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FAZI are a post-punk band based in the ancient Chinese city of Xi'an. However, there is much more to their story than meets the eye_ With five immersive full-length records and a brief stint on peak-time commercial TV already establishing the four-piece at the forefront of a truly pioneering wave of alternative music in China, the Euro-pean re-release of their latest offering, `Folding Story', represents an incredible new beginning for a band who have already spent years honing their craft - transforming timeless traditions of love, life and death into a perpetual dance of fre- netic, krautrock energy and sprawling, shoegaze panoramas. Fittingly, `Folding Story' is itself a cyclic experience of rebirth, renewal and a return to origin. Album opener `Invisible Water' is a contemplative start as frontman Peng Liu's yearning vocals reach out across synthesisers reminiscent of sonar and the hypnotic lapping of water on an un- known shore. Described by Peng as an "artistic conception of amniotic fluid in the mother's body", this motif returns at the end of the album's final track, `Way to Atman', this time as a gentle tide washing away the ash of a spent funeral pyre. Just as the album and its protagonist is born at the beginning and dies at the end, by deliberately opening and closing `Folding Story' with the sounds of water, Fazi invite listeners to flow through the record on a never ending loop, to listen to a story without pause, one that rises from a whisper to a roar only to subside as quickly as it arrived. First released in 2022 on pioneering Chinese record label Space Circle, `Folding Story' is a collection of 10 tracks that serve as stories themselves as well as part of a universal narrative in constant flow. A phenomenal accomplishment, its forthcoming re-release in Europe via Pelagic Records will ensure that Fazi continue to blow as many minds and ruffle as many feathers as possible. Gatefold sleeve, silver offset ink, printed on special all-black cardboard. FFO Joy Division, Suicide, Savages, Cabaret Voltaire, Iceage, Gilla Band, Fontän

Föllakzoid wächst durch Entschlackung und versucht mit jeder Platte, längere Zeiträume mit immer weniger Elementen zu füllen. Und wie der beste Techno, Kraut und Psychedelia im Laufe der Zeit bewiesen haben, ist manchmal der minimalste Rahmen das stärkste Gefäß für Transzendenz. Das ist es, was Föllakzoid mit V erreicht haben, ein immersives Werk, das den Hörer auf eine verführerische Reise direkt auf die Tanzfläche mitnimmt. Die kreative Perspektive der Band bestand schon immer darin, die narrativen, musikalischen und visuellen Paradigmen, die physische und digitale Vorstellungen prägen, zu verlernen, um eine metrische Zeit-Raum-Struktur zu schaffen, die sowohl den Autor als auch die Erzählung auflöst. Als kreatives Projekt der queeren und transsexuellen Künstlerin Domingæ hat die Band eine einzigartige Erfahrung in der Psychedelic-Rock-Szene gemacht. Im Gegensatz zu früheren Föllakzoid-Platten, die in einzelnen Takes mit der gesamten Band aufgenommen wurden, dauerte es einen Monat, um ihr neuestes Album V aus mehr als 70 einzelnen Stems zu erstellen. Gitarren, Bass, Schlagzeug, Synthesizer und Gesang wurden isoliert aufgenommen, und der Produzent Atom TM, der bei den Aufnahmen nicht anwesend war, wurde dann gebeten, die vier Sequenzen der Stems ohne jegliche Länge, strukturelle Einschränkungen oder Richtlinien neu zu organisieren. Die dem Spiel innewohnenden Möglichkeiten waren endlos und wurden doch durch die innere Logik des Spiels selbst und durch den Geist der Spieler zusammengehalten. V ist eine Übung, bei der es darum geht, mit der kleinstmöglichen Anzahl von Wörtern eine ausführliche Geschichte über nichts zu erzählen. Es ist eine Geschichte über die Elektrizität und den Code, den wir bewohnen - oder der uns bewohnen könnte - und die man sich mit herzzerreißenden Bässen, flirrenden Beats, kopfschüttelnden Melodien und einer unheilvollen Anziehungskraft vorstellen kann, die sich manchmal wie echte Hypnose anfühlt.

DRIVETRAIN/Fairytale Turbo-charged to ignite any sound system with the ruthless energy of pure acid over subsonic frequencies is the impetus for a hypnotic vocal mantra. REOSC/Alarms A boisterous awakening, pounding with the quaking pulse that transmits bleeps and dings, effectively producing a warning signal to move your body.

CLOUDMASTERWEED/Sweet A mesmerizing groove opens with a hammering kick, directing a determined bassline, while chord progressions escort erratic female echoes.

TAKUYA YAMASHITA & TOMI CHAIR/Heaven’s Jungle Packed with rhythm, melody and shrewdly orchestrated pads, piano, and an unrestrained bass hook, a persuasive female voice captures the ambience.

When it comes to warming, quality, life-affirming live blends of house and disco, Italian duo Micky More and Andy Tee are in a league of their own. Logo Side Sees "Celebrate” Feat. Kathy Brown & Sheree Hicks; A beautiful original song with a great energetic two-voice chorus full of intensity; Hypnotic guitars and explosive strings surround the voices of Kathy Brown and Sheree Hicks. Feel-good house music with disco and soulful influences. On The Flip “So Wide Open” Feat. Angela Johnson is a horn-heavy, disco and funky-fired organic house number. Quality dance music as we like it.

DJ Support: David Morales, Dimitri From Paris, Dave Lee, Simon Dunmore, David Penn, Michael Gray, Brian Tappert, Melvo Baptist, Seamus Haji, Terry Hunter, DJ Spen, Hector Romero, Dr. Packer, Kenny Carpenter; Jellybean Benitez, Husky, Birdee, Derrick McKenzie, Angelo Ferreri.

At the dawn of 2024, Earth Boys, the collaborative force of Michael Sherburn and Julian Duron, reemerges on Public Release with their latest EP, 'In the Sun.' Their signature raw and smoke-infused sound is as rugged as ever, reaffirming the unmistakable Earth Boys touch. The lead single gets a hypnotic tweaky groove courtesy of an Eden Burns remix—perfect for setting the stage for a peak-time build—while Tokyo's Mayurashka offers a deep and contemplative atmospheric chugger. This 5-track EP is perfect for a spectrum of cheeky activities on and off the dance floor.

dirtybLends edition 8 is a 3 track INFERNO-SMACKDOWN combining 3 different ideas of new age/oLd scHooL Jakbeat inspired from a significant hero in the Chicago Underground scene of the early nineties dropping crucial releases on record labels: Saber, Dancemania and Relief.

The Falcon kicks the A-side into madness with ‘Sound The Alarm’ made 2 Jak 4 Crazies that’s completely bezerk n twisted!!
B1 introduces this nU cOhort to the label on this release comes from Grizzly Knuckles (a thuggish menace) bringing his weapon of choice musically in a hypnotic spell of mental riddims wit ‘Mad Bell’
this is chicago pit-tripping for those who are aware!
B2 brings The Jak as the final nail in the coffin to complete this 12 inch with ‘Aftermath’ that is for those who have any idea of SLaM dance body blows..this is that level of crazy!

—THIS ISN’T TECHNO—

UNDERGROUND Chicago TrACKs

With a string of releases on prestigious labels such as The Gods Planet, Affin, Edit Select and Circular Limited - the London-based Acaera (formerly Basis Change) has become a reputable name in the realm of hypnotic techno. We are truly honoured to present this EP as our label’s first release, and we hope to return Acaera’s trust in us with the pressing of a beautifully packaged limited edition vinyl alongside the digital release.

The vinyl includes two vinyl-only ambient tracks that book-end the release, with the first being the track from which the EP takes its name. Unfold begins a deeply personal journey, and immediately the listener is welcomed by a rich and atmospheric soundscape. This depth remains through the rolling enchantment of Apex and the off-kilter percussion and shifting grooves of Anaesthesia. Onto the B Side, Learned Behaviour is a track of slow revelation, pulling the listener mesmerically through its unfolding landscape. Forella will resonate with those who know Acaera’s signature sound, with broken rhythm work soaked in beautiful pads. Closing out the EP, Reorientation culminates on an uplifting note, leaving you contemplating feelings of warmth and hopefulness.

Repress!

Rebirth's talent Corrado Bucci gets a full single release,exciting us again with his eclectic music.

Since the previous works 'Brooklyn' and 'Chewing Bubble' Corrado has being gaining a great support in the electronic scene.

With influences from jazz to funk, he explored new musical territories and started to play real instruments, refining his artistic expression ! Already hammered by Gilles Peterson, Jazzanova and Moodymann, and n.1 as most charted track on RA, 'Open Your Eyes' is an effective track with strong breakdowns, a warm house groove and old school vocals. Detroit's Andrés (Mahogani Music / Slum Village) delivers his signature vibe and smooths it out even further into a soulful neo-disco-house interpretation ! On the B Side Bostro Pesopeo follows his releases on Permanent Vacation with a tasty hypnotic dreamy version of '23 Years Old'. Super limited and extra hot Ep !

A Bad Diana is a project from Diana Rogerson, someone I first became aware of aged 12 when I read about Nurse With Wound and their United Dairies label in Smash Hits magazine. I was confused, mystified and intrigued in equal measure, and a couple of years later as a result I bought my first Nurse With Wound album. This led to an interest in all things NWW related. I guess Diana could be described as the matriarch of the Nurse With Wound world but she also had her own very distinguished pre-history with Fistfuck, an early-80s extreme noise outfit. She then made two mid 80s cult classic albums as Chrystal Belle Scrodd, both far out there rollercoaster rides of audio wildness, highly recommended to anyone with wide open ears. She then moved to rural Ireland and raised a family. There was the odd collaboration and then in 2007 A Bad Diana’s “The Lights Are On But No-One’s Home” was released on CD. I feel this is her meisterwerk and it has become something of a cult favourite over the years. Now for the first time, almost two decades later it is available on vinyl on Optimo Music Archiv. Produced in association with Steven Stapleton and Colin Potter from Nurse With Wound and irr. app. (ext.)’s Matt Waldron this is some seriously beautiful and strange listening. Next level sound design means this is an incredible headphone record but it is also a deeply warm and engaging home listening gem. Beautiful, magical, ultra hypno, soulful reverberations with the deep emotion of Diana’s voice tones and bio-vibrations.

Dutch lute player and composer Jozef Van Wissem's new album The Night Dwells in the Day out 19th January 2024. “It's like a part of my body,” says Jozef Van Wissem of the relationship he has to his chosen instrument, the lute. “The complexity of it is what keeps me going because you can always find something new.” The ability to constantly extract something different and explore fresh terrain is evident throughout Van Wissem’s sprawling back catalogue and up to his latest album, ‘The Night Dwells in the Day’. Over the years he’s released countless solo albums stretching into double figures, there’s been collaborations with Jim Jarmusch and Tilda Swinton, award-winning computer game soundtracks, along with award-winning film soundtracks, from Jarmusch’s Only Lovers Left Alive to Pierre Creton’s 2023 film A Prince. Since studying the lute in New York with Patrick O'Brien in the 1990s, Van Wissem has gone on to create works equally as rooted in classical Renaissance and Baroque forms of lute music, as contemporary sounds spanning drones, electronics and field recordings. Throw in some of his formative influences from the no wave and industrial scenes, alongside a dedicated approach to minimalism and this has resulted in Van Wissem producing distinct and singular work whose sound is often a marriage of opposites; meditative and intense, forward thinking but with a sense of the arcane. The Quietus has called him “probably the most famous lutenist in the world”. The genesis for his latest album began during lockdown in Warsaw, where Van Wissem splits his time between Rotterdam. “The Call of the Deathbird” was the first song he wrote from the album and is the first to be shared, along with an accompanying video today. Over a hypnotic yet beautifully fluid and plucked melody - captures scenes of deserted streets, death and the intense isolation that gripped us all. One of the relatively rare tracks that Van Wissem sings on - along with some stirring and enveloping guest vocals from Hilary Woods (who will tour with Van Wissem later this year – details below) - his towering voice circles above the music much like the swooping deathbird he sings of. Normally Van Wissem writes all the music for one album within a confined period but this one song from a few years ago stuck around and took on a new lease of life and so joined a bunch of freshly written songs for the album. While one song written during, and about, the pandemic came to be the album’s centerpiece, the rest of the album grapples with the world as it moved on and all the dualism and dichotomies that followed. “It has to do with darkness and light,” Van Wissem says of the album. “The title can mean different things to people but sometimes people say that if I play a happy piece of music that it still sounds sad. So this is why I came up with that title.”

The heavyweight trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi return with their 12th and most epic release to date, the triple LP With pats on the head, just one too few is evil one too many is good that's all it is. Documenting the entirety of their final performance at the dearly departed Roppongi home of Tokyo underground institution SuperDeluxe in November 2018, the music spread across these six sides splits the difference between the guitar-bass-drums power trio moves and experiments with novel instrumentation that have defined the trio’s decade of working together. Containing some of the most delicate music the three have committed to wax since the gorgeous 12-string acoustic guitar and dulcimer tones of Only wanting to melt beautifully away is it a lack of contentment that stirs affection for those things said to be as of yet unseen (BT011), this wide-ranging release also offers up some of their most blistering free rock performances yet.

The side-long opening piece finds Haino on a single snare drum in duet with O’Rourke on unamplified electric guitar, playing in the lovely post-Bailey vein heard on his classic 90s recordings with Henry Kaiser and Mats Gustafsson. Spiky dissonance and ringing harmonics interweave with flowing melodic fragments as Haino single-mindedly explores the resonance of the snare like an untutored Han Bennink. On ‘Right brain, left brain; right, left; right wing, left wing. Just how many combinations can be made from these?’, O’Rourke moves to synth and electronics, joined by Ambarchi on drums, who at first focuses on sizzle cymbals before hypnotic cycles of gentle tom rhythms combine with electronic burbles and flutters to suggest a dream collaboration between Masahiko Togashi and Jean Schwarz. Ambarchi’s percussion is then joined by Haino on wandering, overblown flute, before the man in black switches back to the snare for a bizarre, stuttering drum duet.

For the first trio performance, Haino makes another new addition to his seemingly infinite catalogue of instruments, this time a homemade contraption he refers to as ‘Strings of Dubious Reputation’. Joined by O’Rourke on increasingly spaced-out electric guitar and Ambarchi on skittering percussion, Haino’s wonky, slack strings adds a definite ‘musique brut’ edge to this side-long performance, certainly one of the most enchantingly odd in the trio’s discography. When the group reconvene for the second set, spread out across the final three sides, they seem ready to breathe fire from the first instant. O’Rourke slashes distorted chords on the six-string bass, Ambarchi breaks into his signature irregular caveman thump, and Haino squeals and squawks on heavily delayed oboe before unleashing an overpowering electrical storm when he first picks up the guitar. For over half an hour, the trio pound out one of their most relentless performances, a constantly rearranging kaleidoscope of tortured fuzz guitar, insanely busy bass riffing and propulsive, tumbling drums. A hushed atmosphere initially reigns on the final long piece, given the mournful title ‘There are always things I wish to say but I can only convey them in this language August 6 August 9’. Haino’s clean guitar strumming calls up the shimmering tones of his PSF classic Affection, gradually building to a surging wall of sound, bass and drums lumbering through a roar of jet-engine guitar. Arriving in a deluxe trifold package with photos by Lasse Marhaug alongside inner sleeves with extensive live images, this epic release is perhaps the most remarkable document yet of this unique trio’s stamina and continuing inventiveness.

New pressing on limited pink vinyl. "...Holy Wave is certainly dreamy in a sense, but theirs is the kind of dream that's more vivid than blurry, more present than passing." – Consequence // "They've got the far-off, dreamy vocal wash of the shoegazers, but their guitars and hooks are anything but subtle." – Pitchfork // Suicide Squeeze is thrilled to announce a reissue of Holy Wave's Freaks of Nurture! Freaks is a hauntingly hypnotic journey through auditory lands of melodic bliss and passively happy psych rock hallucinatory dreams. Holy Wave is a band of multi-instrumentalists from El Paso, TX. Since moving to Austin in 2008, they have cemented themselves as a unique national and international touring circuit force. After perennial performances at Levitation (Austin Psych Fest) and countless tours and festival appearances in the USA, Europe, Latin America, and Africa, Holy Wave is poised to continue expanding into new spaces and places worldwide. With the recent release of their latest album, Five of Cups, this is the perfect time to revisit this crucial

MONO’s beloved debut album finally available again on vinyl, note the new price. Remastered for vinyl by Bob Weston at Chicago Mastering Service. Features all-new cover art // One of the most distinctive bands of the 21st century.” – Pitchfork // “Essential, really” – Exclaim! // “MONO have now well and truly sealed their place in the pantheon of rock history.” – Rock Sound // Under The Pipal Tree is the debut album by now-legendary Japanese experimental rock band, MONO. Released in 2001 on avant-garde icon John Zorn's Tzadik label, Under The Pipal Tree showcased a young Japanese quartet whose wide range of influences - most notably Sonic Youth, Mogwai, The Velvet Underground, and Neil Young's Crazy Horse - were on ferocious and ambitious display. Though MONO would eventually become known for their expert marriage of metal and classical genres, Under The Pipal Tree highlights the band's psychedelic roots. Long stretches of hypnotic, melodic washes give way to scorching guitar freakouts that evaporate into haunting silence. It's remarkable not just for its earnest exploration, but for its startling execution. Fifteen years and eight albums later, Under The Pipal Tree stands as one of the great debut albums by a seminal underground band. Finally released on vinyl for the first time ever, Under The Pipal Tree has been remastered for vinyl by longt ime friend and tour mate, Bob Weston at Chicago Mastering Service. The double album is packaged in all new artwork, and is pressed onto audiophile-quality 100% virgin vinyl. This stunning album has never looked, sounded, or felt better

Gary Martin is well known for his unique productions and his label Teknotika is surely a classic coming out of the famous motor city. This special 10" holds two sought after tracks that were found on a lost DAT tape by Yossi Amoyal and Gary Martin himself. On the A side we have a long time secret weapon, it's a hypnotic groove that was heard on many classic sets, Zip and Ben Klock to name a few. An extremely insane, hard to find Gigi Galaxy track that was changing hands for silly prices is on the B side, for those who know... massive release!

Mona Mur - ein Name, der für eine rauchig-coole Stimme, manisch-intensive Auftritte und eine illustre Liste von wechselnden Mitmusikern steht. Sie ist nicht nur Sängerin, sondern auch Songschreiberin und Produzentin. Als "80s survivor" hat sie sich in den letzten drei Jahrzehnten kontinuierlich in der Musikszene behauptet, auf Tour oder in ihrem eigenen Berliner Studio KATANA. Jetzt können Musikliebhaber ihr 2019er Album "Delinquent" als limitierte Vinyl-Edition auf dem Hamburger Label Cheezy Crust Records erleben. "Delinquent" ist eine Sammlung von 12 Songs auf Deutsch in hartem Schwarz-Weiß, - kurze Geschichten im Urban Desperado Style - körperlich schmerzhaft, schön und brutal wie die gegenwärtige Realität. Trotz ihrer Intensität sind sie tanzbar und verströmen eine unerwartete Leichtigkeit, sogar Humor. An der Seite von Mona Mur: Ralf Goldkind (bekannt durch Lucilectric und Die Fantastischen 4), Co-Produzent und Co-Autor von "Delinquent". Goldkinds hypnotische Twang-Gitarren und Minimal-Elektronik-Loops fungieren als kraftvolle Auslöser für den Elektro-Rock'n'Roll, der auf diesem Album zu hören ist. Die Zusammenarbeit zwischen Mona Mur und Ralf Goldkind hat einen knalligen und eingängigen Sound hervorgebracht. Goldkind, Hitproduzent und Punk der ersten Stunde, zeigte sich begeistert, endlich das Mona Mur-Album zu realisieren, von dem er schon immer geträumt hatte. Die Musik von Mona Mur ist eine einzigartige Mischung aus düsteren und intensiven Emotionen, die in einem elektrisierenden Soundgewand verpackt sind. Mit "Delinquent" setzt sie ein eindrucksvolles Zeichen in der Welt der alternativen Musik. "Delinquent" wird die Fans begeistern und neue Hörer in ihren Bann ziehen. Als Gastvokalistinnen sind Anja Huwe (X Mal Deutschland), Bettina Köster (Malaria) und Annika Line Trost (Cobra Killer) zu hören.

3 of Shadow Child's 'Connected' collaboration album tracks get a makeover from Rimbaudian, MJ Cole and Bodhi.

Rising talent Rimbaudian reworks the only solo track from the project, 'Steak Fingers', and takes the original bumping stripped back groove on a more melodic journey with its stunning arpeggios and new string parts. The backbone of the original remains but be prepared to take a trip to a new stratosphere, with his stripped version which is included too.

Bodhi step up next to remix 'Gacid', twisting and turning the original acid patterns and grooves to make a special rework that gives a nod to early Detroit with new drum programming and pads. The Welsh duo bring the heat.

MJ Cole delivers what must be one of his finest remixes. 'Um' the collaboration with Bodhi, already offers a trip that flirts with Jungle, lo-fi and the hypnotic but MJ Cole brings his signature vibe to the table with new keys, groove and provides something that feels as if it belongs in the realms of his seminal hit 'Sincere'.

Almost two years on from his last EP offering, Veerus returns for another double shot of groove-inflected techno power.

The Italian artist has been a stellar contributor to Drumcode since his debut in 2019 with the outstanding ‘Hypnosis’ EP. From the ‘System’, to ‘Recovery’ and his most recent EP offering ‘Yard’ in early 2022, we’ve been given a sense of his deft touch for crafting dramatic techno, that’s equal parts exquisite and dynamic.

His latest work ‘Cycle’ reinforces the passion he imbues each production with. “These two tracks perfectly express my vision of techno nowadays,” he shares. “Not fast, groovy, with researched sounds and a crazy impact on the dancefloor.”

The title track balances tension and release on a knife’s edge, as it builds deliciously via a menacing array of synths, before dropping down into an all-out laser-focused march. A powerful cut that’s been a go-to for Adam Beyer at Awakenings, Loveland and Resistance Ultra in Croatia, among others.

‘It’s Funky’ was two months in the making and bring bags of energy and atmosphere as it explores funky terrain, not in the bottom end, but rather Veerus’ colourful approach to writing melodies. A great track for building excitement throughout a set.

Swiss Label Black Pattern Records with their 1st year anniversary vinyl release featuring 4 deep houses gems.

Paradise:
Dexter's latest piano house track blends subtle vibes, a house rhythm, and festive charm for a dancefloor bomb that marries lively beats with modern elegance.

Sunday Night:
The boss of Black Pattern Records delivers ‘Sunday Night’ a fast, bewitching groove combining jazz and minimal elements, designed specifically for the club scene.

Showcase:
‘Showcase’ is a genre-blurring odyssey, seamlessly weaving minimal house rhythms and soulful UK garage vibes. Melodic breaks add an emotive layer, creating a hypnotic house anthem.

Shakin’:
Stelvio returns on BPR with ‘Shakin' a floor-to-the-floor house beat featuring a minimal groove, evolving synth, damaging bassline, and a quality vocalist from the funky scene.

OUT SOON VIA BOY RECORDS: BOY8846 - HYPNOPEDIA - SPECTRAL EP (123") RE-ISSUE FROM 1992!!!

Aroop Roy’s star is deservedly in the ascendancy! As one of London’s most exciting selectors, he’s managed to position himself in the sweet spot of being the DJ’s DJ and causing wild scenes wherever he plays, with headline grabbing sets at Defected Croatia, We Out Here, Gilles Peterson’s Worldwide and many more.

As a producer, musician and label owner, he continues to excel, armed with a vast knowledge of outernational sounds, from rare African disco, jazz, funk, to house, UKG and seemingly everything in-between. His open-minded approach has led to brilliant releases and remixes for labels as diverse as Soundway, Heavenly Sweetness, Permanent Vacation, Club Bad, Delusions of Grandeur, Atjazz Recordings and his own Vive La Musique imprint.

Having played a few gigs together, it was only a matter of time before Jimpster convinced Aroop to get an EP together for Freerange and the resulting Re Bulele EP couldn’t be any more satisfying!

Leading the charge, 'Mama Mwana' captivates with entrancing thumb piano loops and a traditional African vocal all propped up by a subtle yet chunky house beat to lock the dancers in.

'Re Bulele' features the hypnotic vocals of Botswana native Fox Meropa. Aroop masterfully combines a deep, techy Afro House groove with glassy synth pads to form a stripped back instrumental with the vocals front and centre. Seemingly disparate elements shine on this wonderful alternative to the deluge of maximal Afro House tracks being released these days.

Moroccan producer FNX Omar delivers the goods with a sublime remix of Re Bulele. Creating tension with layers of looping vocals along with a rolling, percussive groove. Like the original, this remix transcends genres and will create special moments on the dancefloor, whether it be in a dark, sweaty basement or daytime festival in the sunshine.