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Deniz Cuylan set out to explore his own distinctive sound on his 2021 solo debut album 'No Such Thing As Free Will.' The album signaled the Turkish musician's first bold step into the spotlight following a winding 15-year path in the music industry playing in multiple bands with home bases dotted all over the globe - Stockholm, NYC, Istanbul - and tackling a wide array of styles both on the stage and in the studio. Now settled into his current home in Los Angeles, Deniz lends his instrumental talents to create scores for independent films and recurring Netflix original series, yet these projects inevitably fulfill the sonic backdrop for another artist's vision. Looking inward on his own for the first time, 'No Such Thing As Free Will' laid the groundwork for his own personal soundtrack, one that fused his love of classical guitar, introspective jazz, and ambient expressionism with his whimsical compositional ear. Over a magical 6-track journey, 'No Such Thing As Free Will' painted a lush cinematic narrative with Deniz's guitar as its guide, delivering an album that "seems to invent new languages for the guitar" (The Guardian) and receiving glowing comparisons to legends like Steve Reich, The Durutti Colum's Vini Reilly, Glenn Branca, and Bert Jansch. With such a singular foundation exposed on a debut album, many artists would stay true to their inventive winning formula and find out if lightning could strike twice. Deniz is not one of those artists. An explorer at heart, Deniz unveils a beautifully alluring and lightly adjusted language on his mesmerizing second album 'Rings Of Juniper.' The record continues to spotlight Deniz's exquisite guitar work and hypnotic compositional skills, yet it boasts a punchier, refined, and more immediate tone right from the start. Accented by a desire to once again uncover a new shade of his sonic palette with the support of a talented cast of friends and artistic collaborators, 'Rings Of Juniper' lays bare a rich, dynamic, and evocative sound that Deniz lovingly refers to as Mediterranean Minimalism.

Classic Black Vinyl repress in soon note new price. LP with DL card. “a songwriter testing the limits of her sound and redefining herself in the process” - Pitchfork // “Rundle’s voice floats above the seething morass, graceful and triumphant, an angel welcoming the apocalypse” Stereogum // The cover to Emma Ruth Rundle’s fourth solo record, On Dark Horses, bears a blurry photo of the songwriter obscuring her face with a large toy horse with broken legs. The photo suggests something candid but also hidden, graceful but also fractured a fitting portrait for an artist who has established a career by vacillating between shrouding herself in mystery and exposing her wounds to the world. The first peek behind the curtain came with her Sargent House debut Some Heavy Ocean, where layers of distortion were excised in favor of acoustic guitar and Rundle’s beguiling vocals. There was a distinct difference by the time Rundle released Marked For Death, a stark and deeply personal meditation on mortality and self-destructive behavior. Her entire musical trajectory from the cinematic instrumentals of Red Sparowes to the lush haze of Marriages and onward through her solo career seems like a gradual disclosure of intimate secrets. With On Dark Horses, Rundle doesn’t shy away from uncomfortable realities or retreat into a private world, but it does capture an artist who has survived their personal nadir and come out stronger on the other side. Taking the full arrangements of Marked For Death on the road demanded a backing band, which Rundle pieced together from tour companions first Dylan Nadon from Wovenhand and Git Some and later Evan Patterson and Todd Cook from Jaye Jayle. Rundle’s budding romance with Patterson prompted a move to Louisville, Kentucky, which not only amplified the equestrian themes of the record but also yielded a new writing process. “This the first time I haven’t played all the guitars on my own record,” Rundle says of Patterson’s contributions to the writing process. “It was stressful letting go but it was also rewarding.” The collaboration worked both ways, with Rundle contributing to Jaye Jayle’s No Trails and Other Unholy Paths. That album’s “Marry Us” mirrors On Dark Horses’ “Light Song”, with the union of Rundle’s siren vocals and Patterson’s poised baritone conjuring a dizzying and feverish update on the duets of Johnny Cash and June Carter. The eight tracks of On Dark Horses capture the evolution of Rundle as an artist, with vestigial traces of the savvy guitar work of Electric Guitar: One, the siren song beauty of Some Heavy Ocean, and the amplified urgency of Marked For Death all factoring into the album’s rich tapestry. Rundle arrives at the end of the album with an ode to a traumatized and heartbroken friend on the grand and triumphant “You Don’t Have To Cry”. After laboring over the majority of the material for the album, she wrote the finale in one sitting, describing its easy birth as a gift from the gods. It’s a fitting closer, a song announcing Rundle’s newfound hope and reminding us to take control during our darkest moments instead of succumbing to them. Track Listing: 1 Fever Dreams 2 Control 3 Darkhorse 4 Races 5 Dead Set Eyes 6 Light Song 7 Apathy on the Indiana Border 8 You Don’t Have to Cry

Bongos, bouzouki and Farfisa organ galore ! The explosive cocktail of rock'n'roll and traditional Tsifteteli hailing from 1960's Greece is still alive thanks to Deli Teli : the Marseille-based quartet performs a string of forgotten hits that once set Athens on fire, with a contagious energy and a subtle dose of Mediterranean drama.

Half a century ago, while French seasiders would dance to « Yéyé » sounds and dig the Beatles or Pink Floyd, a whole other scene was happening further along the coastline. Notably, Greek artists were a huge influence beyond the Mediterranean cradle ; Aris San's version of « Boum Pam » (a.k.a. « Bros Gremos Kai Piso Rema »), brilliantly interpreted by Deli Teli on this record, was a n°1 hit from Southern Europe to the tip of India ! Far from being an exclusive Greek sound, Tsifteteli music has travelled through borders for centuries and means « double string » in Turkish. In the 1960's, it mixed with rock'n'roll, surf and Latin-american influences, and gave birth to the typical « Laïko » sound.

With their powerful electric bouzouki (Greek lute) and the distinctive sound of the Farfisa organ, Deli Teli have carved their style while digging through the incredible goldmine of the late 60's and early 70's Tsifteteli/Laïko singles. The 4 musicians met in 2019 with a burning desire to dive into electric sensations – bassist Christos Karypidis used to play oud and keyboardist Arthur Bacon played accordion in most of his former projects – and made the most of 2020's « lockdowns » by building their repertoire and thinking up Deli Teli.

On this mini-album, they also interpret Koko's « Chily Chily », a groovy belly-dance mover ; « Ekso Dertia Kai Kaïmi », an intoxicating and frenetic floor shaker ; « Tsiftetelli 1969 », a cool organ-lead surfing instrumental ; and 2 slightly freer and more psychedelic numbers, « Taksim Deli » (improvisation) and « Bournelis », a creative re-arrangement of 2 tracks by Leonardos Bournelis.

Deli Teli preach a collective, sensual and solar hip-wiggling across the continents and beyond ; they are ready to shake our minds and bodies until we all gel together... Join the « Tsifteteli Club » now !

silver marbled vinyl

Red Vinyl

Introducing Time Is Now's newest recruit, a link up that felt inevitable. A Bristol native, Borai has had a firm foot in the city's bass scene since its inception, his steadfast dedication to rave culture helping to shape what it is today. When he's not curating his own Higher Level label, helping steer the Club Glow collective, or cutting dubplates for Dubstudio, he's exercising his passion for hardware, crafting vital DJ tools which span an impressive crosssection of the hardcore continuum. Naturally EP is a culmination of these endeavours, as well as his far-spanning influences.

We're transported out of Bristol and into late 80's Chicago - the golden era of garage house - via soulful vocals, nebulous melodies and saxophone whispers. It wouldn't be a Borai release, though, without some UK flavours. Rich atmospheric jungle track 'Phosphenes' brings things to a euphoric close, and reminds us of the producer's ambidexterity.

The Wildacre story continues. From the outskirts of the Netherlands we bring you WA002. Four pounding techno bangers. The a side gives you hypnotic sounds with hooks that will burn into your brain. The b side are bass heavy trips, who will tear the walls down. 180 gram vinyl version perfect as a dj-tool.

Play it, work it, dance to...

For his debut album Dip Shim digs deep into his past for his most personal release yet, drawing on his childhood in Spain for a genre-bending album of electronics, combining influences from house, techno, electro, downtempo, and ambient to create one of the year’s most essential releases.

Dip Shim, who also runs the Bolero record store in Malmo, Sweden, pushes and tweaks those silver boxes to create music with one foot in the past but looking to the future, from the fluid acid house of Dalaplan Jam and Bubble Gate, uptempo electro jams like BDP Fast Life and Tusso Arcade Force, to meditative joints such as One For Regen and Impossible Connection.

But although the album is eclectic, these 12 tracks are underpinned by Dip Shim’s unique hardware-led sound, proving he’s an artist with depth and longevity.

Teno Afrika's 2020 debut Amapiano Selections drew an international wave of support sparked by the producer's deftly minimal take on the emergent style. Amapiano combines the South African predilection for deep house alongside a melange of endemic influences like kwaito, jazz and gqom. The 20-year-old's new crop of songs Where You Are expands on his rhythmic subtlety hooded in warm bass adorned by amapiano's telltale shakers, hi-hats and mid-tempo shuffle. Lutendo Raduvha hails from Pretoria, South Africa, where he produces music incessantly and DJ's parties around Gauteng province. He hangs with a crowd of musical friends, many of whom join him on Where You Are. For his second album Teno Afrika brings more vocalists into the sonic picture, unlocking an emotive and timbral escalation to his rapidly mushrooming catalog of work. Singers Leyla and KayCee feature on the title track and "Fall In Love," respectively. Regular cohort Diego Don joins for two driving, pad-propelled works of significant vibrancy, "SK Love" and "AK Love." The album's dramatic closer "Duma ICU" features another returning collaborator, Stylo MusiQ, who helps bring an icy, almost cinematic conclusion to a slice of the sound Teno Afrika is pushing at the moment. There's a palpable feeling of not knowing where the young producer might go next.

Latvian producer mu tate joins Utter with the ‘Faded’ EP, a collection of five mesmerising ambient electronica pieces.

mu tate - real name Artur Strekalov - has been diligently and unceremoniously weaving his musical magic for the past half-decade. ‘Faded’ walks the same spectral path as his feted album ‘Let Me Put Myself Together’ (Experiences Ltd, 2020), which introduced many to Strekalov’s highly atmospheric, blissed-out sonic explorations. The EP glides along, each track enveloping the listener in a cocoon of undulating frequencies and ghostly rhythm, softly contained yet stretching out beyond into wide open space. Delicate, crackling sparks fizz in and out of perception above.

It’s a trip alright!

‘Faded’ is available on limited vinyl and digital formats, mastered and cut by Anne Taegert at D&M. Artwork by AS, laid out by Alex Egan. A special insert designed by Art Crime is also included with physical copies.

With his third album, The Big Swim, due out in December 2022 on Bongo Joe records, Augenwasser ventures once again into the paths of synth wave exploration with a pop feel. Still laced with the folk textures of his early days, he nevertheless develops a dance approach that can at times be akin to melancholic drone. His music takes you to an imaginary, dark club, lulled by a haunting rhythm, surrounded by the fumes of the night, where it is possible to indulge in that quiet voice that has already confessed that it is too late but will never stop repeating its soft, cold poetry:

Sonido Verde De Moyobamba feature on the second volume of Analog Africa's Sonic Expedition into the Peruvian Amazon, as well as being behind this brilliant new collection which drops on the same day from the same label. It is a coming together of eight super-rare cuts of guitar and organ inventiveness taken from the five albums the band recorded between 1981 and 1987 for Discos Universal. You would beard pushed to find any Cumbia from the Peruvian jungle that hits as hard as this with its incessant rhythms, mad acoustic guitars and bustling percussion.

Expert Timing describe themselves as Bubblegrunge Power Pop and who are we to disagree? Expert Timing from Orlando, Florida is comprised of husband/wife duo vocalist/guitarist Jeff and vocalist/bassist Katrina Snyder, as well as drummer Gibran Colbert. Their brand of music is infectious and fun and feels like a summery day, even when heading into serious lyrical territory. But beware, it also packs a punch and absolutely refuses to leave your head. You can’t manufactory growth, it just takes time. On Expert Timing’s new LP “Stargazing”, the band has put in that work and it shows. The songs are well thought-out and know exactly when to deliver an emotional punch and when to pull the blow back. Everything you want from a sophomore release.

Nocturne, the critically acclaimed sophomore album by Wild Noth- ing, is a window into singer/songwriter Jack Tatum’s “ideal world” of pop music. Written largely while living in Savannah, GA during 2011, the songs that became Nocturne blur the lines between Tat- um’s influences and personality. The album features some open ref- erences to past music just as his hit debut Gemini did, but it’s also an album that feels much less rooted in anything in particular, and marks a distinct evolution in songwriting for Wild Nothing.

Gemini was written before there were Wild Nothing fans or even a live band; Nocturne is different. With an unexpected new fan base to turn to, Tatum spent more time perfecting his craft. The obsessive- ness of Nocturne is inherent in it’s gentle harmonies, orchestrated synths, wandering voice, and songs that speak to his post-Gemini experiences as he explores new paradoxes of pop. And yet, Noc- turne isn’t obvious, it is a strange and distinctive musical beast, the product of an obsessive pop vision that creates its own reality.

Released on the heels of her breakthrough album Tapestry, Carole King's Music is every bit the equal of its more famous predecessor: a No. 1 smash that features impeccable songwriting, beautiful melodies, and extraordinary piano playing. In short, everything that's made King an institution. After of years of being overshadowed, this 1971 singer-songwriter classic has been given the audiophile treatment it's long deserved.

Sourced from the original master tapes and pressed on dead-quiet vinyl at RTI, Mobile Fidelity's numbered-edition 180g LP of King's second solo masterpiece is rife with intimacy, transparency, soulfulness, and you-are-there sound. Never before remastered, Music seems like a brand-new album as King's familiar voice, intelligent arrangements, and ace support band presented on a deep, three-dimensional soundstage. Your appreciation for and understanding of the depth of King's inspirational lyrics and performances will doubtlessly increase — this reissue brings you that much closer.

Accompanied by percussionist Bobbye Hall, drummer Russ Kinkel, guitarist/vocalist James Taylor, and a multitude of other professional wind musicians, King delves further into R&B and jazz-derived pop. Warm and cohesive, songs echo with simplicity and honesty. And as is typical of much of King's work, several of tunes here were later covered by other artists, including "It's Going To Take Some Time" (the Carpenters). Yet the originals trump the later renditions, and King's rendition of the standard "Some Kind of Wonderful" stands among the best ever recorded.

With Taylor lending more of a hand on Music than he does on Tapestry, King expands her reach on the piano and peppers the songs with graceful touches of saxophone, flute, pedal-steel guitar, and woodwinds. Ballads sway ("Surely"), gospel raises spirits ("Brighter"), and backup vocals float amid pop arrangements like clouds ("Song of Long Ago"). The most irresistible aspect? King's voice, infused with fondness, concern, joy, and a quiet power that parallels the delicacy and deliberate nature that define Music.

Mobile Fidelity's 180g LP is free of the limiting artifacts that have helped keep this record in the dark for the better part of the 80s, 90s, and early 2000s. Acoustic guitars, subtle brass elements, and soft percussion contribute to the enjoyment of the songs, and King's voice —pleasant, assuring, emotional — comes through with incredible clarity and inflection. The brilliance of Lou Adler's original production is restored to its full glory.

Aptly named, this companion to Tapestry is an aural and sonic delight.

"Now comes Analogue Productions' 180-gram double 45 RPM reissue sourced from the original Island master tapes sent over from the U.K., cut by Kevin Gray at Cohearent Audio, pressed at RTI and housed in a laminated gatefold "Tip on" jacket complete with "pop up" band. The packaging is exquisite! Only word for it. AP couldn't get permission to use the pink label so it uses the green Chrysalis one. ... if the goal was to duplicate the original pink label Island sound, this reissue misses that, which is good because this new double 45 reissue is far superior to the original in every possible way. The tape was in great shape, that's for sure. Clarity, transparency, high frequency extension and especially transient precision are all far superior to the original. Bass is honest, not hyped up and the mastering delivers full dynamics that are somewhat (but only slightly), compressed on the original. Ian Anderson's vocals are naturally present as if you are on the other side of the microphone. Most importantly, the overall timbral balance sounds honest and correct. But especially great is the transient clarity on top and bottom. ... Best of all, as the title suggests this album "stands up" to time. It hasn't lost a thing musically, lyrically or sonically. Highly recommended!" — Music = 9/11; Sound = 9/11 — Michael Fremer.

Jethro Tull's second album, Stand Up, marked an early turning point for the band with the addition of guitarist Martin Barre along with Ian Anderson's introduction of folk-rock influences to the group's blues-based sound.

Released in the summer of 1969, Stand Up rose quickly to the top of the U.K. Albums Chart, and eventually earned gold certification in the U.S.

Stand Up was the first album where Anderson controlled the music and lyrics, resulting in a group of diverse songs that ranged from the swirling blues of "A New Day Yesterday" and the mandolin-fueled rave-up of "Fat Man," to the group's spirited re-working of Johann Sebastian Bach's "Bouree in E Minor." In a recent interview, Anderson picked Stand Up as his favorite Jethro Tull album, "because that was my first album of first really original music. It has a special place in my heart."

Now with our 45 RPM release, plated at QRP and pressed at RTI, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Clean, balanced, richly detailed. Just the way an Analogue Productions reissue should sound. You'll experience Jethro Tull classics such as "Bouree," "A New Day Yesterday," "Look Into The Sun," "We Used To Know," "Fat Man" and the rest with a new appreciation for the Grammy-winning progressive act's musical skill and innovation.

The original creators of Psychobilly Music, The Meteors began as a reaction against soft neo-rockabilly music of the late 70’s rock revival era. Since then the loud, sneering lovers of horror, perversion and death have released a few dozen records and are still going strong, 40 years into their career of evil. Svart Records are hellishly excited to bring you an official reissue of The Meteors’ 2007 album Hymns For The Hellbound. Long out of print on physical formats, this authorised reissue comes with a secret bonus track, all pressed on pitch black or blood-dripping red vinyl and wrapped in a gatefold jacket.

The original creators of Psychobilly Music, The Meteors began as a reaction against soft neo-rockabilly music of the late 70’s rock revival era. Since then the loud, sneering lovers of horror, perversion and death have released a few dozen records and are still going strong, 40 years into their career of evil. Svart Records are overwhelmed with psychotic joy to present an official reissue of The Meteors’ 2003 album Psychobilly. Long out of print on physical formats, this authorised reissue comes with a secret bonus track, all pressed on pitch black or poisonous green vinyl and wrapped in a gatefold jacket.

On December 2th Svart Records will release the slowly gestated second album by the mystical Finnish progressive rock group Getsemane, who describe themselves as performing music "molded from the jawbones of a pike", in reference to the Kalevala where Väinämöinen built his first kantele The group first got together in 2009 in the Tampere area to perform live music for a fire theatre. After the shows they decided to continue as a band finding ever more polyrythmic and progressive ideas still drawing from the Kalevala mythos and eccentric psychedelic visions. Getsemane self-released their eponymous debut album in 2015, and the follow-up Viimaa is due for release this December. Best known for their dynamic live shows, the group's new album is full of unusual time signatures, meandering melodic lines and ethereal landscapes, not forgetting hard rocking in the best 70s style. Those that are into classic prog rock in the lines of Haikara, Tabula Rasa or King Crimson will feel immediately at home. The first single off the album, Varma kuolema ("Certain death") is a good representative of the entire album. According to the band, the song gives "A gruesomely honest but a cradling, positive vibe of the meaninglessness of life."

Big Zen makes his entrance on Mood Hut records with Prayer Bass, a freely focused collection of euphoric funk-splashed club-cuts from the much-loved Vancouver underground legend. Those who have seen him play at free parties in the park or at the many under-cover basements of Vancouver City will already know what Prayer Bass is all about.

After many sessions and years of friendship both on and off the dance floor we are pleased to finally work with Big Zen. Following up his recently self-released 'Mirror Cut' 12" here Big Zen continues to swim out into the technicolour deep: Prayer bass is purple, Sugar Coated is frosty cream, Cash Splash is lightning blue, Rumble Ball is tangerine.


Dj support from Shanti Celeste, Hunee, Titonton Duvante, Bradley Zero, Ron Like Hell, Giant Swan, Anthony Naples

Teno Afrika's 2020 debut "Amapiano Selections" drew an international wave of support sparked by the producer's deftly minimal take on the emergent style. Amapiano combines the South African predilection for deep house alongside a melange of endemic influences like kwaito, jazz and gqom. The 20-year-old's new crop of songs "Where You Are" expands on his rhythmic subtlety hooded in warm bass adorned by amapiano's telltale shakers, hi-hats and mid-tempo shuffle. Lutendo Raduvha hails from Pretoria, South Africa, where he produces music incessantly and DJ's parties around Gauteng province. He hangs with a crowd of musical friends, many of whom join him on "Where You Are." For his second album Teno Afrika brings more vocalists into the sonic picture, unlocking an emotive and timbral escalation to his rapidly mushrooming catalog of work. Singers Leyla and Kaycee feature on the title track and "Fall In Love," respectively. Regular cohort Diego Don joins for two driving, pad-propelled works of significant vibrancy, "SK Love" and "AK Love." The album's dramatic closer "Duma ICU" features another returning collaborator, Stylo Musiq, who helps bring an icy, almost cinematic conclusion to a slice of the sound Teno Afrika is pushing at the moment. There's a palpable feeling of not knowing where the young producer might go next. Also Available From Teno Afrika: Amapiano Selections LP/CD. Track listing: 1 Teno Afrika ft Leyla “Where You Are” 2. Teno Afrika & Diego Don “SK Love” 3. Teno Afrika “Bells” 4. Teno Afrika ft KayCee “Fall in Love” 5. Teno Afrika “Gomora Groove” 6. Teno Afrika “Halaal Flavour” 7. Teno Afrika & Diego Don “AK Love” 8. Teno Afrika ft Stylo MusiQ “Duma ICU”

KU is proud to celebrate a powerful moment in hip-hop history, in which the underground found space amongst the mainstream.
20 plus years ago, Dilated Peoples dropped their first studio album, ‘The Platform’. The Los Angeles-based group was composed of legendary Beat Junkies member, DJ Babu, staple underground and prolific emcee, Evidence, and fellow Los Angeles-based rapper, Rakaa.

The crew formed in the early 90s, exploring their craft and dynamic for many years before making their imprint known and gaining the attention of Capitol Records, who’d eventually put out ‘The Platform’ in the year 2000.

Mainstream Hip Hop and specifically the greater Los Angeles area radio during those years was inundated with West Coast Gangster Rap. Dilated Peoples offered a different look for the genre, steering away from celebrating gun violence and misogyny. Stepping into the light with notes of positivity, boosting one another up, thought-out observations about social issues, and catharsis.

KU is celebrating the influential group with a replica 45” repressing, of the title track from ‘The Platform’. The track hit #22 on the US rap charts in 2000, and #89 in the UK. “The Platform” was produced by the aforementioned, The Alchemist.

Following their debut Glastonbury Festival performance, Broadside Hacks in collaboration with British Underground today announce the UK premiere of The Broadside Hack; a new documentary telling the story of the young vanguard of UK artists sharing radical interpretations, proto-feminist narratives and queer histories through the lens of British traditional folk song. An accompanying live album of the songs performed in the film will also be released in December on LP and digitally. Having enjoyed its US premiere at SXSW in March, The Broadside Hack is a short music documentary produced by British Underground, created with the aid of a grant from Arts Council England and PRS Foundation. Directed by Crispin Parry and filmed by The Northern Cowboys, It explores the influence of traditional folk songs on a new generation of musicians, filmed just as the UK was emerging from the dark days of the pandemic. The documentary was made in collaboration with music collective Broadside Hacks and features influential artists and groups from the new folk scene, including Rough Trade signees caroline, former Goat Girl bassist Naima Bock, whose acclaimed album Giant Palm was released on Sub Pop earlier this year, Shovel Dance Collective, Thyrsis, Broadside Hacks and Boss Morris. Discovering a fresh vitality in the tunes and new histories in the stories they tell, the film includes conversations, dances and intimate performances filmed at Peter Gabriel’s Real World Studios in Box, Wiltshire between 17th and 19th August 2021. The live concert and screening of The Broadside Hack arguably marks the close of the first chapter in the story of the UK’s new folk scene; a story in which Broadside Hacks has been central. Initially formed as a folk night, the pandemic forced it to change its shape, morphing into a collective of young, like-minded musicians who met to play folk music in South London. “An adventurous exploration of traditional music by the young and folk curious” - The Times // “All your favourite players in one Sunday League team” - Loud And Quiet // "The band play old folk songs, those so old their authors have been lost in time, and inject in them such life, depth and emotion that it's extremely affecting" - The Quietus // Side 1 A1 Boss Morris - Up The Hill A2 Interview Shovel Dance Collective - ‘A Collective Authoring of History’ A3 Shovel Dance Collective - The Bold Fisherman / My Husband Has No Courage In Him A4 [Interview] Thyrsis - ‘Collaboration Across Space and Time’ A5 Thyrsis - Single Sailor A6 [Interview] Naima Bock (Broadside Hacks) - ‘Retracing Beginnings’ A7 Broadside Hacks - Gently Johnny. Side 2 B1 Shovel Dance Collective - Merrily Kissed the Quaker B2 [Interview] Shovel Dance Collective - ‘Queering Folk Songs of the Past’ B3 Thyrsis - Godstow Bridge B4 [Interview] Naima Bock (Broadside Hacks) - ‘The Broadside Hacks Folk Club’ B5 Broadside Hacks - Rain and Snow B6 Boss Morris - Young Collins

Recorded both in Spain and Finland, the 13-track album Myriadi documents Tatu Rönkkö and Raúl Pastor Medall's first standalone collaboration, entirely created, performed and mixed by the pair. With Myriadi, the two artists walk listeners into a world that somehow manages to feel ancient and modern at the same time. It is peaceful and dreamy but also raw, solemn and unsettling. Tatu's improvisational, crude and almost ritualistic sonic approach blends in seamlessly with Raúl's more melodic and melancholic schemes of composition. With its simplicity and clarity, Myriadi belongs in the realms of dark ambient and drone as much as it belongs to a tradition of minimal acoustic music. Myriadi embraces loose ends, harmonic freedom and even atonality; regardless of whether it involves the sound of glass-blowing water bottles, a small Finnish harp, bell-like sounding metal plates or piano strings played with paint brushes and sticks, the overall improv-based character of the project gives Myriadi a primal, unpredictable and meditative feel. This spontaneous study of form and timbre has room for bold rhythmic pieces played with a drum set consisting of six floor toms, but also for hypnotic chants of granular flute-like sounds and spoken word poetry (featuring voices by Raúl and Tatu's moms). The spontaneity and lack of premeditation that permeate through Myriadi paradoxically reinforce the cohesiveness of the record, reminding us that sometimes creativity really benefits from avoiding too much analysis and overthinking. Rauelsson (Raúl Pastor Medall's musical moniker) and Tatu Rönkkö met in 2015 through common friends. They both have released music on the Berlin-based label Sonic Pieces and have collaborated on stage and in the studio on a number of occasions. Tatu appeared as a guest musician on Rauelsson's Mirall (2018) and contributed significantly on some film and TV projects that Raúl has worked on for the last couple of years. For the recording sessions of the dystopian TV Series Anna (2021) Tatu travelled to Spain where they explored countless rhythmic ideas with relatively untraditional instrumentation. These free and relaxed creative meetings led to other recording sessions completely unconnected to any scoring project, planting the seed for what Myriadi would become. RIYL: Ben Salisbury and Geoff Barrow, Alva Noto and Ryuichi Sakamoto, Jefre Cantu-Ledesma, Rafael Anton Irisarri, Brian Eno TRACKLIST: A1 Rombo A2 Vidre A3 T A4 Keinu A5 Ryminä A6 Ö B1 K B2 Silta B3 Golondrina B4 U B5 Kuvakudos B6 Pont B7 Muinoin

Following on from 2016’s Doing It In Lagos: Boogie, Pop & Disco in 1980s Nigeria, Soundway Records return to that blistering set for the first and only officially licensed re-issue of the highly coveted debut album from Steve Monite, featuring the single ‘Only You’ that recently
seeped its way into popular culture. Lovingly restored
and remastered on 180g vinyl with liner notes.^

Shooting, space-synth sounds ripple and vibrate, incessant grooves keep the tracks in motion and Nkono Teles production, a producer often overlooked for his hand in the Nigerian boogie sound, sets the LP into orbit. An album that was largely overlooked on release in
1984, the track list includes the latter day hit ‘Only You’
and ‘Things Fall Apart’, the melody of which was lifted for
Young Franco’s 2020 single ‘Fallin’ Apart’.

(feat Scan 7 mix)

Hungarian-born, Dublin-based Phil Robertson has some pedigree but Arbilla is a new name he's operating under, and indeed there seems to be a slightly more musical, less relentless angle to his once defiantly minimal sound to go with the new moniker too. He provides three of the four tracks here, from the chunky and dramatic 'Stranger Things' and the breezy, spacious 'Fragrance' to the EP's glorious title track, with its Plaid-like syncopation and spiralling melodies. Mysterious techno 'supergroup' from Detroit, Scan 7 remix 'Virtual Reality' and they whip it into thunderclapping Underground Resistance shape. Greatness in evidence whichever way you turn.

The Vivid label is yet another one from Burnski who also runs Constant Blanc and Instinct. He is s single handed garage hit making machine and he knows how to tap into the next gen, too. Here he calls upon Peaky Beats for a naughty and nasty three track affair that has retro feels but contemporary style. 'Can't Stop' opens up with a 2-step shuffle and steely hits, then 'Get Ready' gets more free and melodic with some boxing little melodic patterns and oscillating bass. Last of all is the most menacing and dark - 'Wildcat' flips into a dub wise swagger mid-way through that is going to blow up the clubs.

Belgian artist Melawati steps up to Ellum Audio with an arresting debut album, Artimia. Produced with an array of modified machines and modular synths, it is a testament to finding beauty in chaos.

Martijn Ravesloot aka Melawati makes music out of mistakes. He comes from an indie background but has always admired Aphex Twin while playing in bands such as The Subs and working in theatre. He has a love of experimenting with soundwaves that gives rise to his complex, experimental and improvised sounds. He first met Maceo Plex while jamming and that session turned into the track 'Daliah' which dropped on Ellum Audio and was remixed by Tale of Us.

After that, Melawati wrote this most absorbing and beautiful album during the pandemic in a dark studio attic in the heart of Brussels. He set about recording live experiments on analog synths and then deconstructed and reconstructed them into the tracks presented here. The angelic tones of guest vocalist Lisa Jane feature on two tracks though the pair have never met, and Melawati is now set to take his impressive live show to Tomorrowland. His life has changed since writing the album, he now has two children and lives on a farm, but the power of this music where organic and alien worlds intersect remains utterly compelling.

Opener 'I Just Want To Go Walking' pairs a heavenly vocal with celestial chords and a bustling broken beat that strikes a powerful emotional note right from the off. The excellent 'Riddles' showcases more majestic synth work and molten melodies that suspend you in mid-air while 'Slow Pulse' is an intense layering of drones and heavy drum tumbles that again offsets light and dark, tension and release. 'Red Herring' rests with beautifully pensive synth patterns that twinkle, warp and melt before your very ears and 'You And I' takes off on a rubbery groove overlaid with heart-aching keys and shimmering, wordless vocals. 'Somebody' is brain-soothing synth bliss with lush patterns and icy drums that gently unfold to get you in a trance and the gorgeous 'Radiate' then offers a widescreen and cosmic ambient interlude. The heartbroken synths of 'Let Your Love Wash Over Me' speak of the end of a cosmic love affair and 'Violent Thoughts' rebuilds on smooth arps and smeared pads over downtempo drums. The final trio of tracks offers rousing breakbeats on 'New White Noise', uplifting synth catharsis on 'Pain And Pressure' and a melancholic lullaby on 'Stellar'.

Artimia is a beautiful mix of harmony and dissonance, of real emotional power and improvised musical elegance.

Each of the three hundred covers is different! All are numbered.

After two well-received albums of Normal Bias, the time has come for a solo debut in U Know Me of the half of this valued dub dub, i.e. Piotr Krupiński, better known as YAC.

The starting point for "We Have Much More In Common Than What Divides Us" was the rhythm, and on the one hand synthetic sounds of classic analog synthesizers with the legendary EMS VCS3 at the forefront, and on the other hand the organic hypnotic sound of Tibetan bowls and tubular bells. All together strongly processed and traditionally ground with dub techniques and marked by the tape's noise.

The amazing graphic design was created by Bartosz Szymkiewicz.

The cover design is the result of an attempt to graphically represent the album's minimalist but full of lively nuances music. Each of the forms on the cover corresponds with its surface area to the length of the work it depicts. The composition was procedurally generated by a computer program, resulting in 300 unique covers. Interestingly, the program definitely preferred to arrange the forms close together, which is an unforeseen reference to the title of the album.

'Hidden Gem' is the Zenmenn's first full album produced together with songwriter and vocalist John Moods and follows their much-loved debut record, 'Enter The Zenmenn'. Named after a country song that didn't quite make it to the final selection, 'Hidden Gem' is the result of an extended jam session at a friend’s studio, in a field of mystical meadows somewhere south of Hamburg, in which the band would experience a series of inexplicable phenomena.

It was their earlier collaboration on the future classic, 'Homage To A Friend' that kickstarted their idea to team up with John Moods again, and in the late summer of 2021 the band set to work on a full album of material together. Using The Zenmenn's trusted drum kit, good old DX7, an unusual Ukrainian bass and an almost discarded pedal steel guitar, combined with Moods’ uniquely fragile voice, the outcome resulted in six timeless songs. The resulting harmonic sound is, as the band put it, “something like Adult Oriented Rock with a teaspoon of Celtic sentimentalism, a pinch of big city Country wrapped in a late night '70s style jam”.

'Hidden Gem’, much like their previous LP, was recorded without pre-arranged songs or any fixed musical concept. Instead, it captures fleeting moments of creativity and reflects the joint musical sentiments of the band members at the time. “Some artists are amazing at vision and curating, our work-flow is opposite to that. We are pretty messy and all over the place in our creation, as in life. It has its advantages and disadvantages, but hopefully it comes out all right in the end.”

Pianist, drummer, composer and producer Hamish Balfour presents jazz funk, soul and electronic music, bridging the gap from classic Blue Note to Warp via Sonar Kollektiv on Running Colours, his electrifying debut album for London's Shapes of Rhythm Records.

Praised by Jazzwise for hissolo flourishes and sidestepping harmonies, Hamish Balfour should be a recognisable face to jazz addicts. The go-to keys player has performed and recorded alongside American jazz drumming legend Harvey Mason, Tenderlonious, The Temptations, Odyssey, Faze Action, Yolanda Charles' Project PH, Bassically, Nim Quartet and Yam Who. Popping up not only in the credits of many sought-after albums, but also Channel 4, ITV and BBCprogrammes for his compositions on various shows.

Over the course of eleven tracks, Balfour folds in and explores his influences, with a wide yet highly cohesive and strong palette of sounds, whilst interacting with high caliber guest vocalists such as spoken word artist and broken beat icon, Lyric L(Seiji,Nathan Haines), London Elektricity and Hospital Records' star vocalist Elsa Esmeralda, award-winning and chart-storming singer-songwriter Belle Humble (Freestylers, Paloma Faith) and soul and house mainstay Andre Espeut (Afriquoi,Simbad,Faze Action).

Responsible for all piano, synths, percussion and production on the album, Balfour's musicality shines through, a reminder of how overdue this debut album as leader is. However, in addition to the incredible vocalists, he's joined by some of the UK's finest jazz musicians: James Copus (trumpet), Pete Matin (bass), Laurie Lowe and Saleem Raman (drums) and Rob Updegraff (guitar).

Elsa Esmeralda implores us 'not to be afraid' on lead single and title track Running Colours. A perfect invitation to get stuck into this many layered album. Balfour compliments Esmeralda's soothing vocals with delicate piano intro before Lowe's bruk-easque drums and lead an irresistible groove bedded in warm synths and guitar licks.

Yes or No showcases Loose Lips legend Lyric L contemplating the uncertainty of love over a swinging mid-tempo jazz funk boogie groove propelled by tight drums and Hammond chords, closing with a flying trumpet solo from Copus, weaving around Balfour's nimble keys.

Wealth, featuring singer/songwriter Belle Humble, displays incredible depth and restraint. Humble delivers the enticing vocal with ease, as it slides over the intricate webs of jazz fusion and electronics.

Mogul is arguably Running Colours' curveball. An eastern-inspired whirlwind of all manner of synths and twisting drums which constantly morph throughout. Guitars and trumpets take turns to solo on a track that feels like a series of questions that we never quite get answers to.

Balfour's ability to merge free wheeling jazz and fusion with timeless electronic production and soulful compositions is also apparent on instrumental pieces such as Reflector 28. Here, we find the musicians upbeat, uplifting, progressive and playful, showcasing the keys whilst the bass underpins the groove.

South Of The Sun is Running Colours' laid-back moment with Roy Ayers-type vibrations as bass and drums sit in the pocket (at least to begin with), whilst a Rhodes weaves its magic. Like many of the album's tracks we take a few twists and turns before returning to our main feel-good motif.

Hamish's long awaited debut is sure to exceed the expectations of those who know him already, whilst introducing a whole new audience to his wealth of talent and originality.

After a summer of touring and working on remixes, Big Miz readies this new self-released 5 track EP. The first outing on Miz Records since February, three solo cuts and two collaborations
bring us yet another versatile spin on the modern house sound.

With aquatic sound design and tight kicks introducing ‘Causal Loop’, an opener that quickly morphs into a Legowelt / Alden Tyrell type synth-led jacking house jam, the EP wastes no time in getting going. There’s a sharp vocal sample of the narcotic persuasion that brings to mind Paul Johnson’s classic ‘Give Me Ecstasy’, whilst the clubbier vibe of those early LIES 12”s is also present. The title track is a drum machine workout that gradually ends up in a loopy 90s style minimal techno groove, whereas ‘An Facile’ pushes and pulls at the dancefloor with a mean acid line and makes reference to a gig that may or may not have taken place at a now shut-down Glasgow club many moons ago. You’ll need to ask Miz.

Over to Side B and ‘Sleep Well’ brings in production help from fellow Scottish stalwart Ewan McVicar, the pair working on the tune in a hotel room after a show. Evidently no sleep was had as the swirling acid lines, modulated rimshots and tempo trickery combine to make one of the trippiest jams on the record. Things draw to an end with an Underground Resistance sampling colab with Good Thing resident DD Watermelon.

Monophonics cordially invite you to attend the grand re-opening of the once thriving, once vibrant establishment, the legendary Sage Motel. A place where folks experience the highs and lows of human existence. A place where big dreams and broken hearts live, where people arrive at without ever knowing how they got there. It's where folks find themselves at a crossroads in life. So join us as we examine where the stories are told and experiences unfold.....and sink into a soft pillow of soulful psychedelia.....down at the Sage Motel.

Phase Group continue their exploration of the fringes of contemporary electronic music with a release that brings together two separate projects born from analogue hardware improvisations.

‘A Given Moment’ presents the dub-laden, mind-bending and noise-driven music of Brussels-based artist and Vastechoses label head Lostsoundbytes, and the lo-fi, early morning lysergic experiments of Lowspace, an unearthed, forgotten collaborative project by French DJ and musician Low Bat and Dresden-based producer Heninspace.

This is music that takes you deeper into the vortex, made for dark and smoke-enveloped clubs and cosmic day-break afterparty moments. On the A-side, Lostsoundbytes continues his prolific output of masterfully crafted bass-heavy and dub-wise analogue machine jams, while the B-side presents two lost psychotropic experimental recordings by Lowspace made in 2016 upon a visit by Low Bat to Heninspace’s Dresden studio.

'A Given Moment' will be out on Phase Group in December 2022

Artwork by Andrija Čugurović
Mastered in Glasgow by Murray Collier.
Professionally dubbed to cassette in Prague by Headless Duplicated Tapes.

London based label Natural Selection present their 3rd release in the form of a 4-track physical and digital EP courtesy of Kamikaze Space Programme (aka Christopher Jarman), entitled "Ashes To Ashes, Dust To Dust EP". The release also features a remix from Slave To Society (ex AnD). Cut by Simon at The Exchange Vinyl and mastered by Dadub Studios, Berlin.

Jarman is widely considered as one of the most forward thinking and innovative sound designers around. With roots indebted to the music he released as Raiden in the early 00's, his abstract, field recorded, industrial and broken admission into the annals of Techno via his prevailing alias; Kamikaze Space Programme, has seen his music backed, supported and released by the heaviest of renowned labels such as MORD, Mote-Evolver, Osiris, TRUST & more.

As an avid field recording artist, Jarman's release by and large is made up of foley sound design and sonic experimentation using bespoke apparatus and homemade microphones. Capturing internal resonances and electromagnetic radiation of objects, re-amplified or organic, classic hardware dub mixing completes his instantly recognisable Kamikaze Space Programme aesthetic, and successfully traverses the divide between Techno, Drum and Bass, Electro and Breakbeat.

Natural Selection are well known for bridging the heavier spectrum of Techno, Electro, Acid, etc. with new, experimental style and form. One can always expect cutting-edge, hard-hitting, underground electronics from Natural Selection, with extreme diversity in sound.

(GF Col. LP + DL
Formed in 1980 by guitar prodigy Leonardo Vela Rodriguez, Sonido Verde de Moyobamba created some of the hardest, craziest Cumbia to emerge from the Peruvian jungle. With distorted, surf-addled guitar facing off against lysergic organ and hyperactive tropical rhythms, Sonido Verde conjured the organic sound of the dense forests surrounding their hometown while riding their dance-party grooves to dizzying psychedelic peaks.

Compiled by Analog Africa, Sonido Verde de Moyobamba presents eight ultra-rare tracks of guitar and organ madness drawn from the band’s five albums recorded for Discos Universal between 1981 and 1987. Pressed on Sun Yellow colored vinyl, housed in a screen-printed jacket and strictly limited to 2000 copies, Sonido Verde is a definitive trip into the heart of the jungle.

Limited Edition 180g LP - Comes with a Silk-Screen printed cover and a Sun Yellow colored vinyl
Download for LP from Bandcamp also includes unlimited streaming of *Sonido Verde de Moyobamba* via the free Bandcamp app along with high-quality download in MP3, FLAC and more Analog

New, extraordinary music by Cosmic Vibrations ft Dwight Trible. An interplanetary journey from this new, LA based 6-strong ensemble of experienced musicians that define spiritual jazz in the 21st century.
This is a genre-defying amalgam of divine vocals by Dwight Trible, Sun Ra-esque jazz with world influences, laced with indigenous instruments, taking you into a cosmic journey of spiritual improvisation and beyond. Cosmic Vibrations’ Pathways & Passages is an awakening, an opportunity to soar deeper into an altered awareness, an unfolding from a multi faceted cosmic realm into the Cosmos. Simply superb.

Somewhere between the late 1990s and the early 2010s, the rif largely disappeared from mainstream rock & pop. Its transformative power - the rif as a means to transport the listener into another dimension - became an art cherished only in the underground of rock and metal. One of the strong proponents of that transformative power is ASTROSAUR, an overlooked gem in the international heavy psyche rock and post- metal scene. The Norwegian power trio has been employing the rif as their principal mode of transport since their 2017 debut album Fade In // Space Out. Now, with the release of their third album Portals, ASTROSAUR are sounding more expansive and convincing than ever, delivering an intuitive exploration of the infnite powered by soaring guitars and surging grooves. With their third full-length album, ASTROSAUR have delivered an incredibly diverse and musically challenging and satisfying experience, showing that this band is greater than the sum of its truly great parts. Over the course of fve tracks and 48 minutes, the band use the best traits of the aforementioned genres to take you on a sonic journey into the deepest caverns of space and time. First single «Black Hole Earth» is masterclass soaring post-rock guitars, with its magnifcent main melody, which is ofset against a blistering desert rock rif, like a star ship phasing in and out of hyperspace, alternating between crushing your guts and showing you the most marvellous views of deep space. From a compositional viewpoint, «Eternal Return» is a mind-blowing afair. This giant psychedelic prog epic has been built from diferent themes and motifs that take turns in appearing, shifting form and developing as they go along. Segueing into new themes or returning to earlier ones, «Eternal Return» gloriously comes full circle, ending the mind-boggling journey of Portals. With the addition of vibraphones, Moog and acoustic guitars, the sound of ASTROSAUR is fuller and more diverse than ever before. From the soaring overture of «Opening» to the glorious fnale of «Eternal Return», Portals shows the next great post-metal band at their most accomplished. Fans of dynamic rifs and intricate compositions can once again rejoice as they're able to tune in and fade out once more with another wild ride courtesy of this exciting Norwegian powerhouse. Limited Eternal Return Vinyl Edition!

LTD ETERNAL RETURN ED.

Somewhere between the late 1990s and the early 2010s, the rif largely disappeared from mainstream rock & pop. Its transformative power - the rif as a means to transport the listener into another dimension - became an art cherished only in the underground of rock and metal. One of the strong proponents of that transformative power is ASTROSAUR, an overlooked gem in the international heavy psyche rock and post- metal scene. The Norwegian power trio has been employing the rif as their principal mode of transport since their 2017 debut album Fade In // Space Out. Now, with the release of their third album Portals, ASTROSAUR are sounding more expansive and convincing than ever, delivering an intuitive exploration of the infnite powered by soaring guitars and surging grooves. With their third full-length album, ASTROSAUR have delivered an incredibly diverse and musically challenging and satisfying experience, showing that this band is greater than the sum of its truly great parts. Over the course of fve tracks and 48 minutes, the band use the best traits of the aforementioned genres to take you on a sonic journey into the deepest caverns of space and time. First single «Black Hole Earth» is masterclass soaring post-rock guitars, with its magnifcent main melody, which is ofset against a blistering desert rock rif, like a star ship phasing in and out of hyperspace, alternating between crushing your guts and showing you the most marvellous views of deep space. From a compositional viewpoint, «Eternal Return» is a mind-blowing afair. This giant psychedelic prog epic has been built from diferent themes and motifs that take turns in appearing, shifting form and developing as they go along. Segueing into new themes or returning to earlier ones, «Eternal Return» gloriously comes full circle, ending the mind-boggling journey of Portals. With the addition of vibraphones, Moog and acoustic guitars, the sound of ASTROSAUR is fuller and more diverse than ever before. From the soaring overture of «Opening» to the glorious fnale of «Eternal Return», Portals shows the next great post-metal band at their most accomplished. Fans of dynamic rifs and intricate compositions can once again rejoice as they're able to tune in and fade out once more with another wild ride courtesy of this exciting Norwegian powerhouse. Limited Eternal Return Vinyl Edition!

Tape

»No Date Tapes 2« is the second official cassette release from Harry Bertoia's tape archive and, like the first cassette, these recordings were chosen from a small collection of tapes in Bertoia's archive missing recording dates.

This cassette is packaged in a metallic shell and produced on super-ferro tape for incredible analog sound.

Bio:

Harry Bertoia first gained some artistic visibility in the early 1940s, then came into prominence with his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, which quickly became classics of modernist furniture. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the late 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Harry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years of adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a the artist's logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

Gems Under The Horizon, the chillout division of Belgium’s Basic Moves returns with its second release this July, comprised of four original cuts from various artists across the globe.
Gems Under The Horizon was launched by Basic Moves label boss
Walrus originally as a Sunday daytime party series aimed at sharing electronic music in the chillout, ambient and downtempo sphere to wind down the weekend. The affiliate imprint was launched in April 2021 with material from Astral Industries artist Sonmi451 and Dylan Thomas Hayes.
Here the label returns with four new tracks welcoming an array
of new artists onto its roster and leading the way is &Apos who delivers ‘Vigo’, a hauntingly beautiful journey through swelling textures, plucked strings ethereal voices and synth modulations. Salamanda’s ‘No Vacation’ follows, the Seoul, South Korea based duo of Uman Therma a.k.a. Sala and Yetsuby a.k.a. Manda turn their focus
towards an amalgamation of gamelan like chimes, metallic percussion, organic drum grooves and flute like synth work.
Ugné & Maria’s ‘Into Orbit’ opens the flip side, as the name would suggest embracing a spaced-out aesthetic with intricately unfolding melodies, cinematic atmospherics, and gritty broken drums. Bogota, Colombia’s Manta Ray then rounds out the release with ‘Mysterious Ways’ as she traverses through off-kilter rhythms, unfurling pads,
choppy scratches, broken vocal cuts and meandering subs.

An outstanding 2LP compiling the best instrumentals of the greatest white rap group ever: the Beastie Boys. New Yorkers Ad-Rock, MCA and Mike D crossed over into the mainstream in the mid 80s with their full-length Licensed to Ill and exploded any notions of one-dimensionality with its ambitious followups such as Paul's Boutique, On Check Your Head and Ill Communication. Taking influences from hardcore and hip hop, these innovators performed most of the music while integrating an array of rock samples, 808 beats and witty wordplay into an ever-intriguing sonic smorgasbord.

Staging an attempt to gloss their music, Gentle Stranger
say it recalls “throwing a bouncy ball into a hall of mirrors.”
It’s telling that normal routes of describing music - your
typical band boilerplate of “such and such meets such and
such” or “we just play guitar, us, and leave the writing up to
you” - doesn’t suffice for the London collective; instead a
more arcane, more potent image is fired back, a wonky
and poetic idea that’s instantly more arresting, more
substantial.
For the newly initiated, Gentle Stranger are a selfdescribed “post-clown” outfit that oscillate between musical
forms, achieving a bewildering, almost Joycean
experimental sweep; pastiche, parody, burlesque, earnest
composition, genre interrogation and progression - they
cover it all. Their renowned live performances see the trio
cycle through an arsenal of musical instruments,
apparatus, tackle, and stuff. The set (part of the reason for
their now cult-like following) hangs together intricately, a
fractal clockwork machine that relies on movement and
spatial-awareness as much as it does timing and
musicality.
Upon witnessing the Gentle Stranger live show (‘show’
here is most certainly in the theatrical, carnivalesque,
extravaganza sense of the word), it’s tempting to question
whether they could reiterate, reshape, and condense this
uniquely visual and visceral spectacle into recorded music
- and the answer is yes. The latest update of the Gentle
Stranger sound lands in the form of ‘Upon Return’, their
barnstorming third album.
Gentle Stranger reportedly enjoy “revelling in the
disarray” of ‘Upon Return’, this ornate and finely wrought
mind palace - it’s a riveting and often joyous experience
soundtracked by strange, strange, and stranger music.
Available on black vinyl LP.

We wrote and recorded Enjoy The View in the first 8 months of the pandemic, initially working separately before joining up in the studio to finish the album. We always felt like this album was a chance for us to try some things out and approach writing music together differently than we had done before. After getting back out on the road again we thought it may be fun to revisit some of those songs and take another new approach. So after our mammoth six-week tour of North America finished in April 2022 we decided to have another crack at some of these songs and see where else we could take them. Our idea for this EP was to go into the studio and just see where we went from there… I think making music is just making hundreds of tiny decisions that ultimately give the final feeling and sound of a song. We have absolutely loved playing music and spending more time with Andy Monaghan and jumped at the chance to head into the studio with him and make some different decisions! We also thought it would be great to see where other people could take some of those songs and are so delighted that we’re lucky enough to have Andy, Manchester Orchestra and Zoe Graham put their own spin them and make them something that we could never have done

Primetime Entertainment’ is PET NEEDS’ second studio album and is produced by friend and fan Frank Turner. Simultaneously loud and quiet, raucous party anthems sit alongside thought-provoking personal songs; it’s the sound of a band stepping up a gear to match their catapult on the big stages across the world. Having already toured Europe supporting Frank Turner in the first half of 2022, including Germany, Netherlands, France and more – the touring continues joining Frank on his mammoth 50 States in 50 Days tour of the US throughout June and July and then finally across the UK in September and October. ‘Primetime Entertainment’ is released on 9th September and will be available on CD, LP, digital and cassette. Timeline: Track 1 – ‘Get On The Roof’ – released as a single on 24th June ‘22 "After a gruelling 8 hour drive from a gig in South Devon back to Essex, I was reunited with my wonderful partner Lorna. We threw an old mattress out of our bedroom window onto our roof and clambered out, armed with a rucksack full of the remainder of last night's rider. We listened to cinematic theme tunes as the sun set over the chimneys on the horizon. Come early morning, we rolled back into the house. I grabbed my acoustic guitar, pressed "record" on my phone and sung a dizzy, euphoric stream of consciousness to my voice notes. It felt good, but they always do at that time of night, haha. On second listen in the morning, I felt excited about the tune and started to refine it. As soon as it hit the practice room we turned it into a party banger!"

Primetime Entertainment’ is PET NEEDS’ second studio album and is produced by friend and fan Frank Turner. Simultaneously loud and quiet, raucous party anthems sit alongside thought-provoking personal songs; it’s the sound of a band stepping up a gear to match their catapult on the big stages across the world. Having already toured Europe supporting Frank Turner in the first half of 2022, including Germany, Netherlands, France and more – the touring continues joining Frank on his mammoth 50 States in 50 Days tour of the US throughout June and July and then finally across the UK in September and October. ‘Primetime Entertainment’ is released on 9th September and will be available on CD, LP, digital and cassette. Timeline: Track 1 – ‘Get On The Roof’ – released as a single on 24th June ‘22 "After a gruelling 8 hour drive from a gig in South Devon back to Essex, I was reunited with my wonderful partner Lorna. We threw an old mattress out of our bedroom window onto our roof and clambered out, armed with a rucksack full of the remainder of last night's rider. We listened to cinematic theme tunes as the sun set over the chimneys on the horizon. Come early morning, we rolled back into the house. I grabbed my acoustic guitar, pressed "record" on my phone and sung a dizzy, euphoric stream of consciousness to my voice notes. It felt good, but they always do at that time of night, haha. On second listen in the morning, I felt excited about the tune and started to refine it. As soon as it hit the practice room we turned it into a party banger!"

Svart Records unleashes a heady brew of nocturnal Post-Punk atmosphere and avant-garde Metal from Swedish Goth-tinged Doom Rock band Shaam Larein. The new album, “Sticka en kniv i världen” literally meaning: “stick a knife into the world”, is a ravishing, cut-throat statement of Shaam Larein’s heavy intent, that casts a new shadow of stunning darkness. Formed in 2018, Shaam Larein released their debut album “Sculpture” in 2020 to raptured underground praise, earning them an instant booking to the prestigious Roskilde Festival and planting them on the radar of cult artists such as Chelsea Wolfe. Now signed to Finland’s Svart Records, whose reputation has been forged on bringing new heavy rock artists such as Messa, Green Lung and Beastmilk from the underground into the limelight, Shaam Larein is soon to be hot on the tongues of the cult grapevine. Named after their auteur-like visionary singer Shaam Lerein, who was brought up on Russian classical art and the cinema of Tarkovsky, composes and visualizes their dark materials, cementing Sticka En Kniv I Världen” as an utterly unique take on bat-winged heavy rock. With a devout appreciation of the mystic powers inherent in heavy music, Shaam Larein will ignite memories of Swedish Metal artists such as In Solitude, who swayed towards the eclectic and gothic atmospheres Shaam’s music touches on in their later days. With artist friends from back home in Uppsala, Pelle Åhman making the Album cover and his brother Gottfrid Åhman, both of In Solitude fame, making four videos for Shaam Larein, the links weave closer, but it is to artists like Chelsea Wolfe, Ruth Rundle & Marissa Nadler that you can imagine fans drawing parallels and opening their heart to the enigmatic sound of “Sticka En Kniv I Världen”. Shaam describes her music as “a touch of aggression mixed with passion” and “Sticka En Kniv I Världen” for her is about finding the light through a sea of darkness “accepting the melancholy and seeing the beauty of what lies underneath our mysterious sound”. For a world of heavy rock hungry for a new wave of something dark and mysterious, Shaam Larein has it all in unparalleled dosage, just waiting to be discovered. “Sticka En Kniv I Världen” is released on December 9th by Svart Records.

Svart Records unleashes a heady brew of nocturnal Post-Punk atmosphere and avant-garde Metal from Swedish Goth-tinged Doom Rock band Shaam Larein. The new album, “Sticka en kniv i världen” literally meaning: “stick a knife into the world”, is a ravishing, cut-throat statement of Shaam Larein’s heavy intent, that casts a new shadow of stunning darkness. Formed in 2018, Shaam Larein released their debut album “Sculpture” in 2020 to raptured underground praise, earning them an instant booking to the prestigious Roskilde Festival and planting them on the radar of cult artists such as Chelsea Wolfe. Now signed to Finland’s Svart Records, whose reputation has been forged on bringing new heavy rock artists such as Messa, Green Lung and Beastmilk from the underground into the limelight, Shaam Larein is soon to be hot on the tongues of the cult grapevine. Named after their auteur-like visionary singer Shaam Lerein, who was brought up on Russian classical art and the cinema of Tarkovsky, composes and visualizes their dark materials, cementing Sticka En Kniv I Världen” as an utterly unique take on bat-winged heavy rock. With a devout appreciation of the mystic powers inherent in heavy music, Shaam Larein will ignite memories of Swedish Metal artists such as In Solitude, who swayed towards the eclectic and gothic atmospheres Shaam’s music touches on in their later days. With artist friends from back home in Uppsala, Pelle Åhman making the Album cover and his brother Gottfrid Åhman, both of In Solitude fame, making four videos for Shaam Larein, the links weave closer, but it is to artists like Chelsea Wolfe, Ruth Rundle & Marissa Nadler that you can imagine fans drawing parallels and opening their heart to the enigmatic sound of “Sticka En Kniv I Världen”. Shaam describes her music as “a touch of aggression mixed with passion” and “Sticka En Kniv I Världen” for her is about finding the light through a sea of darkness “accepting the melancholy and seeing the beauty of what lies underneath our mysterious sound”. For a world of heavy rock hungry for a new wave of something dark and mysterious, Shaam Larein has it all in unparalleled dosage, just waiting to be discovered. “Sticka En Kniv I Världen” is released on December 9th by Svart Records.

Die "Blue Record" EP enthält 5 Songs: die beeindruckenden Akustikversionen von drei Songs des 2013er Albums ,II" sowie zwei fantastische Coverversionen, "Swing Lo Magellan" (DIRTY PROJECTORS) und "Puttin It Down" (BECK). "Ich habe erst im letzten Jahr damit angefangen, Akustikgitarre zu spielen. Die Idee, dass eine Gitarre Sound in Elektrizität übersetzt und es dann richtig laut wird, mochte ich schon immer. Ich dachte, dass die Akustikgitarre vielleicht ein bisschen zu niedlich für mich ist. Doch nachdem uns einige Gelegenheiten geboten wurden, Akustiksets zu spielen, um die neue Platte zu promoten, habe ich beschlossen, das Ganze als Herausforderung zu betrachten und zu versuchen, akustisch zu spielen und dabei nicht langweilig zu klingen. Schließlich fand ich es schon immer toll, wie Arthur Lee akustisch spielt und fragte mich, ob ich das wohl überzeugend hinbekommen könnte. So wurde ich praktisch durch ein paar Radiosessions dazu gezwungen, mir die Akustikgitarre anzueignen und beschloss, ein paar Songs akustisch aufzunehmen und zu veröffentlichen, weil den Leuten das anscheinend gefiel. Alles wurde in meinem Keller mit nur einem Mikro direkt auf Band aufgenommen." - Ruban Nielson, UNKNOWN MORTAL ORCHESTRA ENG "I only started playing the acoustic guitar last year. I'd always preferred the idea that the guitar converts a sound into voltage and then becomes really loud. I thought the acoustic guitar was a little bit too twee for me or something. But after being offered some opportunities to play various acoustic sessions to promote the new record, in situations where it wasn't possible to record the whole band, I decided to treat it like a challenge to try and play acoustic and not have it be lame. After all I was really into Arthur Lee's ability with an acoustic and started wondering if I could make it sound convincing. Anyway, after being somewhat forced to develop some skill on the acoustic through these various radio sessions and things like that I decided to record some songs acoustically and release them since people seemed to be liking the way I was doing it. Everything was recorded straight to tape in my basement with a one mic set up." - RUBAN NIELSON, UMO


[a] 01. SWIM AND SLEEP (LIKE A SHARK) [ACOUSTIC VERSION]
[b] 02. FADED IN THE MORNING [ACOUSTIC VERSION]
[c] 03. SO GOOD AT BEING IN TROUBLE [ACOUSTIC VERSION]

A joint release by LA's Hippos In Tanks and Montreal's Arbutus Records, the Darkbloom EP is a thrilling split by d'Eon and Grimes. Harnessing the dark energy of her sophomore album Halfaxa, along with the shimmering dream pop of her debut Geidi Primes, Grimes' side represents a synthesis of her two sonic personalities. Displaying a level of clarity and craftsmanship heretofore unseen in her releases, Boucher presents a stunning new collection of ethereal dreamscapes that expand her creative palette without compromising the spectral presence she is known for. Following the Middle-Eastern-tinged R&B of 2010's Palinopsia, d'Eon broadens his stylistic breadth through reference to a number of electronic genres - for example, he simultaneously incorporates elements of Chicago footwork and new jack swing, but surprises the listener with strange forays into bygone genres such as UK drum and bass and trip hop. Presently available worldwide on CD and Digital formats, Darkbloom will be available on vinyl, for the frst time in many territories, on May 20th, 2016.

Lucky', the title of Nada Surf's fifth album, is at once literal and ironic. Like the songs that singer / guitarist Matthew Caws, bassist Daniel Lorca and drummer Ira Elliot crafted for their previous two albums, Let Go' (2003) and The Weight Is A Gift' (2005), Lucky is filled with images of restlessness, longing and the elusiveness of love. Yet the band counterbalances the lyrical bitter sweetness with musical buoyancy. Intimate songs become in-it-together anthems, thanks to the chiming guitars, propulsive rhythms, and the emotional candour in Caws' vocals. A song like Beautiful Beat' segues from a sparsely arranged, confessional first verse into a harmony-laden chorus and reaches multi-layered, canon-like proportions before the track fades out. If Caws is often suggesting that romance and resolution may still be an inch or two out of reach, he's also proffering immediate musical solace. Turn up the volume, hit the repeat button, and your troubles, for a blissful three minutes or so, will disappear.

The three members of Nada Surf have played together now for a dozen years. They've survived overnight major-label success and the inevitable morning-after bleariness, persevering past obstacles that would have sunk a less resilient combo, to become one of America's most truly independent and respected bands. Experience has only made their work richer, bringing gravity to the subject matter and lightness to its presentation. Keeping things honest has become a modus operandi.

Tired of the crazy pandemic lockdown time, we've got another Bourassa release.

Smolny, who recently debuted with the song 'Secret' on the PLUR vol.4 compilation for Lobster Theremin, returns to his label this time with the 'Magic Series' of 4 beautiful rave tracks from the 90s.

The A side offers two wonderful classic old school jungle sounds, which recall the crazy times of that golden era. Cheerful pianos and twisted well-known vocals take us into a magical world.

On the other side, 'Fantasy' and 'Euphoria' at a slightly faster pace of 140 bpm, brings us killin' happy hardcore vibes. Who doesn't remember the epic sample 'Can't beat the system'? Used again in the 'Fantasy' with the new arrangement will definitely destroy the dancefloor on more than one occasion.

Light Blue Vinyl 2022 Repress

Schwefelgelb is a Techno duo from Berlin, known for their raw but precise and cutting productions. Their reputation for a strikingly energetic live show brought them into clubs and festivals around the globe.

It seems almost ironic that in the midst of a pandemic their new 4 track EP "Der Rest Der Nacht" ("The Rest Of The Night") appears to be their clubbiest release ever. Massive kick drums, rave-like leads and hard-hitting impacts encapsulated in a detailed production - a sound that makes you long for dark concrete industrial clubs.

NPLX002 comes on 140 g colored vinyl and a download code and will be released 28th of May. The digital version contains a bonus remix by Randomer. (Presale starts 7th of May.) Previous releases on aufnahme+wiedergabe, Fleisch Records and Minimal Wave Records' imprint Cititrax have been frequently played by acclaimed DJs (Phase Fatale, Randomer, VTSS, Amelie Lens, Regis, Helena Hauff, Veronica Vasicka, Silent Servant to name a few).

"Infinite Echo" is a fresh suite of voyaging Balearica, tinged with ocean mist. Over the years, the incredible British duo Seahwaks have crafted an expansive catalogue of trippy and cosmically-influenced, ambient instrumentals, which has seen them collaborate with the likes of Badly Drawn Boy, Tim Burgess and Jon Goddard (of Hot Chip). Helmed by perennial co-captains Jon Tye (founder of Lo Recordings) and Pete Fowler (acclaimed Welsh visual artist), their latest collection emerged from a series of scraps and vignettes informed by a breadth of eclectic chillness (mid-80's digital new age in the Higher Octave vein, Michael McDonald remixed by Oneohtrix Point Never, etc.), then fleshed out with Lyra Pramuk's Siren Songs app and Holly Herndon's Holly+ software, rendering it choral, otherworldly, and "emotional in a new kind of way." The results sound elevated and ineffable, like music heard at the edge of dreams, hinting at worlds yet to come.

On their third album, »Rideau«, Swedish trio Tape made their great leap forward. Released in 2005 on Häpna, following two albums of pastoral folk meets electronica, »Rideau« saw the trio of Andreas and Johan Berthling, and Tomas Hallonsten, working with an outside producer, Marcus Schmickler (best known for his post-rock outfit Pluramon). On »Rideau«, Tape’s music opened out considerably, embracing traditional minimalism, and luscious melodicism. Now, seventeen years later, »Rideau« has a new home with Morr Music, who are reissuing the album on vinyl, marking its first appearance on the format, including an extra track.

It’s only logical that »Rideau« should reappear via Morr Music. Like Tape themselves, Morr Music was a significant part of the worldwide gang busy reconciling electronica, pop, and acoustic, group- oriented sound across the 2000s, and »Rideau« sits neatly alongside other releases of similar heritage. And yet, »Rideau« feels contemporary, suggesting the creative discoveries made by the trio have ongoing resonance; their elliptical poetry echoes through recent music from the likes of Tara Clerkin Trio, and Tape’s sometime collaborators, Tenniscoats.

Asked about the album, Johan Berthling recalls, “»Rideau« was a special album for us to make”. While they had previously recorded their albums in rural Sweden, for »Rideau«, the trio decamped to Schmickler’s Piethopraxis Studio in Cologne. The creative space that Schmickler carved out for the group allowed them to explore this new material to its fullest. For his part, Schmickler found himself drawn to Tape’s music –“Their focus was a combination of seemingly timeless folk influences with noisy electronics and field recordings,” he explains. You can hear Schmickler’s influence at an almost molecular level – Tape had never sounded quite so graceful and assured with their compositions. “Marcus really shaped the music, working architecturally to build the form of the pieces,” Berthling recalls.

»Rideau« represents a collective exhalation for Tape, with the trio exploring more involved, longer pieces, which situates them in yet broader musical contexts. There are clear connections with the history of minimalism, for example, via the repeating organ phrase of »Sunrefrain«, and the insistent piano arpeggio of »A Spire«, which builds into a Reich-ian dream song, with sensuous electronics and glinting vibraphone dappling abstract shapes across the song’s stretched canvas.

Reflecting on Tape’s essence, Schmickler isolates their “uncompromised ethos, caring about small details.” This echoes most radically through the twilight environment of »Long Lost Engine«, which sets the listener adrift on impossibly radiant drones, while a gentle, almost Feldman-esque melody plays out over the song’s surface. It’s followed by the reissue’s extra track, Japanese electronica quartet Minamo’s remix of »Roulette«, a connection that would lead to a Minamo/Tape collaborative album, »Birds Of A Feather« (2007).

For now, though, here is the gorgeous, penumbral abstraction of »Rideau«, an album of whispers and clues, quiet moments and grand gestures, reintroduced to a welcoming world.

We Smile were part of the Hamburger Schule back in the early Nineties: expressive vocals, associative lyrics in German and English, brittle guitars and overall a quite broad interpretation of the general idea of Pop. Now, 30 years later, Hamburg label Couldn’t Care More releases these spectacular remixes of songs from We Smiles album “Für Die Anderen”: Glasgows JD Twitchs (Optimo) turns “Sack Voll Drogen” into one twisted colossus of a track, made from electro, breaks and rave , Tokyos Tentenko fires up the Casio for her two versions of "31 24 42" and Hamburgs Mense Reents (Egoexpress, Die Vögel, Die Goldenen Zitronen) builds the most extraordinary elegant Pop song from the sparse "Can't Resist (Popmusiker Sind Auch Künstler-Version)". Also included is the formidable (and remastered) original of "Kind Und Kegel".

Pleasure Pool are Finn O’Hare, Andrew Robertson and a rolling cast of Glasgow-based musicians, performers and artists. They sound like nothing else to have come out of Glasgow recently, exploring the territory between live performance and club culture through their collaborative ethos and party-starting attitude. Their debut EP, Night Scars, arrived in early March 2020 and now comes Love Without Illusion, Pleasure Pool’s debut album, released on Optimo Music.

Love Without Illusion adds layers of complexity and introspection to Night Scars’ squarely dance floor-focused brew, though the record still oozes danceable energy. Open Hours is like opening a door and finding a party already in full swing, an assortment of recurring Pleasure Pool motifs – echoing, dubbed-out vocals, gorgeous, impossibly airy synth melodies, louche percussion, cowbells, rising and falling flecks of trumpet – all introduced in short order. Lick The Bag, which prominently features vocalists Chloe Charlton and Raissa Pardini, has a controlled chaos befitting its morning-after-the-night-before name.

The rest of the album rides this glimmering, night-magic mood at varying frequencies, with the title track a gentle storm of grandiose walls of synth and pulsing vocal fragments. The slow and low flickering funk of album closer Zero Hours pulls all that has come before it together to end things in the woozy bliss of a walk back home in warm, gentle sunlight.

Love Without Illusion is a dazzlingly complete expression of Pleasure Pool’s intoxicating sound and vision. Dive on in and explore.

United States at the beginning of the 1960s, the vibrant speeches of the great defenders of the black cause were soon relayed by the artists of the time.... The groove revolution is underway! Dive into the heart of this era with the proud voices of the Artists who made the Protest Song! A fine selection with : GIL SCOTT-HERON - Angela Davis- Doris Duke- Seven Seas- Shirley Caesar- Skull Snaps- T-Connection- The Whatnauts...

"Hyaline" is the debut album from Ohio-born, Oakland, CA-based artist and songwriter, Maria BC. Their classically-trained mezzo-soprano voice soars over raw, etherial guitars; audio samples from Prospect Park - now almost unrecognizable - settle alongside tender, transformative harmonies. Mixing together different sessions, tracks recorded directly into their phone and samples collected over the years, Maria BC likens "Hyaline" to a "sonic collage." It"s a project of patience and trusting the process.

‘Brutalism’ was originally self-released in March
2017, surpassing expectations to become one of
the decade’s most important debut albums.
Beneath the surface of its aggressive, foreboding
music and lyrics lies a level of confessional
vulnerability and honesty that comfortably
cemented it as an instant classic.
In the five years since ‘Brutalism’’s release, IDLES
have gone on to achieve so much, including a
Number One album, selling out tours and festival
headline appearances around the world. Its followup, ‘Joy As an Act of Resistance’, further spring
boarded the band into the UK (and beyond)’s
consciousness and paved the way for the colossal
‘Ultra Mono’ - the band’s first UK No. 1 album.
Last year’s ‘CRAWLER’ contained the buzzsaw
urgency that their now global fanbase had come to
expect but expanded its sound with more melodic
and introspective songs. At every step of the way
the band have garnered a wealth of dedicated
supporters - from the early breaks given to them by
Steve Lamacq and BBC 6 Music, the independent
live music circuit and the incredible AF Gang
community.
To celebrate, the band release a reissue of the
debut studio album: ‘Five Years of Brutalism’. This
reissue features alternative artwork designed by
Joe Talbot, and is pressed on cherry red vinyl.

Italian, French-speaking and blessed with a Belgian accent Christophe Clébard brings a coherence that prevails both for his person and for his music: a wobbly mound, which sometimes resembles a series of explosions, sometimes a pile of layers cut by a flood of words from which parts can be distinguished. Relying on the amplified intonation of a saturated microphone, a pounding rhythm box and a synthesizer, his performances absorb the hearing to spit it out in a universe where nothing has any meaning, except "we're going to die". A punchline that he chants far from the cliché darkness of the dark wave, since for him death is jubilant and colorful, with the grim reaper as the owner of the nightclub. A nightclub well anchored in his head, without a future, with the upcoming emptiness and the hazy memory of his Christian upbringing.

All tracks composed and recorded by Christophe Clébard at les ateliers claus. The album was recorded during a residency at Les Ateliers Claus during the month of April 2021, mixed by Piccolo Bruno and Christophe Clebard, mastered by Elvin Vanzeebroeck at Rare Sound Studio. Photos and Cover projects by Jonas Meier.

Volker Bertelmann and Hildur Guðnadóttir hardly need an introduction - their distinct styles have graced the speakers of pretty much anyone enamored with experimental music in the last decade, and between them the two have chalked up an enviable canon of successes. Bertelmann, under the Hauschka moniker has explored the extremities of prepared piano improvisation, and Guðnadóttir has taken cinematic, explorative cello music into a new era of depth and passion, so to hear them both together is a rare and unexpected treat. Rare is putting it lightly even - „Pan Tone“ is a recording of a single concert which the duo performed on the 26th of February 2010 as part of Arctic Circle - Bubbly Blue and Green festival at Kings Place in London, and documents an event that would truly never be repeated. Sure, they could attempt to re-create the event, but the spontaneity and glorious serendipity in this particular recording is a pleasure to behold.

Bertelmann and Guðnadóttir decided to create a set of compositions which based on the idea of the ocean, and took a book of Pantones to extract exact references to the specific colors of the sea. These watery tones form the backbone of the performance and inform the direction of the collaboration, guiding us through rich blues, glassy greens and frothy whites. In listening to the music it seems incredibly appropriate that the artists should choose blue as the middle ground in their work; the ineffable lightness that Bertelmann brings to the table is a stark contrast to Guðnadóttir's sinking darkness, and as the two styles collide we witness a plethora of tones, shades and hues. It sounds as if the two artists have been playing together for decades, and their sound is so perfectly matched you might wonder why it's taken them this long to collaborate. All that's left for us to do is to soak in the tidal beauty of this very exclusive body of music, to listen to it sing, bubble and crash through its duration before settling in total silence. When the record reaches its conclusion there is an unsettling calm, a sense that you have witnessed something very special indeed, and that is a feeling to prize amongst all else.

arbitrary presents the third in the Black Box series of releases by Mads Emil Nielsen. The release, which showcases a more sample- and grid-based side of the Danish musician/composer’s work, is part of a sequence of publications with music and audio originally made for theatre, radio soundtracks and more.

Black Box 3 is based on sound pieces produced for Sprækker (Cracks), a dance performance & installation in Denmark, 2021. The starting points for these pieces are improvisations recorded with contemporary dancers, in which Nielsen guides the listener through a corpus of synthesizer recordings, everyday sounds and radio archives. These original recordings were reworked for this LP and edited into the six tracks in early 2022.

Written & produced, recorded and mixed by Mads Emil Nielsen, Copenhagen, 2021 / 2022. Acoustic sounds on Installation – 2 by Victor Dybbroe. Mastered and cut by Kassian Troyer at D&M, Berlin. Graphic design by Mads Emil Nielsen. Thanks to Aaben Dans, Thomas Eisenhardt, Catherine Poher, Chris Watson, Antoine Hubineau.

Detroit based producer & DJ 2lanes is happy to announce the evolution of his digital label ‘AUTO SHOP’ into the physical world with its first release; a new alias called OVERTONE SERIES. A collaborative project between 2lanes and fellow Detroiter Jonah Baseball, recorded over many sessions during early lockdown.

The "Shuffle Shack EP" has 4 tracks that span psychedelic deep house, dance floor stomping soul, and rejuvenating sunrise downtempo moments. The record also features performances from Jonah’s father David Gray, Los Angeles based singer Jia Pet and Ji Hoon - who was featured on the B-side “Impish Desires” on 2lanes breakthrough record on Portage Garage Sounds.

(7" light blue colored vinyl) Next up in our 7” vinyl series, Honey C aka the late great Philippe Van Mullem and Bonzai stalwart Philippe Toutlemonde, delight with two seminal vocal trance tracks – Stop (The Disease) and Desire.

Next up in our 7” vinyl series, Honey C aka the late great Philippe Van Mullem and Bonzai stalwart Philippe Toutlemonde, delight with two seminal vocal trance tracks – Stop (The Disease) and Desire. Housed on light blue colour 7” vinyl, both tracks were first released in 1993 on the Houze Factory imprint before Stop (The Disease) was snapped up on the legendary Bonzai Trance Progressive in 1997 with a raft of remixes in tow. Desire would make an appearance on Bonzai Classics Digital in 2007, cementing its status as a retro gem. The 2 Philippe's were pioneers of that vocal trance sound and their project Quadran gave rise to the vocal melodic trance scene which still resonates to this day. Between them they notched up quite a few cuts with aliases and groups such as Innertales, Extreme Trax, Oudja and The Gaps among their repertoire.

The A side features the original mix of Stop (The Disease) which intros with a classic build up and explosion before an eerie, almost cinematic sequence takes over. The melodies soon become prevalent as a tight drum section keeps the rhythm flowing. A pulsing bassline holds the track together beautifully as that infectious vocal takes over the groove. On the flip side the Club Mix of Desire resides, taking us into an energy driven experience that sends the nostalgia juices flowing. Classic gated synths stand out as a powerful bassline drives the groove. The vocal is catchy and inviting, striking a perfect balance in the groove. 2 solid cuts for the collectors of fine beats.

Soft Raw is a new label from Danielle – a natural extension of the Bristol-based DJ’s expansive tastes within contemporary club music. Over the past few years the NTS resident has become a leading light in the multifaceted world of modernist techno abstractions, ably balancing soundsystem pressure and propulsive rhythmic intensity with experimental textures and explorative energy variations. Soft Raw seeks to continue that mission with releases which will progress stylistically from one approach to another, taking in exciting, emergent producers unique in their approach but bound together by the idiosyncratic curation of Danielle – a faithful reflection of her proven skill as a selector.

The label launches with a six-track drop from Slacker. Sam Black has been winding up a potent strain of needlepoint techno which leans towards jungle and half-time D&B in its tempo and structure. Across a selection of various releases, Black’s sound has evolved into an accomplished and detailed style which draws on moody atmospheres and advanced engineering in the grand tradition of UK soundsystem music. Across this EP the Slacker sound matches up to the spirit of Soft Raw, balancing fierce kinetic energy with delicacy and finesse and leaving some space for outright ambience. At times he locks into a half-step warm-up mode, while elsewhere the amens creep in for a more pronounced jungle rinse-out.

It’s a strong opening statement for this new label, but crucially this doesn’t spell out the future in absolute terms. True to Danielle’s broad outlook, subsequent releases are set to take in everything from straight up 4/4 and acid to footwork and electro, with a narrative binding each release together according to her internal logic and the tension between soft and raw qualities explored across consistently cutting-edge tracks.

Emotional Response presents Elektronik Body Girl, a musical alter-ego of artist Shelbatra Jashari, with production by soFa elsewhere. Spontaneously born out of 2 souls in an imaginary industrial wasteland of earthly survivors, this Belgo-Albanian postpunk extravaganza is perfectly suited for our unreal times.

Infused with raw attitude and improvisational approach, Shelbatra is an artist, dancer, performer, and singer in search of challenges and expressive forms into new territory, with an individual way in dealing with the ""empowering feminine" and its representation - a vision central to her artistic creation.

Teaming up with Brussels based soFa DJ, they debut an EP of challenging story-telling comes backed with a wonderfully conjured beatdown remix by label associate, Tolouse Low Trax, to act as a seal of (dis)approval.

First known as a DJ and selector and then compilation curator of the "elsewhere" series of albums across multiple labels - including Emotional Response (ERS042) - soFa recent collaborations as Mameen 3 on Bongo Joe, CCCVVV on Strangelove Music and the highly praised album with Houschyar and Okay Temiz on Second Circle, has established him as a producer of repute in an incredibly short time space.

Taking a production backseat to underpin Jashari's performance, his percussive, atmospheric oeuvre allows her vocals to explore roots in both Kosova and Belgium, molding a focus on the art of "the other" or the outsider. Outside the "normality"", a different energy is heard. Exploring elements of the human body, the human condition and its representation in various "thinking" systems and political contexts, EBG is manifestation in sound and movement.

Social Joy Records presents Natural Lateral's new album "Tapestry of life", a superb excursion in fusion jazz with a wonderful blend of electronics and subtle elements of spiritual Jazz.

Undeniably on the rise after the success of their first album, "Cogito Ergo Jam", which received support from the British Jazz scene and was featured on Gilles Peterson's BB6 broadcast,the North London Based collective goes a step further this time by carefully crafting a new release of a tapestry of music stemming from rich jam sessions at the Lazy Robot Studio and representing the band's phenomenal musical canvas. Echoing jazz legends like Azymuth, Roy Ayers, Alice Coltrane and Miles Davis by paying tribute to those who paved the way but always searching for new musical territories, this six-track LP is moving, thought-provoking and engaging. It is a musical questing where each band member searches for meaning through sounds and rhythms - giving a new life to Jazz music and dropping the full spectrum of a vibrant tapestry of life into the listener's ears.

The band's work ethic is based on a sense of freedom in the studio filled with live jam sessions where it's all about "catching a moment" and letting the inspiration flow. "We just want to feel a sense of freedom and connection through playing. In the studio, it's the music which connects us all, and we just want to allow that process to unfold".

On behalf of re:discovery records, it is with great excitement that we announce the joint compilation from Facil and Prototype 909 called 'Excerpts from 1993-1995.

As most know, Prototype 909 was a legendary acid techno act from New York that toured the circuit as one of the premier rave acts from America during the 1990s.

Facil was a side small duo project that only made one album and a few appearances on a handful of compilations. The A-side features two Facil tracks. 'Tree Frog' has an amazingly robotic ambient dub electro sound. A killer track that will have dancefloor patrons staring at each other with blank wtf faces. '700x7' completes the A-side with ambient dub gem. Floaty and airy melodics balance out a devastating 808 drum beat.

This is ambient dub in the truest example. The b-side then offers two spacey trance beauties with 'Transit' & 'Planet S' from Prototype 909. The EP finishes with more space junk ambient dub with 'Same Place' by Facil.

Overall, a great look into the window of early to mid-1990s New York ambient dub.

The debut of Hamburg trio Cloud Management stages the meeting of three proven exceptional figures: Thomas Korf and Sebastian Kokus have been responsible for some stunning leftfield neo-kraut releases with their band Love-Songs in recent years; Ulf Schütte has been one of the most productive, and innovative protagonists of experimental electronic music in Germany for many years (see Datashock, Phantom Horse, or his most recent collaboration with G. Steenkiste/Hellvete on Umor Rex, for example). Following Love-Songs' highly acclaimed collaboration with Schütte, »Spannende Musik«, released in 2021, the formation of Cloud Management as a group in its own right marks a new beginning, which is celebrated with the long player on Altin Village & Mine.

The album is characterized by a dense texture of repetitions in which (modular) synthesizers and bass go head-to-head. It is on this foundation that the formal grammar of the album develops over its nearly 45-minute running time, organized along precise interventions into the hypnotic pulse: What is recognizable as echoes of 1960s/70s minimalism or Cluster functions on »Cloud Management« not in the sense that the sequences or the sequencers are left to themselves, but as highly concentrated, microscopic work on repetition. This virtuosically arranged, groove-based and even danceable density of the seven pieces never sounds strained or as an end in itself, but floating, cloud-like. The polyrhythmic workouts are at all times in the service of a refreshing expanse that opens up from the sonic saturation and is far removed from the formulaic box-checking often associated with the attribute ›kosmisch‹. »Cloud Management«, thus, marks not an exercise in the traditions of a musical past, but a distinctive position within contemporary electronic music.

All songs are written, recorded and produced by Ulf Schütte, Thomas Korf and Sebastian Kokus.

Stand High Patrol unveils SH010, a new 45 RPM maxi, pressed for collectors and selectors fond of roots and one drop vibes. Slipped into a white sleeve adorned with a ghostly embossment, the 12 Inch features "The Ghost", "A Seed A Day" and their respective dub versions. Contained within the package are two minor-scale tunes voiced by Pupajim with lyrical themes of determination, revenge and hope, and two dubs mixed live at The Kerwax studio which expand the space-time and bring today's Loguivy-Plougras closer to the Kingston of the 1970s. With its assumed "Cool Ruler" influences, theremin notes of circumstance, clavinet parts ricocheting from skanks and formidable groovy hi-hats, the EP invites the listener to discover or rediscover the roots side of the versatile dubadub musketeerz's sound!

100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound — a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues — felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around” — and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: “Original in every sense — unknown, unheard and unbelievably good.” In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP.

Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents’ cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. In excerpts from the 100% GALCHER liner notes, Lustwerk looks back: "My dad drove me to this shop on the westside Bent Crayon, where I would get anything the blogs told you to get + whatever the clerk recommended. CDs stayed in their packaging, there was always an overflow of vinyl stacked on the floor. I was too shy to listen to anything before buying."

As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space

Amman-based Toumba announces ‘Rosefinch’, his first EP on wax, and the debut release from London-based record label Hypnic Jerks.
Key info about the artist:
His next release will be on Hessle Audio and then Nervous Horizons. His first release was a digital EP through All Centre.
Toumba is one of the creative minds behind MNFA, Jordan's most important underground music venue. He serves there as a booker and curator, bringing the likes of TSVI, Giant Swan and Parrish Smith to the venue.
He is also anationally respected artist and holds a residency at the MMAG Foundation in Amman. The foundation works with a selection of the most gifted artists in the Levant. By sponsoring Toumba's ongoing artistic practice, MMAG has furthered his research into Levantine music, which he synthesises with avant garde and electronic music.
He is a resident on Movement Radio in Athens and formerly Ma3azef Radio, with guests including Ben UFO, aya and Gabber Eleganza.
About the release:
Integrates elements from Jordanian and Levantine folk music into his left-leaning, low-end heavy club sounds.
The EP is named after the national bird of Jordan.

Pique-nique Recordings is proud to present People’s Dream, the latest solo release from NYC-based vibraphonist and electronic producer Will Shore.

Inspired by Francis Bebey and Don Cherry’s electronic music from the 70s and 80s, People’s Dream draws heavily from modal jazz, minimalism, and dance music. It blends tightly composed percussive phrases with freely moving melodic improvisations that feel as much at home in a DIY loft space as they do on a custom-built sound system at Nowadays.

Shore says: “The vibraphone is the thing that I know best, but I’ve always found the instrument quite limited. Its pure bell-like tone can seem too pretty to evoke a wide range of feelings. I normally find ways to obscure that pure sound: I distort it, pitch it down, or layer rougher textures over it. But for People’s Dream and Lucid, instead of obscuring the sound quality, I decided to embrace it.

I used the vibraphone for not only melodic parts but also as a driving rhythmic element. I let the entrances and exits of melodies appear and disappear in a dream-like way, and added electronics and percussion as texture, to create a more cinematic atmosphere.”

On the B-side, UK producer and label-head Tom Blip (Blip Discs) flips Lucid into a driving, bass-oriented club track, fit for vibrant dancefloors this summer. On the back of successful collaborations with East African artists Swordman Kitala and Mubashira Mataali Group, Blip unleashes a trademark peak-time drum track designed to elude any dream-like state.

People’s Dream is the seventh release on NYC/Sydney label Pique-nique Recordings, which worked with Shore in 2019 on their signature event, Take Two. Shore led a nine-piece band through a reinterpretation of Albert Ayler’s Spiritual Unity for the occasion, utilizing his mentor Butch Morris’ conduction technique to rapturous effect.

Favorite Recordings presents a reissue of Lucas Arruda's first album, Sambadi.

Lucas Arruda’s born in 1983, in a Brazilian state called Espírito Santo, near Rio de Janeiro. Coming from a musical family (his dad and older brother are musicians) he started playing and listening to music very young. At the age of 13, he was also playing professionally already.
After studying electric guitar and playing in various bands, Lucas passion quickly turned into Rhodes and keyboards, expanding his musical range of skills. At the same time he started a project called Du Black, with his older brother Thiago, quickly receiving various local support from people like Ed Motta, William Magalhães (Banda Black Rio), Robert Lamm (Chicago) or Hyldon (Brazilian soul legend).
From the growing notoriety obtained, the band began to work with various other artists and singers such as Tamy Macedo, or Bossa Nova’s legend, Leila Pinheiro, leading Lucas to build a recording studio with Thiago in 2011. Now 2 years after he launched this home-studio, here comes “Sambadi”, first solo album by Lucas Arruda!
On this recording he also started to team up with Fabricio di Monaco (Modo Solar), who clearly became a fundamental piece, as Lucas relates: “Fabricio introduced me to Pascal Rioux at Favorite Recordings, as they released his EP few years ago. He’s a brilliant musician and a great human being.”
In Lucas’ words, Sambadi is highly inspired by Rio de Janeiro. As for the musical side, the album almost sounds like a tribute to his longtime heroes like Stevie Wonder, Curtis Mayfield, Marcos Valle, Azymuth, or Robson Jorge & Lincoln Olivetti. And Lucas also humbly concludes: “I really hope to honor all the guys who influenced me.”

RNT welcomes Brooklyn-based band 79.5 to the family with the first single from their forthcoming eponymous LP. Soulful and psychedelic, the haunting melodies of Club Level float above a steady strutting rhythm section, punctuated by moaning baritone saxophone and drenched in washy reverb.

NYC mainstay Eli Escobar crafts a masterful remix that leans into 80s nostalgia, with a soundscape and arrangement nothing short of perfection.

"Music gives us the illusion that time is not time, but space. It is then that the music transforms from process to object, which I find a very interesting thought; a materialisation of the sound process. Sound is matter." - Noémi Büchi

Noémi Büchi's debut album 'Matter' captures the tension between growth and decay, consonance and dissonance, mirroring Büchi's own catharsis through music. Her most personal material to date, 'Matter' is an opus of refined, sculpted beauty, one that aims to blur the distinction between ephemerality and physicality. Inspired by late romantic classical music and early 20th century contemporary music, 'Matter' is driven by the compositional methodologies of Igor Stravinsky, Alexander Skrjabin, Gustav Mahler and György Ligeti to modern sound forms, adapting and expanding upon their ideas in an awe-inspiring exploration of cutting-edge potency and tactility.

Büchi structures the electronic works that constitute 'Matter' in movements, stratifying myriad instrumental parts like the constituent sections of an orchestra. During her work on the album, Büchi engaged in extensive research, obsessively studying specific chords and progressions, and searching for transcendent intonations with resonant properties; complexions of sound with the ability to connect with the listener's body. Transforming our inner worlds into zones of suspension and levitation, Büchi exposes the listener to intoxicating slipstreams of sound. Prominent voices ascend, tectonic disturbances threaten the foundations, perception and sensation becomes subject to elemental countercurrents and inversions. 'Matter' illustrates the fraught pursuit of momentary equilibrium, and makes the fragility of euphoria tangible.

Composer & sound artist Noémi Büchi creates electronic, symphonic maximalism. Her music is defined by delicate electronic-orchestral forms and textural rhythms. She strives for a combination of harmonic and dissonant sonorities, to evoke both intellectual and emotional euphoria. Büchi has appeared on the Light of Other Days and Visible Dinner labels, and is now an affiliate of -OUS, releasing 'Hyle' her debut EP on the label in spring 2022. As well as her solo output, Noémi Büchi is currently working with Feldermelder on their collaborative project Musique Infinie. Their debut album will also be released via -OUS in the near future.

Welcome in!

WEȽ∝KER's 'ENHANCER' offers a high dive into the soggy hands and lands of Dujat & Beedles.

Having planted their flag firmly at the forefront of modern computer music, WEȽ∝KER return with 'ENHANCER', an astonishingly dynamic display of technique and form. This isn't sound for sound's sake; the duo's playful approach to composition ties many discrete events together to weave a warm-bath narrative. A tug at the skittering top layer reveals something so rare: there's real musicality under there, aching chords snaking through the crunchy boot-up sequence of "Gator" and underpinning the pneumatic drift of "Ohmbase".

ENHANCER's tracks unfurl with an instinctive flow, pulling/pushing in all the right places and guiding the listener through aural aqueducts. WEȽ∝KER are just truly properly at it again. Dive in, isn't it?

ENHANCER's artwork is the result of an all-Mancunian collaboration with sculptural artist and dead-powder virtuoso Nicola Ellis. Photographed by Glen Cutwerk and Bazz Patel, shot in the spleen of Salford's The White Hotel. Drippy, oily notes with a hint of flesh.

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Mastered by Giuseppe Ielasi.

Available on pad-printed solid white cassette housed in a clear double case w/ exclusive gloss laminated cover-art. Pro dubbed by Headlesstapes Includes free download code Limited Edition of 50.

Debut album by Dutch producer w1b0, who passed away in August, to be released in November on U-TRAX.

Wibo Lammerts' sudden death on August 15thshocked the worldwide electro community, and also left the record label, that had been working on the debut album with the artist known as w1b0 for the past two years, dumbfounded and in grief.

Wibo had jokingly always called his upcoming debut album 'his legacy', which now sadly has become a painful truth. With the support of Wibo's family, U-TRAX is now doing the only thing that doesn't feel totally wrong: proceed as planned, and release 'When Humans Ruled The Earth' on November 11.

W1b0 made quite a name for himself with heavy electro tracks that he released on labels like Bass Agenda, Hilltown Disco and Discos Antónicos. Standing at 202 meters, and combined with a cheerful character, most people remember him as the gentle giant of electro.
For this album, Wibo wanted to steer away from the dark and heavy electro he mostly made until then. The idea of having a platform to create delicate electronic music in different styles, and make it a showcase of his versatility, was very appealing to him. And that is where he and U-TRAX found each other.

The full-length album (over 75 minutes on cd and digital) comes after 'The Pilex Program EP', released in October, that featured a remix by Detroit's Ectomorph of 'Pilex Driver' and saw 'Program Yourself To Feel' remixed by a well-known Dutch producer that recently created the new 'techno alias' Human Form.
As usual with U-TRAX, the album comes in three different editions, with the 11-track double vinyl version containing the Ectomorph and Human Form remixes. The CD and digital version boast original versions only, plus four additional tracks: 'Alternate Reality Interface', 'Mixed Matter Fluctator', 'Synthetic', and 'In There'. The cassette version more or less has the same track list as the CD/digi version, but has both aforementioned remixes and a bonus track in the incredibly hypnotizing 'I Wanted You', a track that unfortunately couldn't be on the CD and vinyl versions.

Buyers of the physical releases get treated on superior quality products, another trademark of U-TRAX. The vinyl edition boasts over one hour of music, on two 180 grams, green vinyl discs, in a black & white & neon green gatefold sleeve. The eye-catching artwork is created by Utrecht artist Leffe Goldstein, known amongst others for his psychedelic beer can designs for Utrecht brewery Maximus. Wibo, being the beer lover he was, had zero doubts about having Leffe Goldstein do the cover for his album. The CD has a total playing time of 75 minutes and comes in a beautiful 6-panel digipack, while the cassette will have full-color on-body print and comes in a plastic-free Maltese cross fold-up sleeve.

Buyers of the physical releases get treated on superior quality products, another trademark of U-TRAX. The vinyl edition boasts over one hour of music, on two 180 grams, green vinyl discs, in a black & white & neon green gatefold sleeve. The eye-catching artwork is created by Utrecht artist Leffe Goldstein, known amongst others for his psychedelic beer can designs for Utrecht brewery Maximus. Wibo, being the beer lover he was, had zero doubts about having Leffe Goldstein do the cover for his album. The CD has a total playing time of 75 minutes and comes in a beautiful 6-panel digipack, while the cassette will have full-color on-body print and comes in a plastic-free Maltese cross fold-up sleeve.

Opener 'Acid Whip' is one of the oldest compositions on this album, in which a dark 303 bassline hums over layers of spacey strings. Wibo named it after the legendary Whip It party in Amsterdam's De Melkweg. 'Alternate Reality Interface' then presents bouncy rhythms toying around with all sorts of analog (bass) synthesizers, before we go really deep with the epic ambient techno track 'Wandering Souls'.
Then things get a little lighter spirited: 'Mixed Matter Fluctator' is an electro track that builds on sounds created by Matt Buggins. It has very strong Detroit influences, the city Wibo loved so much and that he made a pilgrimage to with a group of friends that called themselves 'The Techno Tourists'. The tempo goes up a notch in 'Program Yourself To Feel', that halfway opens up in wide science fiction strings that evoke memories of Star Wars, the movie series that Wibo was a great fan of, and that was the source of many of his tracks' names. The Human Form remix opens the vinyl edition of this album and is a downright belter of a track.

Next is a somewhat experimental intermezzo named 'Synthetic'. Erratic beats and pounding bassdrums get accompanied by very subtle eerie-sounding strings, before melancholic synthesizers and piano chords take over. This is an excellent prelude to the epic 'Hologram Computing', a track that is one of our favorites. It slowly and softly builds and builds, before a pounding bassdrum breaks loose and a hypnotic arpeggio takes you to higher planes.
Not ready to letting the listener relax, w1bo then serves 'Beilstein Reference', which again presents his trademark cocktail of down-to-earth electro rhythms and catchy melodies, covered in all sort of little sounds and noises, giving the song a lot of energy. What follows is 'Hit me', a track loosely based on a song by Dutch indie rock band Mr. Joe Abe. Wibo met the band's singer on a camping site while being on holidays and the two decided Wibo should do a remix of one of their songs. Nothing was left of the original except the vocals, and the result is a remarkable cheerful, poppy electro song.

'Anticipated Input' is one of the more recent tracks Wibo made for this album, combining electro, acid and, yes: epic strings. But not all is peace and quiet on this album, as 'Pilex Driver' shows. This is w1b0 going experimental in a danceable fashion: Industrial sounds make the track sound like we're passing a construction site that is playing loud electro music. On the vinyl version of this album, Ectomorph totally decomposed the original and made it into a mysterious, almost subdued, and totally brilliant electro track that sees a main role for the retro Roland CR drum machines sounds.

TFHats, Wibo's fellow member of the Transhumanism collective, added lyrics to 'Cartesian Coordinates'. His vocals add a pleasant New Wave flavor to this song, that has breaks that remarkably reminds one of Nirvana's 'Smells Like Teen Spirit'. What follows is the most personal track on this album. 'Fornan' is a song that Wibo made for his wife Nanette, and was added as the last piece of the puzzle that creating an album is. The warm Detroit techno atmosphere in this electro song couldn't be a more beautiful tribute to his love, and mother of their two young boys.
The album then takes a surprising detour through a 1980s landscape with 'In There', that features the Joy Division-esque vocals of another one of Wibo's friends, indicated only as Vincent. The super slow and gloomy track is a treat for anyone that loved the darker side of New Wave. The album has a worthy closer in the sensitive, yet playful 'Schlegel Diagram'.








h 08: Hit Me (w1b0's Slugfest Assault Dub) feat. Mr Joe Abe

Boggiedown Base has been a producer and remixer since debuting as part of Die Reimbanditen in 1993. His CV includes productions for Die Coolen Säue/DCS, Albino, Chaoze One, and Die Deutsche Reimachse. In 2005 he met the Backspin-Magazine-DJ DJ 12 Finger Dan and the two formed a production duo. As Soulbrotha, the two produced mainly for and with American artists such as Sadat X from Brand Nubian, DJ Premier from Gangstarr, Large Professor, Big Shug, Blaq Poet, Masta Ace, Beneficience, Cella Dwellas, El Da Sensei, Kev Brown, Edo G and much more. The two came into contact with the producer Roccwell from Munich by chance. Through the common love for soul samples, hard drums, the clanking of the E-MU SP-1200, dope raps and spectacular cuts, the idea of a collabo-album came up.

"In Good Company" is a celebration of the classic boom bap sound and comes up with top-class feature guests. Among others, the New York cult rapper J-Live was won for the song "Real Reconize Real". Q Ball & Curt Cazal aka QnC from the legendary D&D Studios in New York show on "Classic Position" why they are still relevant after more than 20 years in the game and the Boston MC M-Dot proves on "Toil" why there is a hype around his person. But there are also other top artists on the guest list, such as DJ Eclipse, DJ Riz or KORE. "In Good Company" is to be understood as a homage to the many rap classics of the last three decades and sees itself in their tradition, but always remains modern thanks to the contributions of many young and talented artists such as Wildelux, Duo Pesci, Resolute or Empulse.

The Outer Edge is very proud to release another quite sensational release. Here are the official reworks of Hans Hass' proto-AOR / cloud rock hymn "Welche Farbe hat der Wind" (which translates to "What color is the wind").

The main producer for this release was Marian Tone (of Key Elements), who reworked the track almost from scratch. He re-recorded the drums, the bassline, and some chords while keeping Hass's original vocal layer. The distinctive guitar playing by co-composer Gabor Kristof sparkles throughout. The result is exactly what we had hoped and asked for: a DJ-friendly version of this überclassic track.

The idea for this rework project came to mind when label owner DJ Scientist got word from Tobias Kirmayer of Tramp Records that "Welche Farbe hat der Wind" would be officially re-released for the first time on his compilation series "Praise Poems" as well as on a single reissue. Scientist immediately asked if he could make an edit with louder drums to make the track more playable in a DJ set. However, as the masters of the Tramp reissues had already been submitted to the pressing plant, he was granted permission to re-license the track and rework it for his own label instead.

Hence, the reworks feature Scientist's "vintage drums" mix, which has the drums mixed louder, plus drums added at the quite psychedelic and experimental last third, with a few other sound adjustments made.

But it was up to Berlin-based DJ and music producer Marian Tone to put the icing on the cake and rework and enhance the song further with his own version. With fellow Key Elements bandmember Steffen Kieslich, he completely re-recorded the drums. Then it was up to Doron Segal to replay the bass and the keys. What we get is the classic sound of "Welche Farbe hat der Wind" - just updated and fresher.

For the first time ever, the track is also available as an instrumental version. Here, the great original guitar playing keeps the song going and going, and makes it perfectly clear that this tune, which originally came out on the schlager album "Reise in eine glückliche Zukunft" in 1974, is pretty damn funky!

It has been difficult to put "Welche Farbe hat der Wind" into a genre box, But it has been described as "rare groove","psychedelic schlager", and even "proto-AOR". For facility, Scientist has coined the new term "cloud rock" to describe this particular style of soft but groovy music. The name cloud rock bears a conspicuous reference to the krautrock genre as well. More tracks in a similar vein will be heard soon in a DJ mix under the same name.

Marian Tone's rework, as well as the corresponding instrumental version, will be released on a limited 7" single with a full-color picture sleeve. The digital release will feature the DJ Scientist re-mix plus an alternative version that puts more focus on the re-recorded bassline. In any case, this is an essential item for any music lover as well as the ideal contribution to your ultimate "cloud rock" DJ set!

For its fourth release, Zen 2000 scales up from the 45 format and releases its first 12-inch, which, coming in at seven tracks (eight with the digital-only bonus) is either a double-wide EP or an LP in everything but name.

The artist behind it is Mogwaa, a South Korean producer who's built a reputation on meticulous and clean-lined melodies and sharp, glistening drums. Sometimes we find him in the club, slinking through dubby bass wobbles, flittering across breaks, and sometimes we find him in a grassy park, sprawled atop a soft ambient bed. No matter where he is, the trademark voicing is always present.

Here, on A Garden Within, we get equal helpings of both: the A-side is the chill-out room, spacey drifters that pulse through the cosmos and wiggle through underwater currents.

The flip is clubbier fare, with “Rejas” being a nod to electro sounds and “Tranquilizer” being a trippy bit of trance. Bookending the journey is “Melting,” an iceberg slowly cracking and falling into the ocean. “Con Fe” is an encore of sorts; it feels like a reconstituting of “Melting,” the reforming of that track's languid dissolution.

MILK GREY VINYL

100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound _ a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues _ felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around" _ and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: "Original in every sense _ unknown, unheard and unbelievably good." In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP. Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents' cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space, throwing parties in small basements, office buildings, and off-beat karaoke bars in Manhattan, influenced by series such as Mr. Sunday in Gowanus and The Bunker at Public Assembly. The lifestyle started to bleed into Lustwerk's musical vision. He remembers the night it clicked in Providence, partying and listening to tunes with Morgan Louis and Alvin Aronson. He went back to New York and pieced together his bedroom setup: a Dave Smith Tempest drum machine, a Waldorf Blofeld synthesizer, and a TEAC cassette recorder. Early snippets went straight to SoundCloud, where Lustwerk tested the crowd. Comments and messages offered instant feedback. One DM proved to be the greenlight: from Matthew Kent, an invitation to his burgeoning mix series Blowing Up The Workshop. 100% GALCHER traveled fast and far. A phenomenon he could only enjoy for a short period before discovering that nearly all the masters of the tracks got wiped by water damage to his computer. "The only copies were now on the 192kbs mp3 mix I sent Matt." Until now, after Lustwerk revived the lost tracks and handed them to Josh Bonati for remastering. "The original mix was never mastered so I hope older fans can find something new here." Hearing the enhanced set for the first time delineated by tracklist reveals this was a proper album all along. Sly synth interludes (all titled "Stem") clear the air for raspy house anthems like "Fifty" and "Parlay," the set's original breakout. Themes present across Lustwerk's catalog first materialize in this iconic run _ the link between the meditative state of Midwest driving and the solitary comedowns of nightlife. Lust- werk, the narrator, is an elusive character, a secret agent of the club, embodied by the hooks: "One minute I'm on / next minute I'm gone," he reminds us on cult-favor- ite "Put On." These narcotic, one-line refrains stick with you; look no further than the original YouTube upload of "Kaint" to know that fans can't let these phrases go. While recorded alone, 100% GALCHER was a collective moment. A decade later, Lustwerk sees the legacy as shared: "Making music can be an alienating experience, especially for DJs who travel a lot, it's all super isolating. It's easy to express lone- liness in the music itself, but when it comes down to getting things done, putting music out, you def should go on that journey w other people, friends, or maybe just a group of people online, build things with your friends then they can build to help you."