the block since the early 2000s and is arguably Poland's #1 producer of underground dance music...with soul.

With a sound that often leans towards the UK underground, we thought that we should enlist one of envee's (and our) fave producers to remix his new Local Talk release; Manchester’s finest Zed Bias.

We asked Zed to give us that deep, soulful 2-Step rub but with a slight jazz edge and boy did he deliver.
Not only did he remix one of the tracks, he got so inspired and remixed both tracks...don!
It's proper UK deep UK 2-step / garage that will work in any (!) decent club. Yup it's that good.

We of course need to mention the original mixes from envee himself.
Sum Luv is a warm and melodic hip hop / soul jam with a slight Dilla(ish) backbeat. A proper tune!
Styrax sounds like a killer jazz-funk banger straight out the Bugz In The Attic playbook with jazzy Rhodes, breakbeats, big strings, and a bad bassline. West London meets Wars aw...bam!!

DIE LEGENDÄREN ALBEN DER INTERNATIONALEN POP-IKONE BRITNEY SPEARS AUF FARBIGEM VINYL ERHÄLTLICH! Zusammengenommen stellen diese Alben einen beeindruckenden Wandel in der Popmusik dar, vom Ende eines Jahrtausends zum Beginn eines neuen. Britneys avantgardistische Pop-Kollaborationen und ihr sich ständig weiterentwickelnder Musikstil haben sie zu einer kulturellen Ikone gemacht, die Generationen beeinflusst hat. Insgesamt erreichten alle ihre Alben die Top 5 der Billboard 200 - fünf davon den ersten Platz. Mit weltweit fast 150 Millionen verkauften Tonträgern ist Britney Spears eine der erfolgreichsten Künstlerinnen in der Geschichte der Popmusik und hat mehrere Platinauszeichnungen und Grammy Awards gewonnen.

Demon Records presents a new collection of 24 UK garage anthems, brought together on vinyl for the first time, exploring the very best of the UK garage scene and packed full of classic floor-fillers.

Across the two 140g vinyl, highlights include tracks such as - Craig David ‘Fill Me In’, The Streets ‘Has It Come To This?’, Artful Dodger and Romina Johnson ‘Moving Too Fast’, Shanks & Bigfoot ‘Sweet Like Chocolate’, T2 ‘Heartbroken’ plus 19 other massive tracks.

• Pressed on two 140g vinyl, housed in printed inner sleeves.

• An essential collection for any UK garage fan!

It’s been a while since Toronto based Hi Bias Records and Crash Records left their indomitable mark on house music, and although not noted for being as musically productive as its North American counterparts of Chicago, Detroit, New York and Jersey, there is none the less a bubbling underground scene there, of which Brother Charles is at the vanguard of. Yogi literally stumbled across Charles on social media and called Roual up right away to make him aware of this prolific producer’s talent, and to explore the possibilities of a vehicle to drop Charles’ incredible, Afro, deep, soulful music on the street. Roual was in agreement with Yogi after viewing Charles’ numerous online videos, all of which feature Charles’ urban freestyle street dancing friends and his skater lovin’ crew too. Is it too early to compare Brother Charles’ deepness to the likes of Kerri Chandler, Larry Heard, Roland Clark, or Osunlade? We think not, and we believe that Toronto is ‘bout to be put back on the musical map, where it belongs.

Space Lady Recordings is a brand new label born out of an irrational musical passion harboured by two industry hardened cronies. Roual Galloway is the A&R man behind Cordial Recordings, was also one of the proprietors at Love Vinyl and he is a man with a wealth of knowledge in the vinyl and CD manufacturing business. Yogi Haughton has worked in A&R at several labels over the years, including one of the U.K.s first modern soul labels, Move Records, as well as numerous respected house labels. He is also one of the U.K.s most influential tastemaker DJs and a record producer, and a former scribbler at DJ Magazine (16 years).

MORE COLLECTIBLE CLASSICS ON VINYL FROM THE UKs BIGGEST GARAGE BRAND PURE!

A second instalment of the best-selling UKG compilation of all time, returns with a stunning stack of high value collectible classics on DJ friendly vinyl.

Pure Garage Collectible Classics Volume 2 is jam packed full of funky UKG flavas from legends of the scene including Zed Bias, Anthill Mob & Scott Garcia remastered and cut to two slices of heavyweight black vinyl.

The platinum selling compilation brand needs no introduction and these first ever exclusive boutique vinyl releases are truly something very special.

Kicking off this compilation is a collaboration between Zed Bias & KC, the Let Me Know (Zed Bias Remix) is a pumping UKG stomper featuring a catch vocal hook & succulently squelchy analogue bassline. Taken All My Time by Industry Standard features the soulful vocals of Abi, this is the DJ Deller Mix, copies of which have been selling for three figure sums on the resellers market!

The flip side opens with another high value sought after track, Strictly Dubs with Realise. Followed by a tune that received an extremely limited release back in the UK Garage heyday of 1997. I Need You Baby by Underground Solutions is selling on reseller sites for as much as £70!

Anthill Mob come with the goods on side C with Blinded, a must for any UKG DJ set, backed up with Special Request from DJ Double G.

We keep up the pressure on side D with Groove Committee’s track Heat + Soul, a prime example of UK Garage with pumpin' vocal snippets and funky sampled loops. Finally, this release closes with a Waiting by Scott Garcia which previously got a very limited vinyl release back in 1997.

PURE GARAGE COLLECTIBLE CLASSICS VOL 2 will be released on double vinyl on 16th December 2022!

Diffuse Reality Records presents the seventh reference in its DREA catalogue.
This series focused on Techno, straight to the dance-floor. Four original tracks from Bias, and then you have two remixes by Hironori Takahashi & Squaric.

Having already made her name in different UK scenes and subcultures, Eva has previously collaborated with Swindle, Mungo’s Hi Fi, Gardna, Benny Page and Zed Bias. Through Brandy Kisses, she explores an amalgamation of sounds and genres that have shaped her artistry. Effortlessly jumping from soulful croons to punchy rap verses, Eva showcases all avenues of her incredible singing and songwriting ability to create a seamless body of work. The album is entirely produced by UK Hip Hop Stalwart and beat maker extraordinaire, Dirty Dike - Adding to his already very impressive list of production credits, having produced LPs & EPs for names such as Rag'n'Bone Man, Ocean Wisdom, Ronnie Bosh, and more... it is safe to say that the production on this is top notch.

With endorsements from MTV UK, Clash Magazine, Line Of Best Fit, Crack Magazine, an epic album launch party at Rough Trade Bristol as well as a mesmerising acoustic set on BBC Radio 4 - ‘Brandy Kisses’ is tipped to to be one of the R&B albums of the year.

Cyphon Recordings continue their deep dive into the rich heritage of UK and Detroit electronic sounds with their second label release, this time from Danny Was A Drag King label boss DJ Rocca.

Active since the 90s, the Italian producer is a dedicated explorer of the Italo Disco-inspired sounds native to his home. He’s been plotting his sonic journey for decades, making pit stops at labels across Europe including Rekids,Toy Tonics, Slow Motion, Rotten City Records and Roam Recordings. On top of his solo outings, collaboration has played a big role in his production journey to date. He’s worked with artists like Howie B, Jazzanova and Zed Bias, as well as joining forces on ongoing projects with fellow Italian stalwart Daniele Baldelli and Dimitri From Paris, the latter under the name Erodiscotique.

Now back on his solo pursuits for Cyphon, Rocca proves he’s still very much at the top of his game. The four cuts on ‘Code 041’ explore all shades of electro, from raw, old school machine funk to futuristic cosmic sounds. It’s electro done the Rocca way.

The title track sets the tone. An eerie bass line crawls along, providing a bed for reflective pads to glide and mysterious synth sounds and echoing vocal samples to ricochet above. ‘No Gym’ greets us next, bringing that Italo flair Rocca’s mastered so well. It’s the most vibrant track on the release, matching colourful pinging synths and tropical-tinged melodies with a signature driving acid bass line.

On the flip, ‘The Bigger Lake’ takes the EP in a different direction, on a trip through dark glistening pads, tittering percussion and sub aquatic bass before the dusty breaks and moody, jazzy keys of ‘Omega’ bring the release to a close. Mirroring Cyphon’s label ethos, Rocca showcases the best of the past and present of a timeless sound.

Tape

Welcome to Carsharing Tapes. Welcome to the future.

With "DIURNAL TIDES: First Wave" we're proud to present not only the first release of our new imprint for classic electronic music mixtape culture but also the first ever official gathering of two long standing figures which both have been relentlessly and continuously contributing to the German underground scene for more than two decades now.

And these two are: baze.djunkiii and THE D3VI7.

baze.djunkiii, Hamburg-born and based, officially entered the electronic music scene as a DJ back in 1997 from an angle of being an enthusiastic raver, launched his very own label Intrauterin Recordings in 1999 and - apart from becoming an 24/7 networker, knowledge hub, music blogger etc. - evolved into one of the most versatile underground DJs and purveyor of original DJ culture around whose journey on the decks has taken him all over Germany as well as to Greece and the United States and to countless hours of air time on a plethora of underground radio stations as well.

THE D3VI7, on the other hand, remains an elusive figure. Deeply rooted in electronic music production and the hell'ish jungle of circuit board wiring as well as DAW madness THE D3VI7 is a moniker created by one of the most active, yet probably most underrated figures on the release circuit, a nom de guerre which serves the sole purpose of being able to operate anonymously without any confirmation bias being attached to other musical guises which might, or might have not, been used previously and in earlier stages of a long lasting involvement in music. And btw - this is the first time ever THE D3VI7 agreed to provide an official DJ mix for a mixtape release.

With baze.djunkiii's mix opening the roughly hour long journey of "DIURNAL TIDES: First Wave" on the A-side we're getting a prime example of what original DJ culture is all about as he's taking us on a fascinating journey from deepest underground Electro to screaming, spiralling Acid madness and beyond, digging up most underground vinyl cuts and making proper use of his extensive collection of rare 7" releases - a format that has been criminally overlooked by many DJs but provides a treasure trove of goodness as this mix easily proves.

Turning the tape THE D3VI7 does what THE D3VI7 does best on the flip: Being a force. A dark one. Forging a pounding, most relentless stream of hammering Techno tunes to take out unsuspecting punters on heaving dancefloors one by one THE D3VI7 provides a high octane selection of peak time excess that either thrills or kills - an ode to the power of raw and unpolished Techno madness in its purest form. A power that cannot be contested. Ever.

Ever since he remixed Abimaro & The Free’s ‘Mark’ back in 2014, NuNorthern Soul boss Phil Cooper has kept in touch with Daniel Stenger, the producer and self-taught multi-instrumentalist behind the Flashbaxx project. Cooper was always convinced that Sanger would be capable of crafting a very special release for the label but was willing to give him time to come up with something special.

With Take Care My Friend, a mini-album inspired by the German producer’s deeply rooted love of jazz-funk, Stenger has repaid the faith shown in him. He’s deliv-ered a collection of quality cuts marked out by audible warmth, effortless musicality and memorable, sun-soaked songs.

As he makes clear in the liner notes included with the vinyl version of the mini album, the project began with the recording of luscious, Rhodes-laden opener ‘Al-right’. After staying up all night recording the track, Stenger not only decided to continue recording with the same relatively limited set of instruments (think bass and electric guitars, drums, piano, electric piano, organ, hand percussion and a handful of synthesizers), but also stick to a hybrid sound that added a subtle Lat-in shuffle to his Balearic-minded take on jazz, funk and soul fusion.

We’re biased of course, but there’s no denying that Stenger’s creative choices have resulted in a superb set of tracks. While the restricted kit list provided focus during the music-making process, there’s still plenty of musical variety across the six tracks that make up the set.

For proof, compare and contrast the jazzy, loose-limbed headiness of ‘It Just Happens’, where simmer-ing synth-strings, twinkling melodic motifs and glis-tening guitar licks rise above smooth jazz-funk bass and a gentle broken beat rhythm, and the slow-motion soul brilliance of ‘Strangers’, where Kathryn Kempf’s evocative and poignant lead vocals rise above a sump-tuous downtempo groove and heart-aching piano lines.

This subtly varied but musically coherent vibe contin-ues across the mini album. Stenger indulges in a bit of New York daydreaming on ‘Brooklyn Love Boat’, a wonderfully musically detailed chunk of 1970s style jazz-funk heat that offers knowing nods to Roy Ayers, Herbie Hancock and the jazz-fusion stylings of Azymuth, before opting for a deeper, slower and even more seductive sound on the Hammond-sporting bliss of ‘Take Care My Friend’.

Closing cut ‘City Lights’, a gorgeous, soft-focus affair smothered in echoing Rhodes riffs and immersive chords, has the feel of an underground classic in wait-ing: a stirring, string-drenched future sing-along whose emotion-packed lyrics are delivered brilliantly by Glasgow-born singer/songwriter Chris Pookah.

Despite the song’s subject matter – the painful final breakdown of a relationship – there’s something strangely uplifting about the combination of Pookah’s pitch-perfect vocal delivery and the absorbing warmth of Stenger’s comforting and sonically detailed music. It provides a fittingly impressive finish to a mightily immersive mini album.

For most of us, life is a series of human interactions; some good, some bad, some happy, some sad. But what would life be without those peripheral characters who plant themselves into our worlds through the sheer force of their presence? Whether we speak to them or not, those vibrant contrasts to the everyday tide of ordinary people are a magical part of the human experience. Oddballs and misfits, flamboyant instigators or low-key game changers, we all clock them on our own hectic journeys, and they make the day a little brighter. Everyone has their favourite people.

Following the runaway success of their first one-shot single in 2020, Favourite People reconvene for a full-length of blues-tinged cuts stemming from sessions at Selva Studios in Brooklyn. The project’s roots predate the studio, from scattered jams and sweaty nights in New York nightspots to impromptu recordings on cruise ships, but the flashpoint of inspiration that truly set the album in motion was the arrival of a blonde 1960s Fender Telecaster. From there, the motley crew of sharp-shooting string slingers and sticks men set about crafting paeans to those striking souls who make the world a more colourful place.

The emphasis here is on the kind of forward-facing, electrically charged mix you felt (whether you realised it or not) hearing early Sabbath or Priest for the first time. With their undeniable bias towards vintage soul, Favourite People are far from heavy metal, but the same lineage of blues and by extension jazz informs the music, while the tonal crunch of that 70s era guides the sound. Feasting on tasteful overdrive and leaning on the unmistakable flavour of tape for much of the recording, the deal was sealed on this purposeful exercise in vibe thanks to the near-mythical texture of Guy Davie’s EMI Nigeria console at Electric Mastering.

Across the album there are mellow shades and bursts of good-time get-down exuberance, but the lead singles capture the essence of the band in no uncertain terms.

‘Promise Of Nibbles’ brings the Favourite People MO into sharp relief with a low-slung, hard swinging blues confection full of overheating organ and duelling guitars in pursuit of Southern-stewed boogie (im)perfection.

‘We’ll Be Late To The Party’ turns up the tempo and dials in the fuzz, striking an anthemic note which lands somewhere between urgent highway escapism and euphoric communal revelation.

‘Mass and Mustiness’ leans in on the funk dimension of the group’s sound with the sweetest licks and chops on that fabled telecaster backed up by an acutely angled beat and the slinkiest of b-lines.

These are but three of the vibrant vignettes laid down by this quietly unassuming collective of heads down jammers, loose groovers and vintage sound freaks –heavy grooving instrumentals pulled from their own moments of pure musical magic and captured on disc for your listening, dancing, living, loving pleasure.

As a true cultural flagship medium, Arte expands its Arte Concert music offer with the 3 first volumes of its new vinyl collection ! A selection of Jazz, Soul & Electro Crème de la crème of ARTE TV