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Teenage Jesus and the Jerks began to formulate their visionary brand of aural catharsis sometime during the first half of 1977, amidst the sordid ruins of a then fully down-and-out Lower Manhattan. The mastermind behind this juggernaut of sonic libertinage was a barely pubescent but world-weary runaway who called herself Lydia Lunch. Influenced strongly by the Marquis de Sade and Henry Miller, Lunch shrewdly decided to graft the existential horror of her own writing onto harsh, atonal music after being exposed to the room-clearing live output of other contemporary rock-music deconstructionists like Suicide and Mars. With an agenda of conjuring nightmarish intensity in lieu of technical instrumental ability, Teenage Jesus instantly made the supposedly nihilistic' and raw' current wave of so-called Punk acts sound like slick, good-timey pop music by comparison. Teenage Jesus and the Jerks were The Texas Chainsaw Massacre, lisa, She Wolf of the SS, and Salò, or the 120 Days of Sodom, transliterated into a blatant mockery of the increasingly tired, basic rock-band format. Posthumously, there have been numerous reissues of the primary Teenage Jesus corpus, namely the first side of the Lydia Lunch double compilation album Hysterie (CD Presents, 1986), a very incomplete anthology titled Everything (Atavistic, 1995) and Shut Up and Bleed (Cherry Red/Atavistic, 2008), which also featured Beirut Slump tracks. These less-than-fastidious documents contained reverb-laden transcriptions of the studio cuts directly from vinyl copies, as well as random live tracks of mediocre fidelity. This particular collection about to be released on Other-People is meticulously edited and mastered from rare bootlegs taped during the initial 1977-1979 period of classic band, and only one title (Crown of Thorns from January 17,1979) has been legitimately released to date, albeit in a completely different sound quality.

Gone with the flow - after a little break the German musicians Julius Steinhoff and Abdeslam Hammouda revived their musical adventures and left all electricity untouched this time. For their new acoustic project the duo has chosen the alias Tonight Will Be Fine - a name that is familiar to those who followed their work in the past years. As Steinhoff & Hammouda they used the name for their first 12" on Smallville Records, the worldwide acclaimed house and beyond label and record store that Steinhoff co-runs. Now they reheated the phrase and chose it as the alias for a bittersweet acoustic singer/songwriter project. Their wonderful, captivating new musical venture came into life due to happenstance and old ferventness. After their trips into house music the duo parted geographically. Hammouda moved away from Hamburg while Steinhoff strengthened his label Smallville, built up a global DJ career and produced acclaimed house records on diverse labels - solo" and with his buddy Dionne as Smallpeople. In all the time Steinhoff and Hammouda never stayed out of touch, bound together through deep friendship.

At some point they met again for musical missions and started to record music that had nothing in common with their prior work. Steinhoff re-activated his self-taught guitar abilities and entered the studio of his friend Lawrence in the back of the Smallville record store to capture some steeldrums and vibraphone sounds. Hammouda brought more instruments like a banjo, a violine and tablas and they just started to record sketches and songs. Hammouda's musical backround leads to a widespread range of influences while growing up, before he got into producing hip hop and electronic music. For Steinhoff, the transformation from an electronic music producer into a singer/songwriter wasn't that new too, as his first musical steps have been routed in band music. Until his late teenage years, when he discovered house and techno, he played drums in a local indie group in Freiburg and for Tonight Will Be Fine he now also freed his old drum kit from cellar dust.

After the duo felt that their musical communication elevates into something more profound then a session thing, they provided themselves with additional instruments like new guitars, claves, an accordion, a piano and more. Initially the songs were very rough and sketchy. Musical ideas that did not have a real song structure. Then we started to arrange the tracks and added our voices and lyrics.' both reveal. Their charming singing covers almost the whole album with a characteristic sense of deep winking melancholy. Their lyrics are exercising the possibilities of words and are inspired by life, the world and all the those questions a human can ask in his time on earth. At some point both started to show their new songs to some friends and they liked it and encouraged the duo to move on. Somehow one of the tracks landed in Toshiya Kawasaki's mailbox. He instantly fell in love with it and asked if they would like to do an album for Mule Musiq. They did what was asked and after some reformatting and reinventing Tonight Will Be Fine originated 13 songs full of sweeping acoustic guitars, airy rhythms, piano melodies, gloomy accordion emotions, touching voices and a bunch of other exotic instruments, done without the help of electronics. They all form Elephant Island' - an incredibly inspirational place where impressionistic lyrics dance gently with kinetic acoustic music that comes out of plain jamming fun. The melange of a structured song base and free improvisation injects all songs a loose feeling. And shows two handsome fellas carving out their own musical utopia. It is a warming one, full of hope and musical freedom powered by an unabashed instrumental playfulness.
nstrumental playfulness.





É a5 | soliloquy

Black magic, what is that supposed to be A spell that seeks to do harm to others Usually yes, however Taron-Trekka are animated by the best intentions, rather aim for the magic of the night and as always want to merely destroy the dancefloors of this world in a symbolic way. In fact, nobody has comes to grief with the four tracks of their "Black Magic EP" (the last part of their "Magic" triology) - nevertheless, they possess a certain magic.

However, Taron-Trekka don't make jumbo jets disappear, they don't walk through the Chinese wall or initiate other cocky tricks à la Copperfield. They are more like thimbleriggers. Or card jugglers. You know, those guys who surprise you when you least reckon with it. Those who have already outsmarted your mind when you were still thinking that it was just about to really begin. Taron-Trekka have the groove and cast a net of loops, which magically creates a tremendous energy. Loops with which the smallest shift can open up worlds. Worlds, which admittedly appear accessible, but are hardly decipherable. This way, tools become magical tracks. Furthermore, house becomes a music, which brands itself to the last corners of a soul. Just like the trick that you haven't understood until today.

A1 Black Magic Taron-Trekka's ride through the night starts funky and dry with the title track of the EP. The effects bleep here and fade away there, however over distance a magical pull develops. A pull that can only be escaped from with great difficulty.

A2 Monofile Regarding "Monofile", Taron-Trekka conjures a groove as selfwilled as enchanting by initially making vocals and keys appear on a dead straight beat and then letting this very same one stumble over itself. At the right moment it engenders at least as much "Ohs" as "Ahs" in a club, you bet.

B1 Red From black to red, from night until morning. For exactly this moment "Red" was made, which brings every last person to the next afterhour with its swing and depth.

B2 Distance Entirely against its own title, "Distance" may indeed affect one deeply. Namely then, when one wants to delve into funk as subtle as extensive. That is Jan Jelinek at a gallop or SND with more punch. Both are fantastic

Here we are, finally ! After numerous months of hard work,
today is the release day of " Good Vibes "
from SoulChef on Délicieuse Records !


This is definitely a 2.0 project : a beatmaker based in New-Zealand, a french label, some french scratches, some english, north american, swedish emcees, etc. it's a countless number of emails that allowed us to release this beautiful project that you can listen today.


We're so f****g happy to finally be here ! This album sounds old-school, but it's message and conception are definitely modern. Enjoy, Love is the Message !


Soulchef revives with Good Vibes the original spirit of Hip Hop.


The New Zealand beatmaker gives new life to this still living memory that we're honouring on Delicieuse Musique since our inception. Taking us back to our classics, Soulchef shines a new and personal light on hip hop : the result is positive, groovy and true to its initial roots.


Good Vibes is the result of an exchange of more than 18 months between the producer, the label and various rappers. The album is a mapping of a league that helds the oldschool hip-hop standard : there can be found a whole bunch of more or less notorious MCs on it from Declaime to Croosh, a young talent spotted on Soundcloud.


Gathered around the unifying aura of Soulchef, Delicieuse Records decided to step out of its usual field, offering to its public its first Hip Hop release.

Sheffield DJ/Producer Louis 'Taiko' Robson has consistently agitated the boundaries of dubstep music, manipulating eclectic influences in to his productions with bold, original arrangements, intricate percussion, experimental instrumentation and unforgettable subs, and he's not held back with ALBION002.

Title track Splinted dons the A Side of the release and sets the standard high with its heavy sub, percussive melody, and string lead. Robson has taken inspiration from contemporary orchestral composers such as Terry Riley and Steve Reich initiating the creation of the drums and percussion, which add a rich analogue sound to the track, and with that an almighty atmosphere. Folk-like scratchy strings take the lead which is a theme set for the EP and highlights Taiko's tenacity for sound design and disregard for convention. Each eclectic element of the track compliments the next resulting in a guttural, energetic dance floor cut, with dark undertones making the listener feel agitated or anxious. A pulse raiser strictly for sound system use.

Over on the flip side, starting with the outer, Taiko offers a much warmer vibe throughout Fractal, flexing another experimental set of instrumentation, this time round building rhythm with an accordion sample. An enormous rolling sub bass instantly becomes dominant after the short intro and meticulous percussion exaggerates the astounding impact from the drums. In the break expect a much murkier tone with a grimey string sample leading to the second drop. Robson achieves a certain level of feel-good whilst maintaining a dark and aggressive tone in his unmistakably raw track.

Nickel takes the inner side on the flip, following form to the prior with its accordion sample adding a distorted guitar drone for the melodic intro. The acoustic instrumentation couples up with irregular drum work solidifying the EP's 'live' aesthetic, whilst maintaining a dance floor orientation. Tonnes of energy meets masses of bass, Nickel is a recommended set opener and a great close to the EP.

The perfect Christmas gift for discerning fans of cutting edge analogue electronica. And Kraftwerk!

Radioland was initially devised as a breathtaking audio-visual live experience by the Anglo-French trio of Matthew Bourne (synthesisers, voice), Franck Vigroux (electronics) and visual artist Antoine Schmitt.

The original music has been transformed with hurricanes of modulated electronics, earth-shattering bass frequencies, vocoders ebbing and throbbing and the occasional drop into periods of eerie near-silence.

Using a variety of vintage analogue synthesisers and electronics, they have recreated the futuristic, industrial world of ominous darkness and dazzling light imagined by Kraftwerk in 1975 and reconstructed in this bold new manifestation for 2015.

The album is mastered by Denis Blackham, who mastered Kraftwerk's classic 1974 album Autobahn

The LP edition is limited to just 1,000 copies for the world in a deluxe gatefold sleeve with a CD included

Both versions include liner notes by David Stubbs, author of Future Days: Krautrock and the Building of Modern Germany, and photographs and images from the project

The album cover artwork is taken from the video work of Antoine Schmitt, creator of the captivating visuals that are a vital component of the Radioland performance

Matthew Bourne and Franck Vigroux's impressive collective CV boasts collaborations with artists such as John Zorn, Nostalgia 77, Marc Ribot, Annette Peacock, Elliot Sharp, Mika Vainio, Ben Miller and Zeena Parkins

More Radioland shows are expected to follow the release in 2016

Tackling the challenge of a second album head-on, COMA
return to the fore with THIS SIDE OF PARADISE, a comprehensive and meticulously arranged collection that
never strays far from the duo's well-established modus operandi: rich in melodic and rhythmic content, these tracks appeal to fans who love their music at home and in the club. Featuring artist contributions from DILLON (vocals on THE WIND) and MIT's EDI WINARNI (cover artwork), THIS SIDE OF PARADISE is truly refined pop music taking its cues from both sides of the musical fence. A further exploration and expansion of the territory initially marked with the first fulllength "In Technicolor" (KOMPAKT 279 CD 106), the new outing shows the artists commanding their craft with confidence and style - a sonic treat for seasoned connoisseurs and recent scholars alike.

Following almost two years of driving bass music promotion, in the form of compilation albums, free download round-ups, reviews, guest mixes & mix series CDs, the time has come to transcend from what first began as an online blog into our very own music label. After working with renowned artists such as El-B, Quest, BunZer0 and Phaeleh, as well as fellow promotional platforms FatKidOnFire & Deeper Vibrations - the Albion community has developed and grown to become recognised across the board of the bass music spectrum. This extension of our brand will help in pushing this music even more, enabling us to curate a fundamentally diverse sound beside the culture that we so passionately enjoy.The launch of Albion Collective Recordings is to be set in motion with In Pieces, a collaborative down-tempo effort conceived between Vaun and Jafu which is radiant in textural soundscapes. This particular piece has been doing the rounds as a clip on Deeper Vibrations' YouTube channel since 2013, inducing longing excitement for the song to finally surface.
Bristol based Daniel Brown, aka Vaun, has prospered into one of the scene's most prolific producers, covering multiple styles and turning out numerous releases for MindStep Music, Redshift-One and Soulstep Records. After recently hinting at the imminent release of an album, Brown can also reap in the keepsake of ALBION001 alongside Canadian artist James Fuller, aka Jafu, who likewise has blossomed astutely alongside his soulful Chord Marauders collective.In Pieces falls somewhere amongst immersive trip-hop and jazzy 2-step, an affectional arrangement that makes wonderful use of Marvin Gaye's a cappella in his classic Sexual Healing. The composition will certainly induce healing of the cerebral kind, with its stripped and delicate percussion work, dubbed out horns and soothing string sections. Encapsulated within Vaun & Jafu's musical offering is our label's statement of intent. That is, to champion unique music that emanates elegance such as this collaboration - and such as J.Sparrow's remix treatment. Ryan Wild aka Jack Sparrow, a Deep Medi Musik signee and one half of dubstep extraordinaire duo Author, has granted the scene with his tenacity to build profoundly stunning electronic music. Wild has the tempo notched up for his In Pieces edit but remains true to Vaun and Jafu's approach in the sense of its lavish spatial touch. The atmospherics breeze over with a soft vibrancy, as the electronic guitar solo recording from the original plays over the initial main section charmingly. This is all resulting in a simply sumptuous mix which goes right up there with his top drawer remix work for Annie Drury and De Niro & Y. To compliment J.Sparrow's sublime contribution and to also complete the package, the Black Butter Records assosciated and Bristol-based outfit Sly-One have whipped up an outright banger of a remix. Joe Cannon, Dave Constant and Oliver Read can already boast an admirable set of releases in the four years since they've joined forces, featuring on Shifting Peaks, Lost In Translation and 877 Records. Add that to a rude collaboration with fellow Bristol head & rasta emcee Buggsy and a remix for Bad Mojo on Meanbucket, Sly-One had clearly meant business from the offset - and have shown absolutely no let up for us at Albion Collective. Served with a side order of the trio's classic subtle cowbell hits, their 2-step/bassline fusion works wonders with the vamped-up vocal sample and is ready and waiting to rumble clubs & festivals for this summer and beyond. Early DJ support for the release has been noted from artists including Phaeleh, Quantum Soul, Thelem, J. Robinson, Walsh, K-Man, Nanobyte, Syte, Trashbat, Majora and D-Operation Drop & Foster. Radio airings to date stand at Sub FM on the BunZer0's legendary FOB Show, BBC Introducing showcased the release and Monki played the Sly One Remix on BBC Radio 1 Extra. The almighty
Dubstep duo Truth added the J.Sparrow Remix to their recent 'Chronicles' mixtape on Soundcloud, which was posted to their 75,000 plus following, Biscuit Factory Records owner and dubstep legend Walsh opened the edit on his latest podcast and J.Sparrow is set to showcase the version in a mix for the iconic Deep Medi label. Support is confirmed from digital publications such as FatKidOnFire,
GetDarker, Trusik and MTV Wrap up, which will involve a number of featuresm reviews, track premieres and artist spotlights. A review will also be printed in November's edition of Mixmag on Tomas Fraser's Grime/Dubstep page

Over the past years Bézier has seen releases under the Dark Entries record imprint with the most recent 'Telomeres' EP this year. The title track or pronounced 'mina' translates from Japanese to 'Everyone'. Mina is a journey through space with the initial ascent marked by a moody window of time in which uncertainty dominates the mindset of the passengers. Once they break through the atmosphere and are proceeding as planned they land on the final destination, an interplanetary discotheque. Mina was recorded this year with Mark Pistel on the helms for mixing and features SF drummer Kevin Woodruff of Tussle fame providing live drumming for the last portion of the track. Along with the title track the b-side includes tracks previously released on compilations but appear here for maximum record playing enjoyment. 'Serengeti Drive' which appeared on Honey Soundsystem's earlier HNYTRX compilation of queer dancefloor artists is the slow burner of the group. 'Mysteries of the Deep' which appeared in the JACKTONE cassette compilation of Bay Area electronic stars is the soundtrack to an underwater expedition. Both tracks were recorded, produced and mixed by Robert in his home SF studio in 2009.

Over the past few decades, there has been a seismic shift in Brazil's musical landscape. A plethora of varying musical undergrounds has developed across the nation. While Rio and São Paulo have been overwhelmed with networks of talented musicians for a long time, creative life is now bursting all over the country. Amplificador exists to document and propagate the wonderfully diverse music currently blossoming from Brazil's vivacious and geographically varied musical undergrounds. Presenting an up-to date insight into Brazilian music, this compilation draws together some of the components of 'Novíssima Música Brasileira' (brand new Brazilian music), ranging from afro-grooves to rock, to modern samba and MPB. The music reaches back across Brazil's incredibly rich musical and cultural traditions, while also taking in influence from other movements around the globe.



Having begun life in 2012 as a Brazilian music blog run by Marcelo Monteiro, Eduardo Rodrigues, Mateus Campos, and Ricardo Calazans, the aim of Amplificador is to document and propel to wider audiences, Brazilian music of the '00s and '10s generation. This is a task made more significant by obvious changes in the way music is consumed. 'People are no longer obliged to listen to what the radio and TV are presenting. There is a whole new generation that wants to listen to new bands and new sounds and we try to connect those bands with other bands, producers, fans and even the mainstream.' These changes in technology and the way music is discovered and shared have developed parallel to the proliferation of these emerging scenes. The ostensible decentralization of the music industry means the promoting and filtering work of journalists and blogs, like Amplificador, have become increasingly important, as people try to keep up with the tsunami of new music and media flooding the country on a daily basis.



Marcelo uses the example of the Mangue Beat movement to explain a trend in contemporary Brazilian music that looks both inwards, to Brazil's own musical traditions and outwards, to movements around the world to create a novel, localised identity: 'The 90's Pernambuco art-social movement was inspired by Coco, Maracatu and Forró all mixed with modern riffs and grooves. The mythical

revolutionary Chico Science, his Nação Zumbi, Mundo Livre, Siba, and many others do this blend perfectly. There are also the references to the older generations and masters - Gil, Caetano, Luiz Gonzaga, João Gilberto, Tim Maia, Jorge Benjor - as a constant inspiration for all bands.' This is very much the case for the Brazilian artists of today.



Music is unquestionably informed by place. Brazil has always been famed for its regional differences in this sense. Indeed there are still pronounced variations between the scenes of Rio, Sao Paulo, Natal, Goiânia, Belo Horizonte and Belém for example, there are also great divergences within cities and while technology has brought changes to the way musical influences are shared, there are cultural differences, rooted in folkloric traditions, that aren't going away. Expressing his appreciation for this fact, while highlighting the potential of Brazil's spread of musical flavours, Marcelo explains that 'what we have now is new ingredients to make an even better mixture.'

This compilation heavily features music from a scene in Brazil's current musical make-up, which draws inspiration from African music, particularly Afro-beat music. Abayomy Afrobeat Orchestra from Rio formed because of their shared love of the music of Fela Kuti, uniting initially in 2009 for a jam session in his honour. But what sets Abayomy apart from other groups of a similar nature, is the fact that their sound also brings with it the songs and rhythms of candomblé. In this sense, Abayomy was the first band of its kind. The thirteen members of the orchestra have a palpable current of Rio's musical heritage - its rhythms and culture - running through them. So while their sound is distinctly African, it is also inherently Brazilian. Similarly, Zebrabeat Afro-Amazônia Orquestra draw upon traditional guitarradas and carimbos from the state of Pará and fuse these with the poly-rhythms of Afrobeat to create another regional hybrid, which stays true to both its Amazonian and African roots, yet which results in a very fresh, Brazilian sound. From Belo Horizonte (capital of Minas Gerais), Iconilli are another key band on Brazil's Afro-groove scene. With influences as varied as funk, jazz and psychedelic rock, congado, mining harmonies, maracatu, coco, ijexá, carimbó, Iconilli somehow manage to balance all of these sounds in such a way that makes it impossible to pin them down. From the Northeastern city of Joao Pessao, Parayba, Burro Morto's pshychadelic afro sound leans more towards rock and funk influences, with hint of regional Brazilian rhythms such as frevo and forro. They add another flavour to the Brazilian afro-groove scene: just one of the many exciting facets of Novíssima Música Brasileira.



While African-inspired music features heavily on the compilation, it is just one of the many styles within. Ive Seixas has a fresh approach to MPB, based on traditional rhythms and instrumentation, punctuated by a pop sensibility, coupled with a powerful female vocal. As an artist she is a product of a 'Do It Yourself' outlook to creativity, taken from her love of rock growing up. In 2013 she embarked on a project of street performance: wandering, like a lonely troubadour with just her guitar. Ive and her project began to gain notoriety and shortly after, her first EP was recorded, featuring some important names of South Rio's underground scene. 'Cervejas Populares' taken from the EP, is a beautiful, sombre piece of modern Brazilian pop, with a traditional samba rhythm. Another artist of the new MPB scene is Fabricio, from the city of Vitoria, who's 'Feito Tamborim' melds rock and funk and is also clearly reminiscent of the old Brazilian masters. It's an appreciation for the national musical heritage, alongside a keen ear for melody and an acceptance of foreign influences that results in these promising new sounds of Brazilian MPB.

Sao Paulo's super group of the underground 'Passo Torto' have been at the helm of an emerging scene in the city: an innovative approach to samba which draws in and experiments with afro grooves, jazz melodies and rock structures. Their sound is naturally very Brazilian, but the nylon twang of Faira Lima Pra Ca, interspersed with ominous strings and light rolling percussion, seems reminiscent of Captain Beefheart or Tom Waits, as the band lament their frustrations with their native city through their music.



The Future of Novíssima Música Brasileira looks very bright. The main challenge (and purpose of this album) is to get the music beyond Brazil's underground and into view of international audiences. In the last 10 years this goal has become somewhat more attainable, as the Brazilian government has begun to see the internationalisation of the nation's culture as a strategic objective, with public projects gaining increased investment and backing. The continuing project of Amplificador is to reinforce this international bridge by writing, filtering and promoting the scene as a whole. There is a wealth of great music currently blooming in Brazil and using new media tools, Marcelo and the team, alongside many others, will passionately continue to get the voices of Brazil's underground heard.

Matt Nowak drops a trio of mesmerising techno tracks on his Zaijenroots imprint this June with appearances from Sebastian Klenk and Jerome Sydenham. Matt Nowak inaugurated the Zaijenroots discography under his No Mad Ronin moniker alongside Jerome Sydenham in 2013, before reappearing for the second release with Quiet Daze (Ian Pooley) on remix duties. As the label returns for its third outing Nowak pairs up with German producer Sebastian Klenk whilst distinguished veteran Sydenham carves up a remix. 'Aleister' sees Nowak and Klenk create an acosmic track that initiates with a touch of funk before sullen synths make way for punchy SP-1200 beats and unsettling throbs. Sydenham provides a rendition of No Mad Ronin 'Chemical Planet' from Zaijenroots second release, featuring a perennial hook joined by intangible spoken samples and a subtle sub bass. Lastly 'Lenore' ties things together with a subterranean cut abundant with echoes and spacey atmospherics.

Young Australian producer Campbell Irvine follows up his 2014 debut with his second release for Infrastructure, 'Reunion of Two Bodies'

The extended EP consists of two full sides of vinyl, plus a 50 minute continuous CD, entitled 'Terms Of Propaganda'. Following Irvine's initial discovery by label founder Function thanks to a chance meeting, the producer's relationship with Infrastructure has since blossomed. 'Reunion Of Two Bodies' marks a new chapter for the Berlin-based musician, his heavily weighted Modern World Music routed sound continues to grow, furthering him as an excitingly singular new talent

The mysterious EROS return !

Their initial 3 part series from a few years back became buy-on-sight homages to the raw, decadent & formative birth of club music. And while the first series concentrated on the darker, more electronic & mind-bending side of nightlife, the 'X' series works up an altogether more strobe-lit and full-tilt take on the glorious Disco supernova from whence we all came.

Danish NORD Records are ready with their eighth record. This time NORD007 is made by Central. The EP contains four hard-hitting techno tracks straight outta Aarhus, Denmark.

Octave Minds - a collaborative album by Boys Noize & Chilly Gonzales!

My Panda Shall Fly AKA musician and visual artist Suren Seneviratne, is set to release 'Tropical' It's a brand new 6 track vinyl release.

A kaleidoscope of rainbow textures and rhythms disperse into the exotic soundscape of 'Tropical'. Electronics, real folk instruments and noise-making objects feature here generously on this six-track concept album, blending together a sonic palette influenced by a rich variety of music, people and places.

The material was initially written over the course of a few months during what Seneviratne called "a beautiful burst of inspiration". Working with veteran producer Asier Leatxe Ibanez d'Opakoa (Electric Lady Studios, NYC), Seneviratne then set about disassembling all the songs and re-working them meticulously, enriching the sounds by adding a huge range of live instrumentation, before processing the audio through vintage analogue studio gear.

Suren Seneviratne, born in Sri Lanka before settling in London in 1996, first caught the attention of the music world with a remix that featured on Pitchfork back in 2010. Since then he has released a plethora of diverse records, gaining support from the likes of Clash Magazine, The Fader, Mixmag and Dazed Digital, as well as regularly touring internationally. He has also remixed the likes of The Weeknd, Stay Positive & Little Boots as well as appearing at festivals like BBC Hackney Weekender, Outlook Croatia & Glade as well as performing at prestigious venues such as The Design Museum, Tate Modern & Barbican.

With the release of 'Tropical', My Panda Shall Fly has yet again set himself apart as one of the most unique contemporary electronic musicians around today.

Pink marble vinyl / Sleeve artwork by ' The 'Warm'
Friendly Feeling Embodied in a Red-Pink One 1961 by Mcdermott & McGough.

ISNISNT offers it's second release of forward leaning electronics with a diverse group of modern techno from label head Jesse Siminski. Acting under his Heartthrob guise, Jesse initiates the release with 'Someone Called Again' a tough, but funky, bass driven tune that marries detailed production with his signature ominous melodies to great effect. Subtle modulating percussion work against harder, swung snare and synthetic drums workouts, as surprising analog synth bursts glue things together. Building smoothly into a headfirst groove, the track pressurizes and never loses it's drive as heady synth riffs keep things musical and emotionally interesting. In an even funkier tangent the two mixes of 'Cougar Juice' draw together an irresistible bass line with pushing breakbeats and precise synth stabs. These horn like synthesizer bursts mark surprising turns and recall similar moments in classic Hip-Hop jams or even tracks from Detroit's Anthony Shakir or Robert Hood- two of Jesse's production heroes. The 'Driving Past the Jail Mix' incorporates these synth stabs hypnotically within the melodic structure, while the 'Reduced Dub Mix' dials things back and focuses on the bass line, drums and dubbed out flourishes. With their funk driven momentum constantly moving forward, either mix will bring something unique to either a house or techno set. And finally 'Let Them Go' rounds out the group in a deep, yet still driving fashion. It splices sub bass pulses, a melancholic synth atmosphere, absurd bleeps and submerged voices amongst stripped down drums into a steadily building hybrid cut- not quite house and not really techno.

Gray Hoodie is the debut album from french musician / composer Elise Mélinand. The album, written in Berlin then sequentially recorded throughout various locations in France, was initially inspired by the techniques she was exposed to after being recruited as part of Christina Vantzou's (Kranky / The Dead Texan) Little Prism Ensemble. Her newly adapted recording and composition tool, the laptop, is undeniably the norm today. However, it allowed Mélinand to better visualize her compositions while experimenting with techniques that Gray Hoodie so skillfully showcases. Crafted by Mélinand to tell a story of a friend who gave her a gray hoodie one cold evening. This gray hoodie was a symbol of their friendship and this album is said by Mélinand to be "A way to thank him for everything he gave me". Gray Hoodie showcases Mélinand's childlike voice and legato string work juxtaposed over frenetic experimental beat-work that is injected into ten cinematic vignettes that exude the comfort and warmth of a sweatshirt on a cold day.

TERRANOVA returns to the fore with the HEADACHE EP, another impressive assortment of floor-ready house weaponry - after the sublime sophistication of the PAINKILLER EP (KOMPAKT 262) and its accompanying remixes (FM X/PAIN 001), the new material shoves the pendulum back into more rugged club territory, showcasing the sort of sonic urgency and rawness the legendary project has become known for in the first place.

As missing links between the dystopian pop of TERRANOVA's turn-of-the-century work and the slick kinetic drama of their current incarnation on Kompakt, the three cuts of the HEADACHE EP congenially continue the multi-layered, nifty thrust of 2012's house nouveau epic HOTEL AMOUR (KOMPAKT 248 CD 95), but also manage to evoke the wonderstruck immediacy of an act burning through its first speakers. This becomes particularly manifest with the deployment of CATH COFFEY as vocalist for title track HEADACHE (also a primer for TERRANOVA's upcoming full-length). A member of iconic British rap outfit Stereo MCs in the early 90s and collaborator of Tricky, the singer was featured on TERRANOVA's initial outings and is a well-established presence in their early work. On the new 12", she reintroduces her unique brand of battle-hardened, deadpan soulfulness to the searing funk of the reinvigorated project.

HEADACHE, a cover of a song from Birmingham's iconic and controversial postpunk outfit The Au Pairs, as well as its instrumental sequel HEADLOCK are both fuelled by the propulsive beats and upscale hooks we've grown to expect from TERRANOVA, but there seems to be something else at work, too - a somewhat darker undercurrent that may or may not be part of the actual arrangement. In any case, this adds much-needed depth to today's dance floors, providing them with a riveting soundtrack for the most intense of prime times. There's no need for EP closer TOURETTE to hide behind its compatriots, either: it's a full-blown thrill ride in its own right, brimming with jittery sampling, arresting percussion and some pretty rad bassline abrasiveness thrown in for good measure. A well-placed shot at the dancer's solar plexus, this wraps up the HEADACHE EP nicely, giving players and punters another perfectly valid reason for post-apocalyptic celebration.