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In March 2024, Last Night From Glasgow brings you the debut album
from Glasgow's Kilgour - Having already enjoyed sizeable support from
ational radio, legendary BBC Scotland DJ Billy Sloan named them one of
his favourite bands of the year - Support from Amy Lame on 6 music,
Steve Lamacq and Mickey Undertone cemented the acclaim

in this music, that makes me bow my head out of respect for primal, natural forces. It is said that this third album in the discography is the most important one, I have no doubt whatsoever that "Magna Mater" is a polished, ambitious and the best work in the several-year history of Kalt Vindur, and if this is how black metal of the 21st century is to sound, it should be glorified without a doubt.

Recommendation!!! Amen."- Metal Crush 'Zine (Jarek) Cover artwork made by Maciej Kamuda (Blut Aus Nord, Spaceslug, Sunnata,
Trauma)

Over atmospheric instrumentation expanded by cinematic structure and pacing, Pearlty presents Knifeplay somewhere between dream-pop influenced shoegaze and lofty slowcore, never fully committing to one or the other in its insistence on creating an immersive, organic world. Originally released in 2019, Knifeplay’s vivid debut Pearlty documents songwriter Tj Strohmer’s expressions of early adulthood in what he describes as “the journey from innocence to experience.” Written during a time of immense inspiration, Strohmer was able to peel himself away from detached nihilism, uncovering the physicality and therapeutic powers of songwriting. Newly emboldened by this discovery and the talented community surrounding him, Strohmer channeled this revelation into his work, taking Knifeplay from a bedroom experiment that merely wrote songs to a more substantial project with a purpose. Pearlty’s various climactic passages, like those heard on the impressionist album opener “Tears”, envelop listeners in textured walls of distorted guitar and noisy breakdowns, a distinct hallmark of shoegaze – but Knifeplay’s compositions go far beyond such conventions. Also featured are downtempo compositions – such as the tribute track “Angel” – that call on a range of influences, from grunge to lofi pop, all the way back to slowcore. Layers of Strohmer’s falsetto lilt adorn the songs with another dimension of sentimentality, while rounding out the sonic vastness of the group’s emotionally enrapturing style, lending impressive depth to the band’s debut full-length.

"Pearlty" by Knifeplay includes the following tracks: "Feel U", "Mirage", "Held My Hand", "Lemonhead" and more.

Warehouse Find!

Following the sold out Theo Parrish remix of Marcos Valle's '1985', here's the second in Far Out's Brazilika 12" with three scorching remixes from UK dance veteran Ashley Beedle. Three peak time excursions into percussive, soulful house on a stylish, cosmic Brazilian party tip.

Following the sold out Theo Parrish remix of Marcos Valle's '1985' back in April, the second release in Far Out's Brazilika 12' series features a highlight from Sabrina Malheiros' 2011 album 'Dreaming': the blissed-out, sun soaked samba classic 'Opara', which gets three scorching remixes from UK dance veteran Ashley Beedle.

Currently celebrating a decade since the release of her critically acclaimed debut album 'Equilibria', Sabrina Malheiros has remained at the forefront of modern, soul-infused Brazilian music. Growing up in Rio, the daughter of Alex Malheiros, bassist of Jazz-funk pioneers Azymuth, Sabrina has taken the legacy of samba and bossa nova and forged her own forward-thinking path, taking with her all the style and substance of the early days.

Produced under his Afrikanz On Marz moniker, Beedle's remix brings all the right elements of the original to the fore. The result is three peak time excursions into percussive, soulful house on a stylish, cosmic Brazilian party tip, infused with rich, warm rhodes, synth and flute throughout.

The vocal mix on the A side provides a spacious backdrop of twinkling keys and buoyant percussion to Malheiros' gently floating strains. The other mixes offer similarly floor-focused variations: the aptly titled 'Galactic Flute Remix' on the flip pairs the titular wind instrument with a deeper groove that retains the loose-limbed appeal of the original, plus a bonus instrumental to boot. A sure fire heat bringer and certainly one of the most colourful dance 12's we've heard this year.

The Brazilika 12' series is the new vinyl home to the previously unreleased dance exclusives taken from the Spiritual South mix on CD2 of Far Out's 20th anniversary double compilation, released in May 2015.

HAVEN are proud to present the second record in their black label series focused on the crossover between sounds on the UK bass music spectrum and hard techno dynamics. This time UK break-beat maestro Mani Festo joins the label for the first time with an EP of hardcore-
inspired dance-floor weaponry alongside a remix from Swedish experimentalist PederMannerfelt.

The A side kicks off with 'Hunterr' with booming vocal cuts, pounding 4-4 kicks and break-beat rhythms sprinkled throughout for a prime UK hardcore and techno genre crossover slab of club material. This is followed by the Peder Mannerfelt remix where the Swedish legend brings his left-of-field sensibilities to the fore, submerging the vocals in to a ghostly high-frequency spectrum whisper alongside a looping bass-line and sludgy drum rhythms to close out the first side.

The B side starts with 'Swarmm' - a broken beat roller filled with screeching synth zaps and a mammoth break-beat in the second half. Up next comes 'Poison' with its eerie atmospheres and drones sat behind a 4-4 rhythm and charging break-beats in another dance-floor killer. Finally 'Machine' closes the EP with its syncopated electro rhythms and funky UK swing alongside chugging bass plucks and arpeggiated melodies in one more crossover hammer.

Recorded in October 1959, with heroin a caustic presence, In Milan is the first of the albums Chet Baker cut in Europe, revisiting West Coast cool jazz nuggets with drummer Gene Victory and a set of local players, including bassist Franco Serri and pianist Renato Sellani, bolstered by saxophonists Glauco Masetti and Gianno Basso on select tracks. Bop favourites such as Charlie Parker & Miles Davis’ ‘Cheryl’ and Davis’ ‘Tune Up’ are handled with care, and there’s a fine take of ‘Line For Lyons,’ which Baker first recorded as a member of Gerry Mulligan’s Quartet, with a great solo by Serri. It’s Baker at his best – thoroughly excellent!

Straight From the Republic of Bashkortostan (!), the Excellent Dj Producer Apollon Telefax (Who Was Already in the Band Arash & Quasar for Their Last Release on Mellah - One of Our Sub-Label), Is Back This Time on Skylax Records Alone. "Fantasia Planet" Is a Captivating Journey Into the Realm of Balearic-Inspired Melodies and Italo Disco Vibes. This Ep, Meticulously Crafted by the Talented Electronic Artist, Showcases a Fusion of Leftfield House and Disco That Will Transport You to Euphoric Soundscapes. the Mesmerizing Opening, "Mbira," Sets the Tone With Its Intricate Rhythms and Ethereal Melodies. "Not Wet Wipes" Follows Suit, Captivating Listeners With Its Infectious Groove and Hypnotic Basslines. as You Delve Deeper Into the Ep, "Macarena" Unveils a Blend of Nostalgic Sounds and Contemporary Beats, Igniting a Dancefloor Frenzy. the Titular Track, "Fantasia Planet," Takes You on a Cosmic Voyage With Its Cosmic Arpeggios and Pulsating Synths, Creating an Otherworldly Atmosphere. "Sex on Astrakhan Fur Coat" Seduces Your Senses With Its Seductive Melodies and Sensuous Rhythms, Offering an Irresistible Invitation to the Dancefloor. Concluding the Journey, "Moodoom" Embraces a Darker and Mysterious Tone, Immersing Listeners in a Captivating Blend of Intricate Percussion and Haunting Melodies. Apollon Telefax Is a Versatile Musician, Multi-Instrumentalist, Dj, and Illustrator. With an Extensive Collection of Vintage Synthesizers and Drum Machines From the 80s, Pavel Masterfully Combines Elements From Various Musical Traditions, Infusing Them With His Own Unique Touch. His Dedication to Remixes and Constant Exploration of Rare Vinyl Records Ensures a Constant Flow of Intriguing and Innovative Compositions. Experience the Magic of Apollon Telefax's "Fantasia Planet" Ep and Let the Irresistible Rhythms and Captivating Melodies Transport You to a World of Boundless Musical Enchantment. Unveil the Secrets of This Extraordinary Release, Where the Past Meets the Present in a Harmonious Embrace of Sound and Creativity....

Starting his career with appearances on BBC Radio 1 and signing with Elton Johns label as a teenager, Maldwyn Pope's presence in music has been rich and productive from an early age eventually leading to working with people like Cliff Richards, Art Garfunkel and Bonnie Taylor. However, his presence in Italo-Disco has been quite scarce, but completely on point. "Altered State" is a masterpiece amongst enthusiasts and collectors of dancefloor sleaze and downtempo wellness. Heavy rock influence meets Rimini with this one off experiment from the seasoned multi instrumentalist. Original instrumental remix done by none other than Alessandro Novaga, the entity responsible behind one of Ron Hardy's favorite DJ tools (Faces Drums). B-side features an 11 minute excursion into a completely new altered state of dubby delayed trance, for special cosmic holes only. Re-issued with new full artwork.

Dancefloor fire bombs from Kolt, a DJ and producer thus far mostly operating under the crew name Blacksea Não Maya (with Perigoso and Noronha). This is his first Retirement record. No quotation marks here, Kolt is actually stepping down from a fruitful decade-long career as DJ and producer.

Fat, techno-ish, idiosyncratic big room afro mind melt sounding like no other hyped or non-hyped dance cuts out there. Futuristic and decidedly non-European in structure, this set of 4 tracks carries a more synthetic DNA than previous material, if we exclude his quasi-gothic slow burners in BNM's "Máquina de Vénus" LP. But in "Verdadeiro" Kolt is all virtual open arms and bare chest, appearing to satirize this idea of the megastar DJ. But what comes across is distinctive and alive (consequently deadly on the club sound system), wiping out the floor of any zombie-preset-DJ vibes.

Take "Bateste" as an example: an evil bassline, wtf beeps, a vocal snippet prodding the dancers and a final blissful 30 seconds to ease you out. "Shaman" is the final track, its title just maybe nailing the atmosphere felt by people on the dancefloor. Shamelessly epic and in your face, a simulation of a throwback to a more clichéd clubland but just so left of centre that one can't find a complete correlation to fit the picture. Yes, we all go OMG.

»Sound of Matter« is the debut album by Romanian sound artist and composer Simina Oprescu. The two pieces draw on research conducted with 15 historical church bells at the Märkisches Museum and the Stadtmuseum Berlin. After the artist had presented the results of her studies of the connection between matter and harmony in the form of a multi-channel installation, she has translated the underlying approach of this site-specific work into an album that unfolds slowly, consistently setting in motion subtle tonal changes that continuously change the mood of the two pieces. »Sound of Matter« is both minimalist and maximalist, creating an infinitely rich and multi-layered dronescape that modestly invites its audience to get lost in the sonic experience.

Oprescu has been fascinated by church bells since her childhood spent in Transilvania since the instruments were shrouded in mystery, as she explains in an in-depth essay that accompanies the album. Having received a Bachelor’s degree at UNArte in Bucharest and after studying at the Royal Conservatory of Mons in Belgium, Oprescu enrolled at Berlin’s Universität der Künste for an M.A. in Sound Studies and Sonic Arts. She started working with the archive of the Märkisches Museum, which included 15 historical church bells that were built between the 15th and the early 19th century.

Since every bell sounds different according to its shape, material, and density, Oprescu abstracted these qualities in the formula f = K1t/d^2√E/s(1-m^2). This enabled her to recreate the harmonic tone of the individual bells with Max/MSP. She then composed a piece with semi-overlayed tones, i.e. overlapping frequencies. Naturally, this resulted in a beating effect that provided the music with a sense of urgency, though the five second-long natural reverb of the Märkisches Museum’s Große Halle turned it into a »warm blanket of sound,« as the artist herself puts it. This is perfectly recreated on »Sound of Matter« due to the music being presented in mono, bringing out the intrinsic movement of the beatings with more nuance than a stereo version would.

»Sound of Matter« feels warm and welcoming even when different frequencies seem to create friction between each other or when the subtle beating effects turn into throbbing rhythms, like at the end of the record. It manages to explore both Oprescu’s personal fascination with church bells and psychological and psychoacoustic questions relating to them as well as philosophical issues connected with them. This music is profoundly physical, but also intellectually stimulating—perfectly at home in the catalog of the Swiss Hallow Ground label between records by Kali Malone, Lawrence English, or Siavash Amini.

The booklet features an in-depth essay on church bells by Simina Oprescu.

Idriss D officially launches the brand new label Nedjma with his own 2-vinyl, 8-track album as first release. The imprint will serve as a platform for up and coming talents from the Arabic world who are not represented in the current musical landscape. A very bold statement from Idriss himself, this record sees the Franco-Algerian dj and producer infuse his personal history into what he loves the most and share it with the rest of the world.

First track Tsakhbira works as the perfect opener for the album with a melodic ambient-like mood and Arabic chants, with second track Beld el fen following in the same vein with raditional instruments interspersed with synth stabs and eerie atmos.

Chazil’s upbeat rhythm spices up the vibe, a mix of ethereal
singalongs and bouncy percussions. Mohamed is the first foray into Electronic territory, a downtempo piece featuring French vocals and plenty of analog industrial clanks that lead into subsequent Hey Galbi, an exquisite melodic house number with acid synth melodies and piano keys.

Electro (Leila Moon Remix) delves into more experimental landscapes, with darker tones, blurred vocals and pulsating beats, while Elf Leila is quintessential Electroclash Arabic music, blending these two genres together, with a syncopated super catchy bassline. Closing track Harramt is a whirlwind of snare rolls, 303 arpeggios and nods to North African heritage sounds.

2024 Repress

Phonogramme is thrilled to announce the return of ABACUS with 'Analogue Stories Vol. 2,' a profound and immersive sonic journey that continues to push the boundaries of Deep house music. Austin Bascom, celebrated for his releases on prestigious labels like 'Prescription' and 'Guidance,' once again brings forth a captivating slice of deepness. Available on a unique semi-transparent 12'' vinyl in a distinctive Dookie brown hue, 'Analogue Stories Vol. 2' is an indispensable addition for collectors and electronic music enthusiasts alike. Close your eyes, submerge yourself, and let the Analogue stories carry you on an entrancing voyage.

Bay Area post-punk outfit Topographies deliver their sophomore LP, Interior Spring, via Dark Entries. Formed in 2018 in San Francisco by Justin Oronos, Jeremie Ruest, and Gray Tolhurst, Topographies link the icy riffs and gloomy atmosphere of early coldwave with the textural depth and warmth of classic shoegaze, emerging with a style that’s both contemporary and timeless.

On Interior Spring, Topographies explore themes of guilt, inherited trauma, and recovery. The meaning of its title is triplicate: a submerged river carrying hope, an anxiously wound clock, and a season where wildflowers bloom on the graves of the past. While the work of Tolhurst’s father - Laurence Tolhurst from The Cure - provides a clear influence, Topographies expertly channel acts like Asylum Party or The Chameleons on anthemic pearls like “Night Sea” and “Chain of Days”. Tolhurst’s lyrics draw on his own experience in recovery from substance abuse to examine the cycle of use and hopelessness that characterizes addiction. Through these ten songs, the group hopes to present the idea that freedom is not an escape but an embrace of the quotidian beauty of human life.

Renowned techno maestro Mike Dehnert drops his latest 4-track EP on Syncrophone Records. As the needle meets the groove, expect nothing short of electronic mastery, a testament to Dehnert's unwavering commitment to pushing the boundaries of techno This one comes in a limited oxblood-colored vinyl edition EP, a collector's gem…

Anatolian Weapons is back with part two of his remix/studio work for Sound Metaphors, this time a 2 track EP featuring downtempo chuggers high in dubbed out acidity. The A side feels like a perfectly put together composition that grows with a playful industrial beat paving the way for trancey melodies to develop in unison with acid nuances. B-side goes into more percussive directions still with heavy acidity well presented in full Anatolian Weapons effect - a solid investment yielding high returns on any music focused dancefloor. Mastered to perfection at manmade mastering in Berlin.

HJirok is a mythical figure, conceived as a fictional character by Iranian-born Kurdish singer and artist Hani Mojahedy. Together with versatile music producer And Toma of Mouse On Mars, she combined a variety of sounds collected during their joint travels to Iraqi Kurdistan and elsewhere with heavily processed recordings of Sufi drum rhythms and setar melodies. The result is a driving, dubbed-out, and deeply intricate soundscape that perfectly sets the stage for Mojahedy's extended, unconventional vocal techniques and polyglot lyrics. Both informed by tradition and rigorously forward-looking, »Hjirok« (with a lowercase J) is at once a profoundly personal album and a universal utopian promise. As a ghost from the past, HJirok draws on Mojtahedy's memories to mould a new future out of them.

The foundation for »Hjirok« was laid in the city of Erbil in the Kurdish part of Iraq. During one of their stays in the region, Mojahedy and Toma recorded the three percussionists Hadi Alizadeh, Jawad Salkhordeh and Serdar Saydan as well as setar player Ali Choolaei from Motahedy's backing band while they were playingthe rhythms and notes that she had grown up with in the house of her grandfather in the Iranian city of Sanandaj. Her memories of that place revolve around hypnotic Sufi music, dervishes in deep trance, and ecstatic singing. Much like this music seemed to open a portal to other dimensions, the inhabitants of the house lived in a sort of alternative reality: It provided them with a hideaway from political circumstances. Following the Iranian revolution in 1979, a Kurdish rebellion ensued but was met with the utmost brutality by the new regime, which resulted in the death of thousands.

It is no coincidence that the music on »Hirok« would draw on rhythmic patterns that were passed on from one generation to the next for hundreds of years. »The project is rooted in the figures of the Sufi dervishes and thus a culture that precedes today's political, social, cultural, and religious systems,« explains Mohtahedy. »The Sufi sound travelled around the entire world. I like to think of it as a dialogue between peoples-one based on the rhythms of the drums and the sound of their voices.« Toma adds that by electronically transforming the recordings and enriching them with field recordings from both rural and urban spaces, they were able to use the stories told by the drums and the setar to create an entirely new narrative.

The story told by these eight pieces is hence a deeply personal, but also inherently political one. Moitahedy herself left Iran in 2004 and relocated to Berlin in 2010. Having continued to use her art as a platform to tirelessly advocate for the rights of the Kurdish people and women under oppressive regimes, she has not been allowed to return to her country of origin ever since. »Hani is singing for equality and there are people who are afraid of that-her femininity, her strength.« Toma says. Much like earlier Hirok sound installations addressed human-made climate change and other systemic ills, also »Hjirok« can hardly be disconnected from far-reaching struggles for liberation and equality.

This is also true on a thematic and even linguistic level. »The lyrics are about a promise,« Mojahedy says, citing Kurdish writer Ebdulla Pesêw as an inspiration. »At their core, these are about that day on which violence and fear become a thing of the past; what they tell you is ot not give up, to keep hoping,« she adds. The promise embedded in them is an emancipatory one. These contents are mirrored on a linguistic level: The lyrics were written in both Kurdish and Farsi, blurring the lines between the two languages and thus, Kurdish and Persian cultures.

Mojahedy, or rather HJirok, conveys these philosophical themes with elegance. Herversatile vocal performance is only loosely basedo n established styles. »Of course everything started with traditional rhythms, but we kept pushing things further and further, so Idid the same with my voice,« Mojahedy explains. »There were no boundaries.« The same can be said of the field recordings that she and Toma used. Whether it's conversations between members of the Pesmerge, the Kurdish armed forces, having a chat in meadow full of bunnies or the humming and buzzing of metropolises like Tehran: »Hirok« paints a sonic picture that is quite literally autopian one; that of a non-place in which different soundscapes, cultures and ways of life coexist peacefully.

What the album conjures up from Mojahedy's memory is not only a very specific place during a unique time in history as experienced by a single person. It is also ametaphorical home open to anyone who wishes to enter - promise of a better, more egalitarian future for everyone. Hence, HJirok will bring it on tour, presenting the material as an audio-visual live show that makes use of the photo and video material that Mojahedy and Toma have collected during their travels through Kurdistan.ja

»Other Rooms« is an uncompromisingly adventurous and engaging listen. It manages the rare feat of remaining concise while brimming with detail and inventiveness.

Ten years into a multifaceted career in experimental sound, Belgium’s Adriaan de Roover presents »Other Rooms«, his second solo album and a product of the thoroughly unexpected things we all experience, from societal freeze to the dissolution of individual relationships. Originally recorded for a performance with Fennesz at Église Notre-Dame de Laeken in 2020, »Other Rooms« was reworked into its final form in 2023. De Roover notes an inspiration from »looking at different versions of a life, sitting in a space between them; a constant focus on those alternate things... What if, what if.« It is introspective music informed by a desire for connection to oneself, to others, and to the boundless scale of everything else.

»Other Rooms« is Adriaan’s second outing through the acclaimed Dauw imprint, which is also the home to Midori Hirano, Dylan Henner, H.Takahashi, Lieven Martens and Taylor Deupree. Stepping back from rhythm-oriented motifs, this latest work is a concise but varied collection of weightless melodies and expertly sculpted, computerized soundscapes.

Two Spanish slow disco tracks from 1977, originally released in 7" format, brought back in 12" format with an additional extended edit, very respectful to the original. "Zorongo" is a re-interpretation of a Andalucian popular folk song with Arabic influence, a gypsy love song from ancient times which was collected and presented by Spanish poet and playwright Federico Garcia Lorca before his death/disappearing during the Spanish Civil War. Jobam's new arrangement gives it a heavy downtempo disco facelift, taking the original gypsy warrior intensities of dealing with love and contrasting them with a beautiful orchestral string driven addition to the theme. Heavy Balearic, emotionally loaded gypsy business, something one could very easily imagine hearing at a 10 hour Harvey set in Pikes, Ibiza.

Repress!

London based DJ and producer Dan Shake is set to announce details of his new EP ‘Mosquito’, due for release on 13th March 2020 via his Shake Records imprint.

Dan’s latest outing offers three driving, thoughtful Detroit house influenced club tracks: from the synth-heavy adrenaline rush of title track Mosquito, to the jacking, motoric resolve of The Deep
End, and Hide Seek’s kinetic, sample-driven house groove.

Since debuting on Moodymann’s Mahogani Music in 2014 with 3AM Jazz Club / Thinkin About U, Dan made it into a springboard for his ambitions to work crowds the world over. His love of groove – ranging from sparky acid to Brazilian samba, itchy funk to heavyweight house – fuels his drive to make those around him dance as keenly as he does. At a party, Dan Shake isn’t just loaded with peak time weapons: he is one.

This will be the seventh release on Dan’s Shake imprint, following a string of dance floor-igniting releases, the most recent of which continues to scorch the airwaves from Radio 1 to NTS, garnering DJ support from the likes of Annie Mac, Gilles Peterson, Honey Dijon and The Black Madonna, and a searing set of disco-house releases last year on his own Shake imprint and Denis Sulta’s Sulta Selects.

Dan’s infectious charm and expert ear has resulted in a truly international list of shows in locations as far flung from home as Beirut to Buenos Aires, plus armfuls of Balearic visits, including closing the main stage at Dimensions Festival and playing b2b shows with Jeremy Underground, Marcellus Pittman & DJ Boring to name a few. With a never-ending tour schedule ahead, including his debut U.S. and Australia tour, stops at Nuits Sonores, Love International, Printworks, Kingdom Festival, Fly, Boardmasters, Dimensions, Pikes Ibiza and more new music planned for 2020, Dan Shake is set to have an exceptional year.

Luis Vasquez never intended for The Soft Moon to reach the public's ears; for him, music has always been about self-actualization rather than self-aggrandizement. Nevertheless, the bleak, hushed sounds he created years ago in his small Oakland apartment bubbled to the surface and 2010 saw his debut LP, The Soft Moon, released on Captured Tracks rise to critical acclaim. Pitchfork's 8.1 review stated that Vasquez made "oblivion seems likean enticing prospect" and, indeed, listeners were immediately drawn into his murky musical wasteland, swathed in the moody atmospheres of jagged dark wave and wayfaring postpunk. For them, and for Vasquez, there was no turning back. The Total Decay EP and Zeros emerged soon after, and now Vasquez returns with The Soft Moon's most introspective and focused album to date: Deeper.With eerie, immersive tracks like the dogged "Far" and slow, beautifully melancholic "Wasting", the album is a penetrating portrait of Vasquez as he wrestles thoughts of suicide, vulnerability and what it means to heal. Deeper may have delivered Vasquez back to the waking world, but it willingly drags us further into The Soft Moon's dark, euphonic universe once more.

DJ Yirvin is one of the most prolific and important music producers that have emerged out of the Venezuelan underground since the early 2000s. Alongside DJ Baba, DJ Deep, DJ EL Mago, DJ Yoiser and others, he is one of the true originators of Venezuelan dance music continuum known as Changa, with subgenres such as Street House and Raptor House, though his sound later evolved into a unique style of his own known as Hard Fusion.

2024 Repress

Long-time producer DJ Savage (known under many guises) dug up 4 unreleased funky techno epicalities from his vault.

Hand-stamped! It's manifested epicness.

Steffi's fourth solo album, The Red Hunter gets remixed! This killer package with remixes by 9 artists close to Steffi's heart, represent her musical bandwidth with a very diverse mix from ambient, IDM, broken beat to electro, techno, and drum & bass! The special vinyl version opens with Convextion aka E.R.P who delivers his signature with a 10 minute ultra deep, beautiful, techno/electro journey. Italian talent Rosati drops a high energy chord techno monster and UK duo Tracing Xircles throw us in a deep trippy bath with their mixture of IDM with a lush broken beat banger!

First compiled as a double CD in 2002, Moon's Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall, and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-Super-Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or repressed on vinyl. Time has only ripened its tapestry of regal strangeness. Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity, and sound design. "Moon's Milk or Under an Unquiet Skull" initiates the proceedings on Spring Equinox, a two-part netherworld organ séance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, Summer Solstice skews lighter but no less incantational, with Balance embracing his voice-as-instrument across lucid dream torch songs ("Bee Stings"), purgatorial spoken word ("Glowworms/Waveforms"), sultry chamber pieces ("Summer Substructures"), and falsetto ravings ("A Warning From The Sun (For Fritz)"). Autumn Equinox exudes more of a pensive and twilit mood, from the Rose McDowall-sung folk ballad "Rosa Decidua" ("I hear your voice sing near to me / I've put away the poisoned chalice (for now) / And lie down amongst the flowerbeds") to hall-of-lords hallucination "The Auto-Asphyxiating Hierophant" to the liminal string-plucked classic "Amethyst Deceivers," featuring excellent alien guitar by Breeze layered with Balance's oft-quoted couplet: "Pay your respects to the vultures / For they are your future." The album's final chapter, Winter Solstice, is its most swooning, remote, and ceremonial. Opener "A White Rainbow" stirs strings, layered choral vocals, and shivering rhythm into an imploding burial hymn. "North" oscillates bleakly, a ghost in the machine murmuring opaque prophecy ("This black dog has no owner / This black dog has no odour"), while "Magnetic North" is its inverse, a guided meditation of gently flickering software and surreal chakra poetics ("Red rose filling the skull / Yellow cube in the lower pelvis / Silver moon crescent below the navel"). The suite fades to grey with a traditional English carol ("Christmas Is Now Drawing Near"), rendered like an executioner's song by Rose McDowall's doomed, beautiful voice. The Dais box set includes the entirety of the rare Moon's Milk Bonus Disc CD-R / 2019 Threshold Archives Copal CD, which includes three collaborations with Thighpaulsandra. This material is as rich and intoxicating as the previous four phases, ranging from electro-acoustic singing bowl rituals ("Copal") to dissonant electronic recitations of visionary Angus MacLise poetry ("The Coppice Meat") to ominous classical melancholia ("Bankside"). Once again, Coil confirm the vastness of their confounding, infinite alchemy, explored and refined across decades of experimentation - both sonic and bodily. From postindustrial to post-everything, theirs is an art untethered, in the wilds of its own design.

The fresh-faced folk pop band Stornoway seem promising: They play with guileless vigor, have a light-stepping chemistry as a unit, harmonize well. Their lead singer Brian Briggs has a lovely, pure high tenor, the kind of voice that effortlessly conveys simple longing. And yet, on their second album, Tales from Terra Firma, they continue to be almost crushingly dull, making well-appointed and cheerfully empty music that successfully communicates next to nothing.

Their Achilles Heel is a simple and unfortunate one, the same on Tales as it was on 2010's Beachcombers Windowsill. Stornoway are clearly in love with Celtic and British folk, and yet they can't write a memorable melody to save their lives. Try to sing along to the verse melody of "Zorbing", their most well-known tune, and pay attention to what your face muscles are doing; most likely furrowing with the effort of recall. Each of Tales' painstakingly arranged nine songs sinks underneath the weight of this insurmountable problem, which is a shame.

If you're making folk-pop, an inability to write a catchy melody is a difficult deficiency to overcome. Stornoway try valiantly with their complex arrangements, which quickly grow exhausting. “You Take Me as I Am” is cluttered with horn charts and pointlessly banging piano. “(A Belated) Invite to Eternity” builds to a full Explosions in the Sky crescendo, with glimmering tremolo guitar and a “Tonight, Tonight”-style sweeping string section, but having built zero momentum and generated zero heat until that point, their planned fireworks display fizzles.

“Farewell Appalachia” follows the same pattern, with celesta, finger-picked acoustic and electric guitar all tracing an emptily pretty circle with nothing in the center. The melody of "The Great Procrastinator" is almost cleanly written enough to be memorable-- and then the ersatz Dixieland jazz interlude crashes in. Stornoway are deft players, and the transitions are tightly managed, but this is praise on the same order as praising the brushwork in a hotel-room painting.

Briggs’ lyrics are filled with uncomplicated images of the good old British countryside, but his lyrics trample over all these dew-covered fields with wordy, awkward phrasing: "And in the gathering dew, I was lucid as a floodlight,” goes a line from “(A Belated) Invitation to Eternity”. “There's a hunger in the air/ A lemon swollen in the trees" he bleats on “Knock Me on the Head”. On “The Great Procrastinator”, he sings that he is “a scientist with far too many metaphors and far too little data to conclude in time.” They don’t read particularly well, and they don’t sound much more natural when sung.

Tales From Terra Firma is a peculiar record-- carefree music that feels leaden; tuneful-sounding songs that offer no tunes to hold onto. They seem an odd fit for 4AD, a label mostly home to singular voices. They may be a mercenary signing, an attempt to ride the coattails of Mumford and Sons' success. But Mumford and Sons, as head-smack simple and pandering as they are, have a pretty crucial ingredient in their arsenal: they write anthems. In that regard, they have Stornoway pretty thoroughly beat.

Fresh produce from the man behind the synths. 8008 EP is the sixth edition in Varum's discography. Showcasing his signature style of bouncy beats with just the right hint of breaks thrown in. True to its creator, this EP is not playing it shy when it comes to bold synth-lines and making the best of the drum machines at hand. A wild ride in various tempi and vibes.

Pablo Bozzi drops a second compilation on his new label, Second Sight, with the various artists "Unknown Prospect Vol. 2". The title says it all: boundless and vast, Second Sight's intent is to promote the talents of innovative producers who defy genres in the pursuit of their own idyllic aesthetic.

Mad-heads, rave veterans and lovers of having their brains rewired by previously unexplored sonic realms unite, because here comes the first of four, yes four, new albums from the fantastic freak of nature that is Special Request. His 'What Time Is Love? Sessions' arrives in several different formats this month and across six sizzling tracks that re-wire the KLF's hit of that name, he taps into everything from "ephemeral ambiance to barnstorming hardcore, pummelling house to pointillist trance" and does so with a mix of the surreal and the psychotic, the psychedelic and the downright ridiculous. It's mental, and we love it.

After humble lo-fi beginnings in the Australian Art-Pop Underground, Donny Benet has expanded his cult-like following across the Globe with a resonant Array of danceable Repertoire dealing with Love- and Affection. New album "Mr Experience" marks a new chapter, informed by a wealth of musical- and personal development.

For Mr Experience, Donny envisioned a Soundtrack to a Dinner-Party- Set in the late 1980's. While his earlier Recordings drew Inspiration from DIY Pop Conspirators such as Ariel Pink & John Maus, Donny channelled the Stylings of Bryan Ferry & Hiroshi Yoshimura as the Impetus for new Material, evident on the Intimacy found on ‘Girl Of My Dreams’ and it's lush production- with a soothing whistle-along Chorus for good Measure!

Sincerity has been a key component of Donny Benet’s output since the beginning. His songs deal with genuine Emotion served on a kitsch Platter. An alter-ego manifested in the beginning of the 2010's, Donny has blurred the Lines of Artifice to create a back- Catalogue that can embrace- and challenge, often simultaneously, - the notion of Irony in Art.

"Mr Experience" moves further away from ironic Notions as Donny explores lyrical- and musical themes which embody Observations of Maturation in his audience, his tightknit musical Community- and himself. While ‘mature’ is a term that often rings hollow as an album descriptor, the term couldn’t be more apt for Mr Experience.

Previous album The Don was created with the luxury of time. The phenomenal Response to that Album across Europe- and the United States - fuelled by accompanying Music Videos clocking in Views in the Millions- meant that there were scant Windows of Opportunity to write- and record a follow-up.

With a legacy in Sydney’s music community, working with Sarah Blasko, and tightknik collaborators Jack Ladder & Kirin J Callinan, Donny Benet is accustomed to collaboration on the Stage- and in the Studio, mostnotably on the 2014 full-length release Weekend At Donny’s.



“There is such immense talent evident in every aspect of the Donny Bene experience - the vision of the character, the steadfast adherence his narrative and the musicality of Benet himself all combine to makesomething truly genius.” - Double J, Australin.

“Donny Benet makes feminine music for everybody” - Vice, Netherlands.

“The Don does not sound like amusical copying machine”. - 3voor12 National, Netherlands.

“The set was punctuated with virtuosic solos and exquisite harmonies, and added another layer of genius to the show.
We almost couldn’t handle it... Donny for president!" - Indie Berlin.

“Everyone loves Donny Benet” - Feature in Gonzai, France.

“Phenomenal Australian Showman... Offers Top-Class Dance Music with Virtuose-Bass Guitar- and Keyboard Parts & incredible Sound-Colour feel.” - Podujatie.sk, Slovakia.

Donny has toured Europe five times since the start of 2018 and has played in the UK, Austria, Germany, Slovakia, France, Netherlands, Spain, Portugal, Belgium, Denmark, Switzerland, Czech Republic, Greece and Sweden. The Don will revisit Europe twice in 2020, once for his own headline shows in May then back again in August for festivals!

6-track EP compilation with Terada's work for the Ape Escape games, tip!

Outside of the international house underground, where his early ‘90s works for the Far East Recording label he co-founded with Shinichiro Yokota are rightly celebrated as bona-fide classics, Soichi Terada is best-known for his work composing music for video games. Yet until now, few of his productions for video games have been released outside of Japan, especially on vinyl.

Apes In The Net, a six-track EP featuring music composed for the popular PlayStation 1 series Ape Escape, sets the record straight. It not only showcases Terada’s quality as a composer and producer, but also his versatility. Like much of Terada’s work on the Ape Escape series, the tracks featured don’t explore deep, New York and New Jersey influenced house sounds, but rather his lesser-celebrated love of jungle and drum & bass – a sound he fully explored on 1996 album Sumo Jungle.

“The producer of the Ape Escape games heard that and got in touch,” Soichi remembers. “They asked me to make the soundtrack, and then work on the music for the sequels after that. I used to love making music with AKAI hardware samplers, synthesisers, and computers, so I played and recorded the tracks using almost the same methods as I did when I made house music. Using breakbeats and audio samples with a sampler was the most useful way to make the soundtracks.”

The six tracks on show, which were originally recorded in the ‘90s but reconstructed and remastered for Japan-only CD and digital releases over a decade ago, mix elements of Terada’s familiar deep house style – think warming chords and pads, memorable melodies, and emotive musical motifs – with blistering D&B breakbeats, 16-bit synth sounds, electronic bleeps and undeniably weighty basslines. They’ve stood the test of time and arguably sound just as fresh now as they did at the turn of the millennium.

For proof, check the soaring, spellbinding ‘Spectors Castle’, where uplifting lead lines and sumptuous chords dance atop punchy beats and growling bass, the jazzy and saucer-eyed rush of ‘Mount Amazing’ (all twinkling piano motifs, alien synth sounds, squelchy bass and skittish drums) and the intergalactic, liquid D&B excellence of ‘Time Station’, whose whistling melodies and stargazing chords are undeniably alluring.

There are plenty of other delights to be found across the EP, too, from the bustling, race-to-the-finish breathlessness of D&B/bleep techno fusion workout ‘Spectors Factory In’, and the rumbling sub-bass, creepy pads and suspenseful melodies of ‘Haunted House’, to the bombastic, all-out-assault on the senses that is ‘Coaster’, the set’s most “purist” jungle workout – albeit one that also doffs a cap to the pulsating world of big room techno.

Apes In The Net, then, celebrates Soichi Terada’s mastery as a video games composer and early Japanese junglist. Props are well and truly overdue.

One of New Zealand’s fastest-rising electronic producers, Sanoi aka Jonas Fischer announces the release of his new album, ‘Echoes Of Home’. Rooted in melodic house and techno, the album is a journey through electronic music, one that is as at home on the dancefloor as it is on headphones.  Having previously released on labels such as Bar 25, Stil Vor Talent, Beat & Path, Magician On Duty, Sounds Of Sin and Tube & Berger’s Zehn Records, Loop are proud to present Sanoi’s second full-length. The New Zealand-based, German-born producer has crafted deeply personal electronic music that pushes the boundaries of creativity, skill and production techniques, while influenced by organic deep house and electronic techno from Berlin.  Created at his home in Auckland, and road tested across countless live performances across New Zealand and Australia over the past two years, ‘Echoes Of Home’ sees Sanoi’s songwriting step up to another level. Constantly developing as an artist and finding expression through music are some of the key factors that drive him, whether it be in the studio or behind the decks. His deeply danceable, meticulous though mischievous DJ sets see him move seamlessly across warm, melodic, groove-driven techno and beyond.  Featuring vocals by Beacon Bloom on ‘Silver’.

Freezing cold and earth shattering in equal measure - LOST is back with ice in his veins on Deep, Dark & Dangerous, delivering a masterclass in dubstep production with his latest creation: Paranoidz EP.

Following 2018’s DDD debut The General, the Croydon dubstep veteran is showcasing his technical and musical ability on a whole new level with the latest release, flipping from uncomfortable atmospheres, to punishing bass and melodic introspection throughout.

Track 1 ‘Uh Ohh’ is the soundtrack to the trippiest slow moving nightmare you can imagine. The tune serves up a freezing cold slice of eerie atmospheric oppression, with its sparse mix haunting the listener while simultaneously delivering heat in the sub frequencies - ready to lend its weight when played out on a fat system.

Poison Spear moves to a tribal vibe, while being no less haunting - like you’re being stalked in the Amazon. Broken then picks up the pieces, a creation of ethereal beauty at 140bpm. Showcasing LOST’s depth of musical understanding and technical skill, rather than loading up the subs the producer focuses on intricate melancholic melodic flourishes, dark soundscapes and hypnotic percussion.

The release is wrapped up with Paranoidz, with its swag-filled beat slapping you round the chops as its shuffled bass throbs and hi-hats disorientate you into submission.

Come take your Paranoidz with LOST, you might regret it.

Monty Luke release ‘Nightdubbing’ LP on Rekids.The Black Catalogue bosses' second album explores dub-infused dance music and, following the recent two EP drops on Rekids, will be released on Radio Slave’s imprint on 29 March. Succeeding part two of Monty Luke’s ‘Nightdubbing’ series on Rekids, the US-via-Berlin artist unveils an album of the same name on Radio Slave’s lauded Rekids imprint. ‘Nightdubbing’ encompasses the first two instalments and adds five more tracks of intricate sonic material, completing this gorgeous work of art already supported by Fred P, nd_baumecker, Louise Chen, and Laurent Garnier. Luke’s ‘Nightdubbing’ album starts in the club, with the rave-primed ‘40 Acres And A Terabyte’ utilising the rich melodies of deep house alongside the crushing weight of subs. It is followed by the title track, with ‘Nightdubbing’ taking a more traditional house route, its soothing sounds enveloping the listener while honing in on that reverb sweet spot. Black Catalogue boss and former Planet-E label manager Monty Luke’s timeless ‘Nightdubbing’ effortlessly traverses deep house and techno rife with bass-rattling low-end and experimental rhythms. It is no surprise, then, that the album is heavily inspired by ‘70s and mid-80s dub reggae, seeing Luke incorporate and modernise the genre’s iconic rhythms, spoken word poetry, and spacious bursts of harmony across the LP. ‘Bob Molly’ picks up pace with nods to Caribbean dem bow-like rhythms of old, Monty Luke filling the space between its infectious beat with tumbling percussion and echoing plucks. Tracks like ‘Supernova’, ‘New World / Old Future’ and ‘Starstorms’ return to the modern-day traditions of club music while ‘Future Mystic’ and ‘Avant Garde Dance Hall ‘, again find room in between the dancefloor and sound system listening sessions. Monty Luke spent ten formative years in Detroit, where the city's unique musical spirit influenced him immensely. He has since distilled this experience into the music he has released on labels like Rekids, Planet-E, Hypercolour, and his own Black Catalogue. His raw, dub-infused sound comes with plenty of futuristic designs, and this final complete iteration of ‘Nightdubbing’ continues to push the boundaries of his music.

Repress!

These are the words of legendary Nigerian musician and activist Fela Kuti, words that remain as true as ever over two decades since his untimely death. A pioneer of the Nigerian revolution, his fight against police oppression remains an ongoing conversation in the country. Now, Defected pays tribute to the vital work of Fela with a special 12” release, as Armonica and MoBlack revisit Fela Kuti’s ‘International Thief Thief (I T. T.)’ as the fight against systemic corruption continues to be a pressing issue in Nigeria. The A-Side features Armonica & MoBlack’s flawlessly executed and ever respectful remix of the record where Fela called out and directly attacked former Nigerian president General Obasanjo and Moshood Abjola, the CEO of Nigeria’s biggest national telecommunications conglomerate I.T.T and Decca Records. Their homage to Fela brings a powerful and culturally relevant piece of music to the forefront of dance culture in 2020.

On the reverse side is ‘Chagu’, where a powerful and evocative spoken word narration is provided by South Sudanese-Canadian artist, actor, former child soldier and political activist Emmanuel Jal. A collaboration between Emmanuel, MoBlack and Henrik Schwarz, both producers provide their own version of ‘Chagu’, with MoBlack opting for a classic afro-house beat and hypnotic percussion, while Henrik’s signature crisp, harmonious composition makes for a guaranteed dancefloor weapon. Both visionary producers, Henrik and MoBlack’s versions are equally impactful, complementing the immediacy of Emmanuel’s lyrics.

Repress!

Epitomising the very best of their hometown’s unparalleled musical heritage, Detroit’s Dames Brown are the vocal trio you may not yet know by name but are sure to know by voice. Lending their exquisite range to a number of modern house essentials, including Sophie Lloyd’s ‘Calling Out’, The Vision featuring Andreya Triana ‘Heaven’ and David Penn’s ‘Nobody’ in recent years, Athena Johnson, Teresa Marbury and LaRae Starr now release ‘What Would You Do?’ on a special 12” package. Produced by long-time collaborator of the group and fellow Motor City native Amp Fiddler and Mahogani Music regular Andrés, this slick, funk-filled and typically soulful vinyl release features the exceptional original version alongside house icons Louie Vega and Josh Milan’s Two Soul Fusion Remix and Expansions NYC Dub Vocal. Closing out the package Lyon house superstar Folamour provides his remix, with his signature groove a perfect match for the Dames exceptional vocal. A powerful combination of Detroit’s finest, and with remixers of the highest order involved, this 12” package is not to be missed.

Band Of Nowhere is a new constellation project by Juanjo Sánchez, together with other collaborators with whom he had previously worked. It is worth mentioning Bob Drake on drums, former member of the legendary formation Thinking Plague (also on Hail, 5UU's, The Science Group) who has also mastered the project from their studio in the Midi-Pyrénées and also to mention the guitarist Jordi Cabayol (Camino al Desván) both Juanjo and Jordi began their career in a significant band of Barcelona of the early eighties, such as Entr'acte.



The becoming of Juanjo Sánchez would take him to other latitudes as a member of Alondra Satori and without losing the lighthouse of his city, he would collaborate with other outstanding musicians such as Quicu Samsó (Koniec, Macromassa).



The fluidity and chromaticism of his previous album Gonza Magilla is still perceived in here, but in a much more electrified way with guitars that are sometimes expansive, other times exuberant wrapped up with contagious synthesizer modulations and very marked rhythms. The production and especially the arrangements are fantastic with those special presences of synthesizers that are not common around here.



Its original improvisation and experimentation is skilfully adjusted by Juanjo Sánchez, giving a much more playful result with unexpected combinations, very much in continuity with a certain European Art Rock such as Aksak Maboul, Etron Fou, Zamla,The Work or the mischievous resonances of The League of Gentlemen; all this mapping the sound transit, to an unpredictable and vibrant non-place.



Housed in it's original hand made artwork with the little upgrade twist of silk-screen printing textured grey cardboard and including a insert colour with photos and text provided by Juanjo Sánchez.



Housed in it's original hand made artwork with the little upgrade twist of silk-screen printing in Plastic clear cover and including a insert colour with photos and text provided by Juanjo Sánchez.

Javier Hernando

a1 Calling All Beginners
a2 Fleeing To the Poles
a3 Ashes
a4 Rouler ma Bosse
a5 Sunday Machinery
b1 lucid Dreams
b2 Twisted Maze
b3 Rolla Bolla
b4 Chinese Forecast