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Ready to chant down Babylon with musical fire and brimstone, none other than Bukkha returns to the revered Moonshine Recordings with a truckload full of sound system music in Roots Dub and Stepper style. Ten organic heavyweight cuts on 2x12" - strictly dubwise, no compromise!

Originally from the US and now residing in Spain, a musical veteran with a career spanning more than a decade, it's safe to say Bukkha runs things when it comes to fuelling sound systems. On top of his long-standing involvement in the thunderous Moonshine Rec. discography, the prolific artist maintains a consistent record of top-shelf releases on numerous famed record labels within the global melting pot of Dub-influenced dance music, including System Music, Dub-Stuy, Lion Charge, and so on. His 'In Roots Vol. 1' debut LP features seven talented guest artists from around the globe, the extended Dub family in full force and effect - connected to Bukkha through previous projects, shared tours and overall engagement in the scene. The symbiotic nature of the collaborations can be heard and felt as big stacks of speakers lend their voice to the musical message. Rebellious sounds for the healing of the nation. In a conscious stepper style, the release marches through original future classics - whether instrumental or led by the Rastafarian teachings of Mowty Mahlyka, anthem brass melodies by JahWind All-Stars, harmonica meditation by Hazeldub or Don Fe's notoriously brilliant flute virtuosity. With true to the roots delay and reverb effects in the original Dub fashion, the album pays tribute to the technique pioneered by the likes of King Tubby, nothing less than a next-generation torchbearer. Sound system music, as timeless as its cultural heritage.

Following on from their 'Junction EP' at the tail end of last year, My Nu Leng return to provide a selection of rave-tinged cuts that further cement their status as one of the leaders in the bass music scene. Following a packed-out summer tour diary, the 'Alter EP' consolidates elements from the duo's previous releases and influences into five tracks of low-end damage. Harking back to the pair's underground roots with inspirations from Techno, House and Breakbeat, opener 'Spaced' sets the tone.

Featuring their classic bass growls amongst hardcore pad stabs, an acid-esque synth line and raucous interjections from legendary drum & bass MC GQ, this one's designed to make you move. Takura returns to Maraki on 'Echoes', lending his distinctive vocals over a lethal distorted bassline and uncompromising 2-step beat. 'City Lights' provides momentary respite, a scintillating arpeggio motif over blissful chords and an enchanting vocal hook. My Nu Leng team up with DRS on 'Sinking Sand'. The Mancunian host leads the charge into a warping climax, showcasing his penmanship through relentless triplet flow. 'Signal' closes off the EP in sombre fashion, atmospheric synths and lamenting strings building into an emotive vocal and reflective bassline.

Having already unearthed three collections of archival ‘70s recordings by Catherine Christer Hennix, Blank Forms continues their annual illumination of the visionary Swedish composer’s music by turning to more recent work with this first-time vinyl edition of Hennix’s “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis,” a 2014 piece first released as a CD in 2016 (Important Records).

The double album captures the April 22, 2014 premiere of Hennix’s composition by by the Chora(s)san Time-Court Mirage, her expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the blues’ origins in the eastern musical traditions of raga and makam, “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis” has its roots in Hennix’s 2013 realization of an “Illuminatory Sound Environment,” a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix’s own “The Electric Harpsichord.”

As Hennix explains in Other Matters, Blank Forms’ 2019 collection of her writings:

“Rag Infinity/Rag Cosmosis presents fragments of ‘raga-like’ frequency constellations following distinct cycles and permuting their order, creating a simultaneity of ‘multi-universes.’ When two such ‘universes’ come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated—the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically ‘transfinite’ Poincaré cycles (cyclic returns to initial conditions).”

As with Hennix’s best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Upon its mesmerizing ebb and flow, the vocalists incant a devotional poem written in Arabic by Hennix and featuring quotations from the Quran. Also reproduced on the album’s gatefold jacket, Hennix’s reduction of the sacred text to its most elegant formulation invites the contemplator to bring their inner knowledge to the composition for use as a prompt for meditation. Yet the piece offers depth to even the most secular listener willing to immerse themselves in music brimming with such serene intensity.

Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.

KOKOROKO return with this exclusive Double A Side vinyl of 'Baba Ayoola' and 'Carry Me Home' released via Brownswood Recordings on 25th June 2021. Both singles achieved huge support upon digital release by BBC Radio, BBC 6 Music, 1Xtra, Afropunk, Clash, Rolling Stone France & NPR. 'Baba Ayoola' was written as a tribute to the grandfather of the band's alto saxophonist Cassie Kinoshi and is 'an invitation to celebrate life'. Whilst 'Carry Me Home' was inspired by conversations with the masterful Dele Sosimi, whose technical ability in bridging the gap between the West African afrobeat sound of his roots, and the London energy of his upbringing, has directly informed the ever-impressive capabilities demonstrated by London's eight-piece collective, KOKOROKO.

Jackie Mittoo is one of Jamaica’s musical giants, a towering figure in the development of reggae whose skills as a keyboardist and musical arranger led to indelible changes in the evolution of Jamaican popular music, helping it to reach international prominence. An exceptionally-expressive player whose mastery of the organ was truly outstanding, Mittoo was also a gifted arranger with an intrinsic feel for what would work best, his key instruction giving shape to ska at Studio One and roots reggae at Channel One and other Kingston studios, as well as lover’s rock at Wackies in New York and with Sugar Minott and UB40 in Britain, Jackie’s own productions later incorporating far-out synthesizer experiments and vocoder techniques. Reggae as we know it would never have existed without Mittoo’s essential input, making him an under-sung icon of Jamaican song. Jackie Mittoo went on to make all kinds of other incredible music in Jamaica, the UK, USA, and Canada before dying of cancer in 1990 at the tragically young age of 42; the dramatic send-off he received at the National Arena in Kingston gives some indication of the stellar status he achieved in his lifetime and the universal respect with which he was regarded. In an exemplary career full of exceptional music, 'Showcase', originally released on Bunny Lee's own imprint Jackpot in 1977, remains one of his greatest, an enthralling collection of stunners that shows why he will always be regarded as Jamaica’s keyboard king.

BUILDINGS was born out of a creative merger between Detroit’s 313 Acid Queen (Rebecca Goldberg) and Italian maestro Sickboy (Stefano Piseddu), their 4th and 2nd releases on Detroit Underground respectively. The duo have thoughtfully arranged a half dozen tracks inspired figuratively and literally by the landscape of Detroit. Working 7,000km and multiple time zones apart, having never met in person, their individual expressions intertwine in soundscapes reminiscent of techno’s origin and exist in a way only capable in our present time. Devoted as ever to the roots of Detroit techno, Goldberg and Piseddu have built a magnificent album around the Detroit Map Series theme conceptualized by DU label founder Kero and designed by Neubau Berlin.

Opener GUARDIAN pays homage to Detroit’s Art Deco landmark skyscraper exploring rigid textures and a mosaic of tones reflective of the building’s diverse composition.

STRUCTURE escalates through synth leads and drum breaks ascending into a powerful high-rise track.

MCS carves through an array of percussion and crooning acid as you might imagine the sounds of Detroit’s former train depot, at one time used by thousands of passengers per day traveling to and from Detroit.

FOUNDATION’s original mix and rework get down to the literal with vocal samples calling out the project’s muse. Sickboy’s dynamic hits and 313 Acid Queen’s bubbling acid lines are truly reflective of both producers’ individuality within the collaboration.

RENAISSANCE represents a continued era of rebirth and is more literally named for the group of connected skyscrapers whose central tower stands as Detroit’s tallest building.

Premieres from Data Transmission and Bolting Bits. Early support from Hospital, Huey Morgan, Rupture, Fanu, Rob Luis, Anthony Kasper (Fokuz), Red Rack'em, Bandcamp Weekly, etc.

150 copies pressed on 180 gram vinyl. Picture shows the HF021VFELT edition which comes with 'Nuthin' But a Jungle Thang' die-cut felt sleeve insert (in assorted colours), with Heard and Felt embroidered fabric tag. HF021V edition is the same 180g vinyl without the felt sleeve insert.

With music from Jonny Faith's recent Night Lights EP appearing in Grand Theft Auto and best of 2020 lists including Gilles Peterson's, you might think Jonny would continue to mine his take on hip hop and broken beat. Well, all in good time. He's been ready to enter the jungle for 20 years, and he's not waiting any longer.

Now based in Melbourne, Jonny first got involved in music in Edinburgh as a DJ and turntablist in the 90s, getting hooked on jungle, drum & bass, hip hop and the hybrids of these championed by the Mo'Wax label. Formative experiences included hearing DJ Hype spinning in Newcastle, seeing the Roni Size/Reprazent live show with two drummers and hanging out at cult Edinburgh club night Manga, where residents G-Mac and DJ Kid hosted the likes of Marky, Grooverider and J Majik.

Jonny was keen to start making his own sounds, signing up for an electronic music production course. But it wasn't quite what he was after.

'The course turned out to be more house-oriented,' Jonny recalls. 'Sampling wasn't on the curriculum, and the students weren't allowed to touch the Akai S900, the sampler used in lots of the early jungle classics.'

When Jonny did start releasing his own productions a few years later, he was starting to explore the experimental beat scene around the time Flying Lotus and Hudson Mohawke (another Scottish turntablist) were starting to make their mark.

Jonny continued to widen his sonic palette, adding elements of dub, jazz, funk, electronica and broken beat, and picking up fans like Radio Nova Paris, KCRW, Vice and Clash Magazine along the way. But he's never been more than one degree of separation from his jungle/D&B roots. He continued to buy and play the music, did the odd D&B remix and snuck sonic elements and techniques into his tracks at various tempos. Over the years his releases have shared labels with the likes of Peshay, Om Unit, Drumagick, Reso, Kid Drama and Danny Scrilla.

Now, more than 20 years after those early experiences in Edinburgh, Jonny unveils his first jungle/D&B EP, On Lock. And it sounds like he's been making this music the whole time. In a way, he has.

The single 'Open My Eyes' bursts out the gate, chopping not only the breaks and the soul for a tune that sounds like Amerie's '1 Thing', or some Just Blaze chipmunk soul, reimagined for the 174 BPM crew. Jonny started this one as a hip hop beat for a live routine on his MPC, but it only really came together when he reframed the groove around a D&B rhythm. Next up, Jonny tries a similar trick on his own boom bap tune 'Stay in Your Lane' from the 'Night Lights' EP. His new Step Off Mix totally recontextualises US MC Lady K's slinky soulful rap and hooks with a tough and funky junglist groove. One for fans of the old Roni Size/Bahamadia collab. 'Create' then spaces things out just a touch, with atmospheric but propulsive drumfunk. Vinyl bonus track 'Nuthin' But a Jungle Thang' layers cascading amen breaks, timestretched vocals and a massive double bass-line over the wah guitars and synth whistling of a G-funk era classic.

With early support for Jonny Faith's take on jungle/D&B coming from Hospital Records, Rupture (Rinse FM) and Fanu (Metalheadz), Jonny is ready to be welcomed (back) into the scene.


b A2: Stay in Your Lane (Jonny Faith Step Off Mix) feat. Lady K

JPEG is the 4th album from German legends Digitalism, released on their own label “Magnetism". The Hamburg-based electronic music duo formed in Hamburg in 2004, consisting of Jens “Jence” Moelle and ?smail “Isi” Tüfekçi. Digitalism has released records on labels such as Gerd Jansons Running Back Records, Kitsune, Virgin, Dynamic Records, Boys Noize Records, Astralwerks and PIAS and has throughout the years played all over the world at famous venues, clubs and festivals. They are also highly regarded for their remixes for acts such as Daft Punk ,Depeche Mode, Superorganism, Mø and many more. Digitalism have became synonymous with unique electronic productions, a crossover sound with roots in both indie, techno and pop. Digitalisms music also appears in countless video games and syncs (Recent campaigns Nissan Leaf, past campaigns Vodafone, Fifa, Gran Turismo and many more).

The Copenhagen-based, Scottish-born composer Clarissa Connelly’s music is evocative of the whimsical and almost child-like, tainted by an undercurrent of dark sensuality, disquietude and existential dread. Characterized by complex arrangements, big compounded chords, as well as a broad array of instruments, effects and sounds, her songs orient the listener towards utopian beauty that lie somewhere between the baroque and the primordial. With an experimental approach to vocal techniques, her voice can manifest benevolent fay-like creatures as easily as banshees and maleficent spirits singing melodies that retain the accessibility typically associated with pop-music. The compositions are lyrically and aesthetically grounded in Celtic folklore and Scandinavian vitalism. The threshold between the mundane and the fantastical are accentuated in her work, in such a way that the pursuit for – and the ability to recognize – real beauty in the world become anchored in the realm of work, everyday anxiety, motivation, human brilliance and failure.

With forthcoming album The Voyager, Connelly sets out to not only to study the relationship between nature and music, but also its relationship with time. She says: “I’ve always been especially excited about times in the north before Christianity came, and how the Pagan culture and Christianity became intertwined in people through rituals and formations in the landscape - burial mounds, passage graves, dolmens, etc.” She continues: “In some way, it’s very difficult to translate nature into an understandable movement of change. Looking at a mountain I often view a still picture of time – a moment right now – but sometimes, I can look at the mountain and see millions of years of change and movement. I believe that this point of view can be assisted by art and music. In a landscape ornamented with ruined Viking fortresses or ancient burial mounds, I find that I, for whatever reason, seem to be able to perceive time and comprehend history (the history of nature and culture) as a series of changes in a more salient way.”It is here that The Voyager derives so much of its power. It roots itself in history, mythology, capable of intertwining and unravelling both past and present. Songs such as Holler and The Hills Are Crying – opening and closing tracks on the album, respectively – conjure images of these ancient Danish sites, offering something more than just a fluid, long-forgotten way, and instead a tangible reverie that can educate, engage and thrill in equal measure. Connelly explains: “I have the idea, that the mystical and fantastical nature of these olden barrows and ruins can kindle a more dynamic and historically informed perspective. I think that an understanding of time as a movement is articulated when looking at the landscape in this way and can maybe bring us out of our little bell jar, and into a greater experience of life as a whole.”

The Voyager is released in conjunction with an app Vandringen (released 27 september 2020), conceived and created by Clarissa Connelly - along with the contributions of 21 other Danish musicians, painters, sculptures, performers - which highlights special ancient Danish locations, not viewable on Google Maps. These locations are presented with local knowledge and a number of them are interpreted for the modern day by the creatives involved. Connelly concludes: “I am very eager to write music that sounds like something that is happening now but has also happened a very long time ago. I have always found it fascinating to view history through changes in the landscapes around us, and therefore I started created this app and wrote this album.”

- The definitive overview of one of Canada's unsung musical heroes - Rare/previously unreleased recordings, photos, and interviews - Lyrics, discography, and filmography - Audio re-mastered by John Baldwin Mastering - Artwork by Christi Belcourt and Alanna Edwards - Liner notes by Kevin Howes (Voluntary In Nature) - Contributions from the Dunn family, Bob Robb, and Alanis Obomsawin (OC) // How did you first experience the poetry, music, and film of Willie Dunn? In a Montreal coffeehouse during the mid-1960s? On a CBC Indian Magazine broadcast with host Johnny Yesno? At a Toronto record store or Native Friendship Centre at the turn of the 1970s? Waiting outside of the Mohawk Nation Longhouse? Maybe in your parent's record collection on the Rez? A White Roots of Peace gathering? Pow wow? The Mariposa Folk Festival? Or was it that Save James Bay Benefit back in '73? On a good friend's stereo? Sitting around a crackling campfire? How about an old NFB film reel or VHS tape in high school? Or while attending Manitou College? A German concert hall in the 1980s? Maybe a direct action protest on the colonial streets of Canada? Busking in Ottawa during the 1990s? College radio? At Willie's celebration of life service in 2013 alongside Alanis Obomsawin and Willy Mitchell? LITA's Grammy-nominated Native North America (Vol. 1) compilation or the very anthology you hold in your hands? There should be no judgment for coming to things when you do. All that's important is remaining open to life-changing messages such as these_ Willie Dunn shared truth through song and celluloid. His original composition, "I Pity the Country," is an unparalleled statement on the greed and hate created by humankind, recorded in 1971 and still unfortunately needed today. "It's like the reason you're supposed to make music," said Kurt Vile about the song to MOJO Magazine in 2015. With "Charlie," Willie was the first to deliver the devastating story of Chanie Wenjack and the Canadian residential school system to the music community, nearly 50 years before the much-celebrated Secret Path, yet ignored outside of Indian Country and the folk festival circuit. Dunn's film technique, featured in 1968's The Ballad of Crowfoot (NFB), predates the "Ken Burns effect" to great effect. Are you catching the drift? Willie Dunn was not only a trailblazing leader in his time, but well ahead of the curve, simply without the PR push and big money backing of major label players. "He was our Leonard Cohen," said singer-songwriter Eric Landry about his musical hero. The only difference is that Willie refused to play the Hollywood showbiz game. In talent, he is Cohen, Dylan, and Cash rolled into one and along with Buffy Sainte-Marie, Floyd Red Crow Westerman, and A. Paul Ortega, brought a new set of perspectives and realities to the folk music tradition. Willie spoke directly to his people and Mother Earth through his creations, not only from experience but by examining his roots and connecting with the world in which he lived. We are humbled to help honor Willie Dunn. May he never be forgotten_ PEACE

Melbourne born-and-raised musician, Jordan Brando, lands on Shall Not Fade's Killer Cuts imprint for his debut on the label, seven tracks that show impressive variety in his
production and include two vocalist features. "Moment in Time" is a versatile release with fully-fledged radio playable songs and a host of dancefloor heaters.

After hitting big with "Rockin'" in 2019 and touring Australia supporting the likes of Fisher, Brando now demonstrates the depth and breadth of his musical style in this full-length EP, opening out with the title track - a unique song featuring fellow Melbourne local Vincent Sole. From the glitchy intro the song hits a house beat to get you tapping along but then contrasts this with Sole's silky smooth vocals and disco guitar trills. Following on from this are two more classic dance tracks - "Elsewhere" chops up rnb vocals across a swirling bassline - day party gear - while "Broken Dub" shows Brando's abilities to draw from a range of genres, a pacey breaksy number that tempts a reload.

The record's B-side also contrasts club tracks with vocal features; "Conflict" is the most headsy track on the record, a harder beat and snarling bass for sweaty clubs. Brando returns to his house roots with "Let Me Be The Reason", centering on an earworm diva vocal sample. Sandwiching the record with two vocal features, "You Might Be Surprised" ft. China takes her enticing wordless vocalisations and lays them over a driving electro bassline, an adventurous pairing that fits perfectly. Digital bonus track "Breaking You" is a pure adrenaline floorfiller of deep techy inflections.

Guedra Guedra presents Vexillology, an elevation of tribal consciousness and futurism from underground musical universes. The album offers listeners an immersive experience made from hypnotic and rhythmic arrangements, rooted in ancient culture. Referring as much to Sub-Saharan as to North African cultures, Guedra Guedra presents a synthesis of his pan-African appreciation and a full immersion into the traditional rhythms of these lands, especially within the Berber culture which is found in countries such as his home of Morocco, and across Tunisia, Algeria, Libya, Northern Mali, Northern Niger and beyond. The body of work is a complete celebration of cultural roots and future bass, bubbling in hotbeds of the global underground. Guedra Guedra is synonymously known for his ability to explore tribal rhythms and instruments of the past, as well as dancefloor innovations from contemporary underground scenes. For Vexillology and in true Guedra Guedra style, a myriad of immersive recording techniques were applied. The album is built upon a multitude of field recordings capturing live and 'in the moment' cultural happenings, encountered in everyday life, at tribal festivities and also on his travels. By also using video in his field recordings, Guedra Guedra enables himself to encapsulate the heat and entirety of the moment, applying this 'moment' and evolving it into his productions.

‘Stay Sane’ is the hotly-anticipated new album from London based artist Ocean Wisdom out now on his own label Beyond Measure Records.

Widely considered to be one the most technical rappers alive, his first release from the album campaign ‘Drilly Rucksack’ is a stellar offering, showcasing Ocean’s rapid-fire flow as he takes on political themes relevant in Britain today. Speaking on the track Ocean said “‘Drilly Rucksack’ is a fictional tale of a magical rucksack that protects its owner from evil Tories whilst also offering consolation and reassurance to the daughters whose lives they have presumably made miserable.”

Given the name Ocean Wisdom at birth, Ocean grew up immersed in hop-hop and reggae and began beatboxing aged seven. His homelife was what he describes as ‘hectic’, as his mum worked as an emergency foster carer. Years of writing lyrics and practicing followed and his uncompromising work ethic drove him to leave home at 17 and start working on his craft daily, never missing a single day. He used his passion for music as a way of channeling his anger and controlling his mental health, in addition to avoiding the fate of some of his friends. His meticulous attention to detail and hardwork paid off and over the past 5 years has seen Ocean’s meteoric rise lead to a quarter billion streams across all platforms and collaborations with legendary artists including Method Man, Dizzee Rascal, Fatboy Slim, Akala, Roots Manuva, Ghetts and Foreign Beggars.

Famed for his technical abilities, Ocean broke numerous records at a young age, including beating the standing Guinness World Record for most words per minute in a hit song, dethroning Eminem’s "Rap God". He remains one of the few UK rappers that can tour worldwide, headlining arenas across Europe, New Zealand, Australia, Russia and the Middle East. Since then he has gone on to set up his own label to release his music as well as building his own studio and creating a platform for future artist to thrive.

“The album title ADELA comes from a song by Rodrigo which constitutes the emotional culmination of our duo’s programme. What counts is not the name, but the person we love and long for. Everyone certainly has such a person, and so we hope that each listener will find something close to his or her heart on our album.

The piano and classical guitar virtually never collaborate in music. However, after our first joint performance with Łukasz Kuropaczewski, we immediately realised that we could create intriguing music worlds together. We followed the same line of thinking in our choice of programme, which derives from both the piano and guitar repertoires, though the spirit of the South that informs most of that music is more typically associated with the guitar tradition. In my arrangements of classical works, I strove to represent the sonic qualities of both instruments, their unique expression, and cultural associations. I reworked Domenico Scarlatti’s famous “Sonata in D Minor (Toccata)” K. 141 so as to bring out its Spanish roots. Titled “Domingo” on our album, it features distinctive flamenco qualities and an improvised layer. The “Aranjuez Concerto BWV 1056” is, as its very name suggests, a fusion of the world’s most famous piece for guitar and orchestra, Joaquin Rodrigo’s “Concierto de Aranjuez”, with Johann Sebastian Bach’s “Keyboard Concerto in F Minor” BWV 1056. Themes from the second, slow movements of both concertos interlink here as in the film cross-cutting technique, and we swap roles, Łukasz leading the Bach theme while I take up Rodrigo’s.

Three of the works on this album have been enriched by the angelic voice of Jakub Józef Orliński. In these three, Egberto Gismonti’s guitar composition “Água e Vinho”, my own “Quarantine Song”, and even the famous “Adela” by Joaquin Rodrigo, the voice has been treated more as an instrument than a lyrical subject. “Quarantine Song” was composed during the COVID-19 quarantine in 2020 specially for Jakub Józef Orliński as its performer. “Pedro” was inspired by the films of Pedro Almodóvar.




[c] A3. Água e Vinho [feat. Jakub Józef Orliński] - Egberto Gismonti


[f] B2. Quarantine Song [feat. Jakub Józef Orliński] - Aleksander Dębicz

[h] B4. Adela [feat. Jakub Józef Orliński] - Joaquín Rodrigo

Having previously brought together world-renowned Theremin soloist Carolina Eyck and electronic producer Eversines for a specially commissioned collaborative mini album, yeyeh founder Pieter Jansen has now conjured up another unlikely but inspired joint album, this time featuring award-winning free-jazz vocalist Greetje Bijma and leftfield house, techno and ambient producer Oceanic.

The project has its roots in a chance meeting between Jansen and Bijma, a legendary figure on the Dutch jazz scene who in 1990 became the first woman to win the country’s top jazz accolade, the VPRO/Boy Edgar award. Apart from having previously worked with the likes of Anna Homler (aka Breadwoman), Jasper van ’t Hof, Han Bennink, Louis Andriessen and Willem Breuker and her own solo projects, she’s in a league of her own.

Jansen is a big fan of Bijma’s 1996 heavily electronic collaboration with Jasper van’t Hof and Pierre Favre, Freezing Screens, and was with the friend who first introduced him to it when he bumped into Bijma.
Excited to meet someone who had made one of his favourite records, Jansen took the opportunity to ask Bijma if she would be interested in working with young electronic music producers. To Jansen’s delight, Bijma quickly agreed.

Weeks later, Bijma stepped into the studio with Oceanic, a rising star of the Dutch electronic underground whose releases as Oceanic for Nous’klaer Audio and BAKK Plafond revolve around mechanical rhythms, opaque ambient textures, minimalist melodic movements and effervescent electronics. The pair quickly connected on an emotional and musical level, with Bijma taking her cues from Oceanic’s electronic sounds and rhythms, and Oceanic drawing inspiration from Bijma’s dexterous, mind- bending and otherworldly vocalizations.

After two hugely productive days, the cross-generational duo had completed a couple of mesmerizing songs – breathlessly haunting album opener “Swallow a Party” and chilly ambient closer “A Window Drifting” – and recorded several hours or improvisations that Oceanic later edited, layered-up and re-modelled.

The results are little less than spellbinding. The range and versatility of Bijma’s vocalizations is breathtaking, while Oceanic’s music – which cleverly incorporates the free-jazz singer’s vocal notes, tones and proclamations – swings between becalmed beauty and breathless intensity.

Some of the set’s most striking moments are those where Oceanic re-contextualizes Bijma’s varied vocal sounds with the dancefloor in mind. On the pulsating “Technicolour Memories”, up-tempo “Step Snakes” and hypnotic “Never Done”, Bijma’s scat outbursts not only ride Oceanic’s rhythms, but also form part of the densely layered percussion tracks beneath.

Like the release’s more downtempo and ethereal moments, these hybrid organic- synthetic compositions defy easy categorization, offering a unique brand of alien electronic/acoustic musical fusion that lingers long in the memory.

Brand new release from Turbo Guidance Entertainment! We deliver a compilation with 4 versatile dubs cooked by our wizards ! Pablo Bozzi (half of Imperial Black Unit and half of Infravision) signed "Sangria Sound System N°1", a slow burner italo-disco track. Perfect to close a cosmic set in the afternoon drinking pepper-mint lemonades! Cowbells everywhere and powerful arpeggiator. Watch out the guy, this year is going to his year! In the second position we have a reggae-disco remix from the man Androo; part of NS Kroo and also well known on the label Music From Memory. He totally switched the
original dub techno track of Babe Roots into something sweet and bouncy. Lobster for you ears. You can even ear autotune on the vocal! Awesome! Coming at the third place, here come Komodo from Indonesia! "Funky Buzz" is a perfect blend of tribal and dub rhythms with a repetitive bassline. Big delays and full effects to rock iguanas. Komodo is a rising star of South Asia, look at the sky to see him shining like a Telsa soon ! And last but not least, we serve you a sweet downtempo riddim from Mali-I aka Z Lovecraft (Rhythm Section). He built a hip-hop influenced track with aerial chords. Perfect music if you want to take the mic and try to toast like a real badboy. Only 400 copies for the world. Sleeve visual is gently printed in risography 3 colors at Shift Studio (Tunisia) - DIY each and everytime.

Adeen Records 006 Introduces Bari born by way of Italy producer Nico Lahs. The South Italy producer delved deeper into his roots and returned using an array of vintage analog and digital hardwares, to give life in total freedom (as the name suggests) to his own sound and trademark.
The 2xLP album is the result of an unceasing and steadily research of one of the Italian music innovators, who doesn't just make house, but he's just as adept making hip-hop, downtempo, technoish and ethereal stuff deeply rooted into Chicago and Detroit history that starts with mellow atmospheres to then go up and down, skillfully juggling among samples, hardwares and artistry, showing his abilities with the sole purpose of calling out all the music heads, regardless of their taste, and unite 'em under one only message. Simply something for everyone!

Belgian techno wizard Cri Du Coeur is back with a new 2-part vinyl release on his label Arkham Audio titled 'Erickson' & 'Erickson on Acid', which features remixes exclusively from French artists. Jerome D., the man behind the Cri Du Coeur alias, is prized in the industry for giving platforms to Belgian and French artists throughout his career, so it comes as no surprise that he is showing his francophile roots by having a solely French lineup for the remixes on this release. Following the recent release of his EPs 'Diaphragm' and 'Warning', and now bringing us the inebriating 'Erickson' & 'Erickson on Acid', Cri Du Coeur has established that his new alias and freshly-founded but tenacious Arkham Audio label are a force to be reckoned with. The entrancing yet adrenalizing sound that he has adopted shows that his approach to industrial electronic music knows no boundaries or compromises.

The first part of this release features the original mix of 'Erickson' by Cri Du Coeur and remixes of the track by Electric Rescue, Wex 10 , and Trunkline. The second part 'Erickson on Acid' puts a squelching acid twist on things and features remixes by Roman Poncet, Umwelt, and Zadig.

The original mix of 'Erickson' leads with a strong beat and a mixture of industrial sounds that makes for a sublime dark dancefloor track. Electric Rescue follows on with a remix that engages the listener with a terrorising yet intoxicating heavy baseline. Next up is Wex 10 who enchants us with a bouncy laserbeam rhythm and muffled looping vocals. Last but not least on the 'Erickson' lineup is Trunkline's remix which delivers an addictive hazy melody and a deep and dirty mechanical synth horn.

Cri Du Coeur plays with tensions in 'Erickson (on Acid)', putting the listener into a state of hypnosis with squelching sounds that give the song a raunchy character. We are implored to dance as Roman Poncet's remix bears layers of lively percussion beats with twangy synth melodies. The mood intensifies once more as Umwelt's remix features a dark and fuzzy baseline that contrasts with a screeching siren sound creating an ultimate thrilling experience for the listener. Zadig closes off this immense concoction of remixes with a relentless distorted base and scintillating machinelike background noises.

Cri Du Coeur has outdone himself by bringing together such a well-suited selection of artists to create a visceral and magnetizing collection of tracks that showcases his competence in making industrial techno.

Belgian techno wizard Cri Du Coeur is back with a new 2-part vinyl release on his label Arkham Audio titled 'Erickson' & 'Erickson on Acid', which features remixes exclusively from French artists. Jerome D., the man behind the Cri Du Coeur alias, is prized in the industry for giving platforms to Belgian and French artists throughout his career, so it comes as no surprise that he is showing his francophile roots by having a solely French lineup for the remixes on this release. Following the recent release of his EPs 'Diaphragm' and 'Warning', and now bringing us the inebriating 'Erickson' & 'Erickson on Acid', Cri Du Coeur has established that his new alias and freshly-founded but tenacious Arkham Audio label are a force to be reckoned with. The entrancing yet adrenalizing sound that he has adopted shows that his approach to industrial electronic music knows no boundaries or compromises.

The first part of this release features the original mix of 'Erickson' by Cri Du Coeur and remixes of the track by Electric Rescue, Wex 10 , and Trunkline. The second part 'Erickson on Acid' puts a squelching acid twist on things and features remixes by Roman Poncet, Umwelt, and Zadig.

The original mix of 'Erickson' leads with a strong beat and a mixture of industrial sounds that makes for a sublime dark dancefloor track. Electric Rescue follows on with a remix that engages the listener with a terrorising yet intoxicating heavy baseline. Next up is Wex 10 who enchants us with a bouncy laserbeam rhythm and muffled looping vocals. Last but not least on the 'Erickson' lineup is Trunkline's remix which delivers an addictive hazy melody and a deep and dirty mechanical synth horn.

Cri Du Coeur plays with tensions in 'Erickson (on Acid)', putting the listener into a state of hypnosis with squelching sounds that give the song a raunchy character. We are implored to dance as Roman Poncet's remix bears layers of lively percussion beats with twangy synth melodies. The mood intensifies once more as Umwelt's remix features a dark and fuzzy baseline that contrasts with a screeching siren sound creating an ultimate thrilling experience for the listener. Zadig closes off this immense concoction of remixes with a relentless distorted base and scintillating machinelike background noises.

Cri Du Coeur has outdone himself by bringing together such a well-suited selection of artists to create a visceral and magnetizing collection of tracks that showcases his competence in making industrial techno

Italian producer Clap! Clap! returns to Bristol's Black Acre with his third album, ‘Liquid Portraits’. Born and bred in Florence, Cristiano
Crisci’s musical career extends back to the mid-90s where he started out as a rapper, before picking up a saxophone and exploring
both jazz and jazz/punk fusion with Trio Cane, and then returning to his electronic roots with A Smile For Timbuctu project - a
collaborative effort that released four albums and performed across Europe. By 2008, Crisci decided to strike it out on his own as Digi
G’Alessio, channeling the same hip-hop meets electronic music energies as those animating the nascent Los Angeles beat scene for a
string of EPs and albums. Soon Crisci hit upon a new formula when he started combining samples from the African continent with
energetic drum programming. The results led to the birth of Clap! Clap! in 2013, which has since been recognised and supported by the
likes of Paul Simon and Gilles Peterson. The stripped-back, high-energy yet inventive sound caught the attention of Black Acre with
whom Crisci has been working with ever since, including his first and second albums ‘Tayi Bebba’ and ‘A Thousand Skies’. Returning
to Black Acre, Clap! Clap!’s third album once again deploys his inimitable technique in fine style, however with new eyes as this new
project signifies a definite shift in his work having spent the last few years learning the art of mixing which has lead to some
breakthroughs: “In recent years I’ve spent a lot of time studying essential mixing techniques. I then built an acoustic-treated room and
set up my new studio. I started to convert digital into analogue and vice versa with good converters and achieved sounds that I’ve
never heard before from my speakers. This had a huge positive impact on my mixes and result on my music.” Entitled ‘Liquid Portraits’, the album - as the name suggests - is a collection of sonic paintings, an attempt at capturing furtive, subconscious memories through sound. The tracks reference trips Crisci took and people he met – from southern Italy to Hokkaido via the Kif Mountains of Morocco – as well as more abstract ideas of loss, calmness, and childhood. Having been approached by Paul Simon to work on his 2016 album ‘Stranger To Stranger’ after Simon discovered ‘Tayi Bebba’ through his son, Clap! Clap! is no stranger to collaborations and this album features a small cast of talents, such as south Italy percussionist Domenico Candellori (‘Southern Dub’), Belgian artist Martha Da’ro (‘Moving On’) and harpist Kety Fusco (‘Rising Fire’)

Tropical psych outfit, Lola’s Dice, return with an exhilarating double AA side 45 on “Cacri 'e Playa” b/w “Señor Cartujo” . Venezuelan strains of Caribbean rhythms blend with South American grit and humour; aided and abetted by studio maverick and renown bandleader Alex Figueira ( Fumaça Preta, Conjunto Papa Upa).

Lola’s Dice, an ensemble born and battle-tested by years of punk and hard rock before fusing into its current form, a consolidated tropical-psych quartet. The band’s evolution has resulted in music that is a pure body-moving delight — a fuzzy blend of guitars, synths and musical sabor that is very much rooted in the percussive sounds of Latin America, where all band members hail from, yet still comfortable in its punk-ethos.

One such fusion of sounds took place at the Barracão Sound studio in Amsterdam where they first asked rhythm sensei Alex Figueira (who currently joins them on stage whenever his agenda allows him) to help them twist their sound and bring it into the incendiary tropical realm his production work was known for.

Together they vandalized all sorts of rhythmic traditions. The resulting 4-track EP, “Viaje al Centro de Ritmo”, was a perfect match of genre-defying psychedelic madness and Caribbean cool and was duly signed and released by on-the-pulse NY based Names You Can Trust label.

After two years and a plethora of stages Lola’s Dice returned to Figueira's Barracão Sound for another dose of experimentation, diving deeper into their Caribbean roots and twisting them even further. The first fruits are now offered for release jointly by Names You Can Trust (later this year) and Figueira’s own Music With Soul.

The African Caribbean vibrations of “Cacri 'e Playa” tell a story of a stray dog whose sole habitat consists of the beach. A common phenomenon all across the Caribbean coastline shared by Venezuela and Colombia. Wonky synths and surf guitars interplay over a stomping extra syncopated drum beat. All things collide towards the end into a 1970’s style Salsa street party, the relentless cowbell driving everyone forward.

On the flip, “Señor Cartujo” contains a humorous tale about the most popular brand of anise liquor in Venezuela ("Cartujo") and a shameless ode to the glory days of "Techno Merengue", when Latino rappers in the US started making Dominican Merengue with hip hop influenced vocals and house production techniques and equipment. Lola’s Dice, however, take a more psychedelic approach to this merengue, oozing with funky guitars and percussion.

The latest project by belgo-moroccan producer Reda Senhaji, alias Cheb Runner, focuses on breeding a new style of music between electronics and Gnawa. Taking inspiration from New Beat to Techno, Acid House and Gabber, the grooves are relentless, stiff and club oriented, relying heavily on analog synths and drum-machines. The sound is darker, more experimental and mature than his previous Gan Gah project.

Cheb Runner digs into the acoustic sounds of his youth, for an organic feeling of warmth and celebration. The syncopation of the classic Gnawa percussions, the “Tagnawit”, its groove is undeniable. Featuring two traditional Gnawa singers based in Brussels, Mâalem Driss and Mâalem Hicham, the EP is a reunion for the belgian Gnawa scene, keeping the vibe alive.

In a world of dematerialized culture, we tend to forget where we come from : by putting Gnawa music at the center of his production, Cheb Runner creates a bridge with the past. The young producer is a son of Gnawa himself, this is the music he grew up with and played as a kid.
Now he brings it to the club scene; Cheb Runner’s first EP is experimental, brutal, innovative. Getting past definitions and genres, it opens new horizons for North-African producers, showing them how to use their roots to make new beats. It encourages both tradition and modernity in Music. In 2019, Gnawa music, dance and culture was added to the UNESCO Intangible Cultural
Heritage list, demonstrating both the relevance of the genre and the necessity to preserve it.
of the genre and the necessity to preserve it.

Cheb, the Arabic word for “young boy”, is traditionally used to describe the young generation of Raï singers – like Cheb Hasni, Cheb Mami or Cheb Khaled. It means the new generation is here, to create something new with something old. The reference to the Ridley Scott movie Blade Runner is just that: while the Cheb comes from the bled, a moroccan village in the Agadir region, the beats come from the club scene of an industrial city, like Berlin, Detroit or Molenbeek/Brussels.

Cheb Runner takes you on a trip through space and time, as well as to pass on ancient rhythms to inspire the next generations.

‘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.

2x12"

It’s taken Yotam Avni a little while to get to his debut album; almost a decade, really, since his debut 12”, “That’s What The World Needs”, on California’s Seasons Limited imprint. During that time, the Tel-Aviv based producer has refined his productions, tightening the groove and paring everything back to bare essentials; the power in an Avni cut is its combination of piston-pulse propulsion and a deep, but gently applied, musicality. This combination gives his techno productions added heft on the dance floor, but also a lyrical sensibility that places him squarely in a tradition of techno legends who somehow manage to make the four-to-the-floor a space of poetic intensity, of rigorous joy.

Avni’s been on Kompakt’s radar for a while, first appearing on the label last year, with his Speicher contribution, “Mañana Mañana”. (“Track For Agoria”, from that EP, also appeared on Total 19.) The connection immediately made sense – dance music that managed to feel both lush and streamlined across the same great gasp of late-night energy. But with Yotam Avni Was Here, he’s taken a huge leap. After a brief intro, Avni sets his stall with “Beyond The Dance”, which features slow-moving vocal melisma over sculptural, melting tonalities, a tintinnabulating, harpsichord-like two-note phrase pacing out the track. Then “It Was What It Was” comes into view, its strip-light textures suddenly placed into sharp relief by a muted trumpet figure that hangs in the air, melancholy and pensive.

It’s no surprise, at this point, to discover that Avni’s inspirations for Was Here took in the histories of both techno and jazz. “I wanted to try something more around Detroit Techno meets ECM,” he reflects, when explaining the motivating forces behind the album. “Carl Craig’s Just Another Day EP and Kenny Larkin’s Keys, Strings, Tambourines came out during my high school years and had huge impact on me.” Avni’s also appeared on Transmat compilations, and remixed artists like the Midwest’s Titonton Duvanté, and Orlando Voorn – the latter particularly important for the way he connected the Detroit and Amsterdam techno scenes – his career path is marked by ongoing connections, direct and indirect, to Detroit’s storied history.

“I always wanted to go back to those hi-tek soul roots on a full album,” he continues, and he’s definitely exploring that terrain here, with the sky-strafing brass on “Free Darius Now”, morse-code keys on “Vortex” and glitchy, microhouse tickles of “Know Hope” all contributing to an oblique narrative that seems to arc across Was Here – one fleshed out by guest musicians, who include dop and Gerog Levin on vocals, and trumpets by Greg Paulus (of Beirut and No Regular Play). The cover art makes the jazz connection explicit, riffing on the text-based, minimal design of The Modern Jazz Quartet’s 1955 album for Prestige, Concorde. But the way Avni has gathered around him both inspiring musicians and intriguing reference points makes me think of his broader career as well, the collectivism behind his AVADON nights in Tel-Aviv, his many and wide-ranging releases on labels like Innervisions, Hotflush and Stroboscopic Artefacts, and the openness of his productions, which seem to be all about the multiple, the possibilities of cross-pollination, of fusing this with that, of adding and subtracting, all under the pulsating thumbprint of techno.

Good things, after all, are worth waiting for.

It goes without saying that the global metal scene would not be the same without Sepultura. For 35 years now, the Brazilian icons are not only a band revered worldwide; they have been, are and forever will be at the very forefront of Thrash Metal, trailblazing ever since they released their long-since legendary debut album “Morbid Visions” in 1986.
While quickly establishing themselves as leaders of the second wave of Thrash already in the late eighties, to this day they never came even close to stagnation. “Quadra”, their mighty new undertaking, is proof of a will unbroken, a thirst unquenched and a quality so staggeringly high it’s a wonder this band doesn’t implode. Now three albums deep into what may very well be their strongest incarnation yet – uniting the talents of old-school members Andreas Kisser (guitars, vocals) and Paulo Xisto Pinto Jr. (bass), vocal force of nature Derrick Leon Green (vocals) and drummer Eloy Casagrande – Sepultura are an unleashed power to be reckoned with, uniting bucketloads of experience and youthful vigour in a totally revived way.
“On ‘Quadra’, we felt the urge to revisit that old thrash feeling of ‘Beneath the Remains’ or ‘Arise“,’ only seen through the eyes of today,” Andreas Kisser utters the magic words. “Add to that the tribal percussion, the orchestral elements, the choirs, the melodies and the clean vocals and you get a thorough run-through of our entire career, backed by a very contemporary approach.” Fuelled by an energy almost uncanny for a band that has been active for so long, Sepultura storm through a contemporary thrash monument, backed by sublime melodies, a very eerie atmosphere and a fiendishly high level of technicality. Kisser is appreciating these compliments, still maintaining his very down to earth approach. “We don’t heed the past and we don’t try to be preoccupied by the future too much,” he shrugs. “We’re in the now, trying every day to make Sepultura a little bit better. That’s what keeping us strong.”
And that’s what they have been doing for the last 30+ years. Album after album, tour after tour, no gap in between records longer than three years. “Music is all we do,” Kisser states matter-of-factly. “If it wouldn’t be for Sepultura,” he laughs, “I would be a sad and lonely guy. Sepultura is what we are.” And “Quadra” is living testimony to that. The old Sepultura echo through the very fibre of the songs in all its raw and morbid splendour, but yet it’s the present, the experienced and refined beast that is Sepultura in 2020 that’s blasting out thrash metal anthems for a fucked-up age.
With now 15 albums under their belts, Sepultura are the work horses of the metal world, always ready to attack. In many ways, “Quadra” broadens the vision the Brazilian thrash troopers had on “Machine Messiah” (2017), again relying on the impeccable talent of Swedish producing giant Jens Bogren and his Fascination Street Studios. “He is so full of passion, it’s unbelievable, man,” Kisser raves. “He’s really there, he really cares about the projects he’s doing. For Sepultura, he’s like the fifth member of the band. The chemistry was so amazing, 99 percent of what we were trying do to actually worked. That was insane!” Even after more than 30 years at the forefront of international thrash, guitarist Kisser sounds positively baffled by working with Bogren. “We felt like we were in our rehearsal room.”
Bringing together a monumental grandeur and a wild, untamed ferocity, Sepultura stepped up their game musically – and conceptually as well. “We were possessed by the number four, by the numerology of it”, Kisser starts to explain. “I divided the album into four parts as if we were doing a double vinyl. Side one is the pure and raw thrash side. Side two brings in the rhythms and percussion from our ‘Roots’ era. Three is getting a bit experimental and four brings forth the melodies and the acoustic guitars.” With John North’s book “Quadrivium” as a further source of inspiration, Sepultura dive deep into a mystical world full of hidden meanings. “You have four seasons and twelve month in a year just to pick one example. A lot of stuff in our culture is divided like that.”
Plus, Quadra also is the Portuguese word for ‘sport court’ that by definition is a limited area of land, with regulatory demarcations, where according to a set of rules the game takes place,” he adds. “We all come from different Quadras. The countries, all nations with their borders and traditions; culture, religions, laws, education and a set of rules where life takes place.” In the Quadra of thrash, however, we all are the same. And we bow our heads in unison to the mighty leader that is Sepultura.

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.

New imprint Ernest’s Way delivers its first offering with a debut release from Australian based artist Featherstone! The A-Side of this four-track EP offers two highly effective dancefloor cuts that ride the line between many diverse influences of electronic music ranging from acidic electro to the early roots of techno.
The B-Side follows up with two deeper, heavily emotive tracks that drift into an uplifting, euphoric and dreamy atmosphere whilst remaining complimentary to the driving rhythms that open the EP.

Hendrik Weber aka Pantha Du Prince (‘a fantasy character...a poetic transporter for the concept behind the music’) has carved a niche for a style of techno he calls, ‘layered and cinematographic.’ He released the Diamond Daze (2004) and This Bliss (2007) albums on Berlin dance label Dial before signing to Rough Trade and widening his audience with Black Noise (2010) and The Element of Light (2013).

On “Conference of Trees”, Pantha Du Prince explores the communication of trees and creates a sound concept based on it. What we experience here is a break through recording of experimental music, visual poetry, club culture and speculative science.

Clear Vinyl

Detroit Underground label head Kero returns to his sonic roots with the first of the Detroit Map Series originally featured on the limited DUTT-181 Series functional record player designed by Neubau Berlin. As a kick-start, Kero reveals Highways—a 5-track extended player of (abstract) electronics that is cleverly pulled together with a downbeat flow and tracks aptly sub-titled as major freeway arteries of the Motor City.


"Davison" commutes through glitch bits, bobbles, and broken beats flickering back and forth as it eventually opens midway through the traffic jam and hopscotched potholes with a synthesized melodic stream. Fisher displays its minimized techno flurry and rumbling low-end growl tempered by subtle blips'n bleeps and clinical precision. Southfield busts apart with modular maneuvering and heavy percussion showcasing an opportunity for Kero to cruise in the passing lane as the piece gradually mutates into a crunchy experimental electro epic. Lodge ebbs and flows with The Detroit Escalator Company-styled minimalism felt many miles away from its source. Chrysler expands and contracts with its 7-minute acid-electronic sprawl—here we see Kero carefully downshift to allow an ambient undercurrent to traverse a moonlit sky in the late night hours creating perhaps the finest soundtrack to (minimal) Detroit-inspired techno of yesteryear with a thumping heartbeat. ~PDS

3 tracks from the "Let it go " album from Michel de Hey. Soulful techno and house tracks influenced by Michel his 90"s musical Rotterdam roots.

Soul Jazz Records new ‘Apala: Apala Groups in Nigeria 1964-69’ is the first ever collection of Apala music ever to be released outside of Nigeria. The album focusses on a wide selection of recordings made in Nigeria in the 1960's, a time when Apala music was at the height of its popularity. Apala is a deeply rhythmical, hypnotic and powerful
musical style that combines the striking nasal-style vocals and traditions of Islamic music, the Agidigbo (thumb piano), and the equally powerful drumming and percussion rhythms and
techniques of the Yoruba of Nigeria.

The most significant figure in Apala music is undoubtedly Haruna Ishola who features throughout this album. Ishola holds an almost mythological status in his role as populariser of Apala music in
Nigeria. Ishola’s singing was believed to be so powerful that, without proper restraint, it could kill the recipient of his music.

Apala is a popular music that also functioned as a form of cultural resistance – Apala music involved no western instrumentation and is sung in the Yoruba language, its aesthetic an implicit cultural
rejection of the British Empire’s colonial rule over Nigeria which lasted from 1901 until independence in 1960. Apala music was popular and widely accepted in Nigeria due to its philosophical and profound
lyrical content alongside the complex rhythmic patterns of this heavily percussive style, which highlighted many of the percussion instruments of south-west Nigeria.

He's one of a number of popular urban styles of music that came out of Nigeria in the 20th century and sits alongside the more well-known (in the West) styles of Fuji, Highlife, Juju and Afrobeat. Of these modern forms Apala remains perhaps the most ‘roots’ style (sometimes described as ‘neo-traditional’) due to the authenticity of its sound. It has similar Islamic roots to other neo-traditional styles of Nigeria – including Waka and Sakara – examples of which are also
included on this collection contextualising the music of Apala.

These recordings were originally made and released locally by Decca and EMI Records as well as a variety of independent labels in Nigeria and have never been released outside of the country before. Soul Jazz Records are releasing this album as a deluxe double gatefold vinyl (download code), CD, slipcase and booklet, both containing full text and photography.

Twelve years have passed since eedl released their masterpiece “Everse” spa.RK, 2007 and in that time the duo -formed by Miguel Ángel Martínez and Joan Duat- have shied away from the spotlight and stage. Despite this apparent lethargy, their previous two works - "Parallemped EP" spa.RK, 2003 and the aforementioned "Everse"- provided them with cult national scene status, while raising more than a few eyebrows among European “headz”. Both works continue to sound overwhelmingly modern and
undated, an obvious signal that eedl is a special breed of cutting edge electronic music.

Although creatively silent for a number of years they have remained musically active. As well as his career as a product designer, Miguel Ángel has applied his musical experience to the technology sector, and since 2016 has fully immersed himself in “modular”–Winter Modular, Plankton Electronics and Patching Panda–; Meanwhile, Joan, office programmer and classically trained pianist, has found his equilibrium with work and building a family life.

"Unstored" is their long awaited return to the fray and their second studio album. It is comprised of eight songs, some of which have been have been slow cooked since 2002, with others gestating more recently. Maybe such a long hiatus seems excessive, but the meticulousness nature and obsessive love for detail found in "Unstored" more than justifies the wait, which at times felt like a long goodbye.

This collection of songs navigates between perfectionist electronica, new generation electro, noisy harmonies, glitch and deconstructed rhythms; a sonic memoire with strong roots in British experimental electronic music -reminiscent of Autechre or Plaid-, another reason in understanding the longing produced by their extended absence.

It is therefore with great honour that in early January 2020, Lapsus will release the new album from the elusive eedl project in a luxury edition format.

D. Carbone is back on its homonymous imprint with a Theme Ep 'Back To The Empire Of Hardcore'. After the 2016 Ravers EP, here the artist make a second call to push a movement is coming back on all its power but in a modern key. The EP figure 2 remixes One from the Queen of Techno 'VTSS' and one other from the Hardcore master '14Anger'.

On The A1 the entitled track is a new hardcore wave gem, a robotic voice singing in a subdol way back to empire of Hardcore, lead and sirens create the atmospheres over a marching beat. This track aims to be a classic for the New Hardcore wave.

A2 presents VTSS remix. The queen of Techno after it's debut on REPITCH Recordings with the killer Identity Process EP and the amazing Atlantyda on Monnom Black is ready to show a Techno/EBM remix with its remark bassline, a strong kick and massive voice textures, make it an instant classic!

B1 is the time of French Raver '14Anger' its remix is a mesmerizing of Power and its Hardcore roots are shaped at its best. Percussive synth sequence chosen as the main groove, Melodic bassline is the main focus here till the amazing lead comes in to destroy every dance floor!

To Close, The Vinyl is 'Raver Killer' a powerful doom Techno track. This track is not for the fainted hearts, inspired to the 90's doom rave with modern touch Powerful kick, distorted model D's bassline, hi-pitched voices, and resonant percussions make it a big room track that can't miss in your bag and perfect choice to close this vinyl.

As Digital Bonus ' The Rhythm of Acidcore' is an Hypnotic Acid Banger. Model D bass and 303 acid sequence are the main focus here, accompanied by a smashing beat is the perfect track to stand along this collector EP.

Indeed, while he's best known as a DJ/producer in his own right, Duvante's own A&R skills are impressive, with Residual counting on everyone from Fym to Boo Williams to Garrett David over the years. As with their last V/A (the brilliant Refraction Vol. III), the label owner has done another expert job at rounding up some great troops here, with four emerging producers delivering the goods courtesy of Refraction Vol. IV.

We get underway courtesy of Rukka's 'Stellar Radiation'. Full of zippy, nimble synths and clever cowbell sounds, 'Stellar Radiation' is a brilliantly constructed slice of intergalactic funk that brings the rabbit role in some style. Teakup's 'Believe' is a more stuffy, techno-focused cut, the likes of which has been produced in a unique, urban-influenced vein. Miscellanea I on the Is / Was label, it's another reminder of the Ohio native's undoubted talents.

'Sepehr's 'Exit Your Body' plays out like a vintage cut from The Martian. Loaded with funk and soul motifs and characterised by its 808 sounds, this is techno of a real swagger and panache. Deep but brilliantly catchy, it's indicative of the label at its very best. It's then left to Italian producer Pressure Point to see us out, a task he fulfils in some fashion thanks to 'So Far So Good'. Another track with its roots in classic sounds, it too maintains a sort of contemporary edge. Really fascinating and sumptuous stuff that strays down different paths throughout the course of its almost 6 minutes, it closes the release in truly emphatic fashion.

Space-influenced tracks that bring the listener to the heart of the funk cosmos, Residual's latest serves up a brilliant and dexterous voyage to soundspheres that are well worth getting lost in.

Founded in 1990, Art of Dance has always been described by it’s founder, Kenny Larkin, as a “phantom label.”

“When I first started Art of Dance, I wanted to obviously release my own stuff, but I quickly learned I didn’t have the time or brain cells to run a label. So I instead licensed my music from my label to other labels. It existed, but it didn’t, in that sense, which is the reason I call it a “phantom label.” Given my low output of music projects, over the years, and my new found desire to put out quality tracks, I decided to relaunch the label, and use it as an outlet for my brother and I to build the Art of Dance brand, and most importantly, release great music!”

For his debut release, Kelvin presents what would be described not as “tech house”, but instead a blend between house and techno. Never straying far from his roots from Detroit, the title track of the single, Tell Me, samples “house diva” Loletta Holloway’s “Sweet Sensation.”

With the interplay between the techno inspired percussion style bassline, and Loletta’s perfectly placed soulful wails, Kelvin creates a beautifully powerful dance floor burner.

“The Force” is all Detroit. Kelvin gives a gentle nod to the past with this slow burner featuring classic 90’s style rolling snares, funky baseline, and horn stabs. This playful track is perfect for buildup for techno or house sets.

Selvamancer proudly presents its first release by Finnish producer Boneless One. The Barcelona-based label with Dutch roots is aiming to release pounding dancefloor mantras. Selvamancer is heavily influenced by mysticism as well as futurism, trying desperately to maintain its balance on a psychedelic tightrope throughout the multiverse. Its first release results in an exciting melting pot of vintage synthesizer jams and modern acid bleeps, the perfect playground of Helsinki based Boneless One. After releasing on Snuff Trax and Tabernacle Records sublabel Ride The Gyroscope he joins the Selvamancer family and cooks up four tracks of acid, rave, distorted techno and industrial-tinged dancefloor burners on his Woofers EP.

Influential Spanish artist Coyu is stepping out on his own Suara label with a long overdue debut album entitled ‘You Don’t Know’ that is going to shatter all conceptions about him. Due for release this September 23rd, the 16 track affair showcases his broad range and takes in collaborators like Moby, Lazarusman, The Horrorist, Thomas Gandey and many more.

Coyu quickly rose through the ranks to become one of the most prominent names in underground dance music. The Spanish man famous for his love of cats has established his Suara label as a go-to outlet for the most essential house and tech tracks, as well as releasing his own expressive grooves on Cocoon Recordings, Diynamic, Bedrock Records, Turbo Recordings and MORE. Now he really stretches his legs across a fantastic full length album that goes way beyond the dance floor and shows many new sides to his sound. The artist has been working on it since 2012 and aims to show people that whatever they think about him is wrong.

Says the artist himself, “the album is named ‘You Don't Know’ because many people have a preconceived idea of who I am. Until now, maybe I wasn't smart enough to show them my roots, what I love and what I can offer to the music. I'm not just a DJ or a producer who can play or make grooves – I love many different genres and many different kinds of music. With this album I want to change that preconception.”

The album kicks off with a dramatic spoken word from legendary vocalist Lazarusman before exploring low slung and sleazy grooves on ‘The Three Chimney’, floaty light melodic and dreamy house on ‘Out of The Pain’ and more club focussed but just as dreamy fair on ‘We All Try’ with Mike Leary.

Proving he can do everything from poolside gems to peak time techno, ‘Fear Is Gunna Be A Player In Your Life’ is one to get you in a trance with its sonar like synths and rolling deep space drums. Thomas Gandey aka Cagedbaby then steps up to guest on ‘1+1’ which is a hands in the air piano anthem to pump the party, and ‘Wanna Do Right, Wanna Do Wrong’ is a techno cut with brilliantly energetic drum programming and a big, perfectly placed vocal sample.

Switching up the vibe is ‘I May Be Dead, But One Day The World Will Be Beautiful Again’ with none other than dance legend Moby. It is a heavenly track with break beats, angelic melodies and a celestial feel that leaves you refreshed. The second half touches on raved-up drum & bass, gurgling minimal techno and harder techno with mind melting acid synths. The Horrorist contributes to the banging ‘My First Pill’, while the techno journey continues with ‘Unite’ featuring Gabriella Vergilov before the album finishes on the fluttering ambient track ‘Insania’, with mad church bells and manic percussion all bringing things to a close in style.

This is a broad, adventurous album that covers plenty of music ground and takes you on a true electronic trip from one of dance music’s most accomplished names.

DJ Richard's first release of 2019 sees him drop four invigorating electro tracks on Flexxseal titled "Eraser".

Emerging from the Providence noise scene, DJ Richard forges a path of disciplined selectiveness as a producer and DJ with his idiosyncratic style allowing him to make impressive, self-assured connections between 80s EBM, new beat and Italo disco, electro, techno and "post-minimalist" house. DJ Richard's feral approach evolved from the roots of his White Material imprint which quickly achieved cult status after early releases from himself and co-founders Galcher Lustwerk and Young Male.

As a solo artist, DJ Richard continues to push the boundaries of his talent and influences reflected in his two utterly distinctive and bewitching albums released in alliance with influential German electronic label, Dial. "Eraser" sees him join up with fellow American Christopher Joseph and his Flexxseal imprint as DJ Richard masterfully maintains his skill in propagating ephemeral and raw sounds with his aptitude for electronic body control.

"Critical Damage" kicks things off with resilient oscillations fused beautifully with angelic leads and thudding percussion reflecting a post-punk aesthetic while "Eraser" delivers tough, acidic swirls undulating beneath sharp, broken grooves and growling undertones.

On the flip, a slow, chugging drum sequence balanced with haunting modulations and machine-like vibrations that echo throughout take the focus in "His Threshing Floor" before "Casca's Theme" concludes the EP with meandering, robotic synth flutters and distorted bass resonations driven by hypnotic rhythms and world-ending atmospheres in this powerful electro cut.