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Fresh from releasing projects on Method 808 and Future Classic, landing a huge collaboration with Chloé Caillet, and delivering an official remix for Fatboy Slim, PPJ are entering a new chapter in full force. Their expansive take on global street sounds, ranging from neoperreo to Miami bass, gets a cool re-coating.

Led by the magnetic vocalist Páula, with production from Povoa (individually supported by Four Tet, Ben UFO, and Barry Can't Swim, with recent releases on Live From Earth), the duo operates in maximalist mode: playful, sensual, and slightly unhinged.PPJ’s new era, JOKER, embraces a figure that appears everywhere from card decks to carnival culture as a symbol that mirrors their own DNA: funny, eerie, seductive, unpredictable. The EP leans further into club territory, but rather than polishing their edges, PPJ amplify them.

At the emotional core of the record sits “Coeur,” co-produced with Chloé Caillet. It begins with an MPB-tinged foundation flirting with bossa nova. It’s unmistakably Brazilian, bathed in sunset hues before being sped up and twisted into a dance-floor-ready electronic form. The groove shimmers with tension: warm percussion, elastic basslines, and Páula’s voice hovering between intimacy and tease. It feels like a remix of itself, romantic, but slightly untrustworthy.

If “Coeur” glows, “To Nem Ai” is a slow burner. A very deep and downtempo house cut, it unfolds slowly, almost luxuriously, guided by sensual vocals that feel whispered directly into the ear of the listener. A hypnotizing piano sample that feels like a late-night confession. It’s the kind of record that transforms a dancefloor into something tactile.

Elsewhere, “Me Pega” is a high-energy reinterpretation of the tech-house sounds from Santa Catarina, one of southern Brazil’s most feverish party states, twisted and accelerated for ferocious impact. Drawing direct inspiration from Sarro, a raw and vibrant Brazilian street dance, the track captures physical intensity in its purest form: sweat, bass pressure, collective release.

Its counterpart, “Tem Carnaval” channels Páula’s vivid storytelling into a thunderous ode to Rio’s carnival spirit, euphoric, chaotic, cinematic landed just in time for this year’s celebrations.

On “Sexy Doce,” rugged electroclash melodies collide with unexpected references. “It was inspired by Budots, which is dance music from the streets in the Philippines,” Povoa explains. “Then we mixed it with Páula’s Brazilian vocals. Baile funk is similarly from the streets, so there is a connection.” The result is raw yet futuristic, a cross-continental flirtation that feels both underground and explosive.

With this new EP, PPJ make music like they’re tuning into a dozen pirate frequencies at once. Pirate radio from Rio to Berlin to Manila intercepting fragments of street culture, sensuality, and chaos, and stitching them into something deliriously cohesive.
JOKER doesn’t just nod to club culture. It challenges it, twists expectation and leaves a lasting impression.

IDM and breakcore hard stuff, very influenced by Nature Records and Somatic responses... TEST PRESSING ORIGINAL – Not MINT

* Joker continues to plow the hybrid furrow of Grime/Bass/Dubstep with this latest addition to his hypercolour canon.

* Phat G-Funk bass/synth combos collide with the tingling video game sound palette, whilst he utilises huge 80's inspired snares on "Night Life".

* Joker will be touring the USA in August this year.

Hildur Gudnadóttir reunites with director Todd Phillips for the score to Joker: Folie à Deux, following their acclaimed work on 2019's Joker, which earned Gudnadóttir an Academy Award, GRAMMY, BAFTA and Golden Globe. Phillips describes her music as 'basically the second biggest character in the first film', and her return was never in question.

For Folie à Deux, Gudnadóttir pushed her sonic language further, inventing a new instrument to reflect Arthur's internal split. Inspired by his mental confinement, she worked with Icelandic builders to create a 'string prison' - long strings stretched through space and played with a trench cello - to evoke both euphoria and claustrophobia.

SWEARING AT MOTORISTS haben einen langen Weg hinter sich, seit der Name 1994 auf Plakaten für eine Fake-Band erschien Die hingen auf mysteriöse Weise in Plattenläden und Musiklokalen in Dayton, Ohio, Ein paar Monate nachdem die Plakate auf auftauchten kritzelte Dave Doughman den Namen auf eine Kassette mit homerecordings, die er an Freunde verschenkte, und 1995 war die Band dann offiziell geboren. Ende der 90er Jahre veröffentlichten S@M eine Reihe von 7"-EPs bei verschiedenen Labels, und nachdem sie wiederholt von John Peel gespielt wurden und die Presse weltweit positiv über sie berichtet hatte, erhielt die Band einen Vertrag mit dem damals neuen Label Secretly Canadian. Sie veröffentlichten 2 EPs und 4 LPs auf Secretly Canadian, darunter Number Seven Uptown aus dem Jahr 2000 und This Flag Signals Goodbye aus dem Jahr 2002, die beide in den Jahren ihrer Veröffentlichung vom MOJO Magazine zum Underground Album of the Year" gewählt wurden. Swearing At Motorists zogen 2005 nach Berlin, Deutschland, und veröffentlichten im folgenden Jahr ihre letzte LP für Secretly Canadian, Last Night Becomes This Morning, bevor sie leise in der nicht enden wollenden Berliner Nacht verschwanden... 8 Jahre später war die Band plötzlich in Hamburg wieder aufgetaucht, mit einem neuen Album: "While Laughing, The Joker Tells The Truth", das 2014 auf Anton Newcombes Label A Recordings Ltd. erschien. Co-produziert von Dave und Rick McPhail (von Tocotronic), erzählt das Album die Geschichten dieser verlorenen" 8 Jahre im klassischen Motorists-Stil. Der Autor Camden Joy, vielleicht eine weitere Underground-Figur der 90er/00er Jahre, beschreibt es am besten: "Like Iggy Pop's great lost Nashville record or the legendary demos for the Strokes masterpiece that never was, this recording is full of catchy courage, significant low notes, bedroom rhythms, hooks, and so on, all of which make for an impossible amount of pleasure. This Swearing At effort towers heads and squirrels above whatever that was you were just listening to. I see why Rolling Stone gave it five stars." - Camden Joy 11 Jahre später ist die Band in Hamburg erneut aufgetaucht, aus einer weiteren Auszeit und mit einem neuen Album, das im Herbst 2025 über BB*ISLAND erscheinen soll. Vor der Veröffentlichung stellen wir euch das Album von 2014 noch einmal, oder zum allerersten Mal vor. Vielleicht lag Camden Joy genau richtig. Zu gut, um vergessen und vergriffen zu sein. Das Beständige an Swearing At Motorists sind ihre Auszeiten als Band. Alles andere ist Bonus, aber das ist natürlich der beste Teil. "...While Laughing...demontrates Doughman's unerring abilitity to turn autobiographical minutiae and emotional turmoil into exquisitely heartfelt rock'n'roll poetry. From the warmly familiar powerpop chug of Groundhog Day (Damn The Piper) and Great Actress, to the tearjerker wistfulness of Wrote You A Letter and acoustic closer It's Love That Chooses You, this is classic Swearing At Motorists throughout...." - Andrew Carden/ MOJO

Schwergewichtiger 80er Jahre Dancehall - aufgenommen bei Channel One mit Roots Radics und produziert von Linval Thompson

The music industry, once revered as a realm of artistic expression and creativity, has gradually transformed into a breeding ground for commercial nonsense. The rampant commercialization of music has resulted in an environment where genuine talent often takes a backseat to profit-driven motives. It’s high time we unmask and challenge the prevailing commercial bullshit that plagues the music scene today.

In the midst of all this commercial nonsense, it’s essential to recognize that there is a thriving underground and independent music scene where authenticity and creativity still flourish. Listeners can play a vital role in reshaping the music industry by supporting independent artists, seeking out diverse sounds, and rejecting the homogenized offerings of major labels.

To combat the commercial bullshit in the music scene, we must prioritize artistry over profit, diversity over uniformity, and creativity over conformity. Only by championing these values can we hope to revive the music industry as a bastion of authentic expression and genuine talent, free from the shackles of commercial exploitation.

Official soundtrack to accompany Joker: Folie à Deux, one of the most anticipated films of a generation. Produced by Joaquin Phoenix, Lady Gaga, Jason Ruder and executive produced by Todd Phillips, Joaquin Phoenix, Lady Gaga, Randall Poster, & George Drakoulias. No tracklisting on launch.

Never Sleep charity tape series continues with a legendary recording from the world famous Mary Anne Hobbs stage at Sonar Festival.

UK phenomenon Joker encapsulates the era perfectly with his signature "Purple" sound and Dubstep sonics. A rowdy late night work out of his own productions, a rare dub from Skream, Bristolian funk from Gemmy and classic Mala.

Hosted by an enthralled Gaslamp Killer and beautifully captures the feeling of the infamous stage. Timeless, cutting edge and a slight hint of nostalgia for any Sonar Festival aficionados.

All proceeds go to Bristol based charity “The Cause" who help young locals in the creative arts.

Feiern Sie den 50. Jahrestag der Veröffentlichung von The Joker. Das zeitlose Album wurde ursprünglich im Oktober 1973 veröffentlicht und enthielt die Single ”The Joker”, die im Januar 1974 Platz 1 der Billboard Hot 100 Singles erreichte.

J50: The Evolution of The Joker wurde von Steve Miller kuratiert und enthält 30 bisher unveröffentlichte Demos, Live-Auftritte, Studio-Outtakes und Samples aus stundenlangen Aufnahmen, die jahrelang in Millers persönlichem Archiv schlummerten. Die 3LP + 7ff Box und das 2CD Set sind eine von Miller kommentierte Reise, die die ”Entwicklung” jedes Songs dokumentiert, der auf The Joker erschienen ist.

Die Box und die 2CD enthalten Linernotes von Steve Miller und Anthony DeCurtis. Die Box enthält außerdem eine Reproduktion eines alten The Joker-Covers und eine Lithographie. Ab dem 15.09.2023
verfügbar

Chris Liberator's Maximum Minimum label returns with a colourful joker set to meddle with your synapses... Bad Boy Pete and Errot slam hard on the title track 'Joker' with some hard and booming techno beatz , whilst Sam DFL and Richie Five Alive go dark and minimal on 'Deeper'.

On the flip Brazilian legend Nori delivers a funked up stomping gem on 'Early', whilst Bad Boy Pete delivers more hard driving rhythms on 'Eastern Promise' to finish up the EP.

* This cut from east London's King General and Bush Chemists originally surfaced on a Conscious Sounds 7' in 1996, promptly sold out and has been troubling collector's bank balances ever since.

* This welcome repress is backed with a previously unreleased dub version from Bush Chemists.

* Yet another successful archive raid from Partial Records.

* Bristol's Joker has announced he is to celebrate 10 years of his pioneering Kapsize label with a special series of new 12' Joker releases, the second of which will drop this May.

* Over the past decade, Kapsize has put out some of Joker's most defining work, including the iconic 'Purple City' (produced with Ginz) — a track widely recognised as ground zero for Joker's purple dubstep aesthetic — and 2015 album, 'The Mainframe', as well as early records from Asa & Sorrow and L-Wiz.

* To be released both on special edition orange vinyl and digitally, Joker's second commemorative release lands in the form of 'Boat / Deploy'. A-side 'Boat' is gleefully maximalist, a playful accordion running alongside searing synths before a ominous bassline drops, taking us through his vivid and embellished creative world, while the cinematic 'Deploy' is another intense and larger-than-life riddim.

* To be released in June following the release of 'Anamorphic / Forever' in April, and 'Marching Orders ft. Footsie / Polka Dot' in May'.

* The second in Joker's trio of special releases to commemorate 10 years of his Kapsize label is to release this coming May.
* Over the past decade, Kapsize has put out some of Joker's most defining work, including the iconic 'Purple City' (produced with Ginz) — a track widely recognised as ground zero for Joker's purple dubstep aesthetic — and 2015 album, 'The Mainframe', as well as early records from Asa & Sorrow and L-Wiz.
* To be released both on special edition vinyl, A-side 'Marching Orders' features legendary grime MC and producer, Footsie, who goes hard over Joker's monstrous instrumental — think relentless, hyper-distorted club hydraulics — even acknowledging him on the hook; 'Oi Joker this beat's sick, crazy'.

* On the flip, B-side 'Polka Dot' is equally as tough, despite the dizzying melodies and gentle tones of the track's opening throws, landing as a crunching melee of textbook Joker sounds.

* In come the first of three releases celebrating a decade of pioneering label Kapsize. Fronted by leading light of Bristol dance music, Joker showcases one of his most iconic sounds to date.

* Suave sophistication not out of place in a Bond or Bourne film, backed with dancefloor aggression, 'Anamorphic' oozes the hi tech international espionage Purple sound Joker has carved out for himself. Opening with plush synth and horn washes, leading into unmistakable arpeggiators and guitar riffs, 'Anamorphic' manages to combine Joker's signature sexy RnB vibes into perfectly engineered system smashing bass lines with ease and style.

* 'Forever' explores the same theme with soundscapes and synth washes that Vangelis would be proud of. A textural flight over the landscape Joker painted with 'Anamorphic', 'Forever' gives listeners a chance to take in the sights and sounds of the neon cities and skylines that Joker made his name on.

* Joker continues the exploration and continuation of the sounds that made his name, elements of 'Snake Eater', 'Tron' and 'Neon City' can be found here with a new slant. A showcase of a unique pioneer at the top of his game.

This is Lyptikal's third release on Micky Finn's Label Finn People and this ones been doing some serious damage on dancefloors worldwide. If you like your Jump Up this ones for you.

This novelty album, released in 1966 during the height of the Batman & Robin craze, was initially credited to the "The Sensational Guitars of Dan and Dale" and featured an album full of tracks based on the popular TV show like "The Batman Theme Song", "The Penguin Chase", and "The Batcave". The album is entirely instrumental, except for someone singing "Batmaaaan!" in the theme song. But the interesting thing about this album, and what makes it an absolute cult gem, are the musicians who are behind it all: basically a joint collaboration between Sun Ra's Arkestra and Danny Kalb's Blues Project (one of the first psychedelic rock bands as well as one of the world's first jam bands). "Dan and Dale" were actually blues guitarist Danny Kalb and Steve Katz (later of Blood, Sweat & Tears) on dueling guitars, while Sun Ra and Al Kooper take over organ duties (a Hammond B-3) and members of Ra's Arkestra play sax.

repress !

If one band could be cited for the emergence of Ska music, that band would be the Skatalites.

Formed around June 1965 and built around the many musicians that had honed their craft at the Alpha Boys School in Kingston, Jamaica. The early line up consisted of Don Drummond (Trombone), Roland Alphonso (Tenor Saxophone), Tommy McCook (Tenor Saxophone), Johnny ’Dizzy’ Moore (Trumpet), Lester Sterling (Alto Saxophone), Jerome ’Jah Jerry’ Hines (Guitar), Jackie Mittoo (Piano), Llyod Brevett (Bass) and Llyod Knibbs (Drums).

Named originally The Satellites after the big news of the day, the Soviet space satellite. They became The Skatalites when band member Tommy McCook introduced a play on the characteristic ‘Ska’ sound, made by the guitar when following the’ after beat’ of the music.The group had already cut its musical teeth by playing under various guises around the Jamaican island in numerous ‘hotel bands’. When the big Sound System operators Sir Coxsane Dodd, Duke Reid and King Edwards needed new material to play out with and their usual source of the material, American R & B records were drying up. They turned to this pool of musicians to back up their main singers of the day. Delroy Wilson, Alton Ellis and Lord Creator to name but a few. Also to cut the many instrumental tracks they needed usually under the tutor ledge of Don Drummond, official band leader and main musical director. Their knowledge of the old mento tunes and an understanding of Jazz and R&B music somehow blended to make this musical sound that was to dominate the island from the early 60’s up until around 1966 when the sound would slow down to what we now know as Rocksteady.

The time span of the Skatalites career considering their output of litually 100’s of sides of music, was a relatively short one of just over two years. We have delved into the vaults of Wirl Records and have selected some tunes that show the dexterity of the band and what great sounds this group of musicians were capable of producing and the high quality they maintained. They recorded before they were named as a collective The Skatalites, when personal and financial problems became an issue the band split into two halves. Jackie Mittoo and Roland Alfonso going on to form The Soul Brothers band for Coxsone Dodd. Tommy McCook moving over to work with Duke Reid as musical director. Sadly, Don Drummond suffering for years from depression would see his career cut short ending in Belle Vue hospital in 1969.

But while together they cut some of the finest Ska Sounds to be found on record. We hope you enjoy this set as much as we have in putting it together.
So, stand Up, Listen Hard and do the Ska……

Finally Repressed!
MR. KINCY GETS HIS OWN SERIES CALLED GEMINI TRAXX!

'Hear what happen now! We used to punch the juke box lunchtime... Me and me friends had a kinda thing like the juke box was our sound system and we'd use our lunch money to play the baddest tunes on the juke box.

We were aided and abetted by a kinda dodgy little shop keeper cause we were kids and we were in the rum bar punching the juke box when we weren't supposed to be allowed! So we were breaking all the rules... punching the juke box and taking turns to play the wickedest tunes in the juke box...' - Ossie Thomas.

Breaking rules from the outset Ossie Thomas had furthered his childhood fascination with music while still attending Oberlin High School and many more rules would be broken when together with Phillip Morgan he set up the Black Solidarity label in 1979 on Delamare Avenue deep in the heart of the Kingston ghetto...

'I used to tell people that dance hall was like styles and fashions, if you have a wicked style and you have the fashion you go make it in the dancehall... You understand... - Ossie Thomas.

London based Grime MC and Producer Jammz continues to build upon his I Am Grime Imprint, and once again caters to his instrumental fan base, with the instrumental release of Warrior 2 (on Vinyl only). Written and produced in 2017, this release stands to be the most well rounded body of work Jammz has released yet, and shows Jammz's growth and development as one of Grime's most promising mainstay producers. In recent years Jammz has managed established himself as a very sought after producer, with previous releases such as Keep it Simple & the world being underground favourites (of both fans and DJ's) which have managed to remain in rotation even today. Once a part of 2014's 'pirate radio renaissance', Jammz has also managed to infiltrate his way into the playlists of DJ's such as Sir Spyro & Logan Sama (amongst others) who always have a Jammz instrumental to hand. Yes - I Am Grime is the label, however Jammz takes this opportunity to explore the boundaries of Grime, playing with a range tempos and influences on this EP, with music ranging from 130BPM to 150BPM. Songs like 'Everything Dead' nod to Jammz's Jamaican and British influences, with minimal weighty baselines and vocal stabs, whilst songs like the 'Intro' and 'Interlude' see Jammz experiment with the idea of Grime without drums or percussion. B side tracks like "Set You Free' and 'Play That' nod back to an earlier era of Grime and Garage; with simplistic brass-backed riffs and vocal chops. Additional production credits come from the likes of Sebastian Sartor, Bristol favourites Joker and New York Transit Authority, USA's Collapsing Scenery and Jack Dat who also has his production hat on for the occasion. Over the last 3 Years Jammz has spent his time building his I Am Grime Imprint, which is fast building a reputation for releasing sought after releases. With a newly announced Rinse FM residency and a brand new line of merchandise - it's safe to say Jammz isn't going anywhere anytime soon.

Cause we love Vinyl..... Here is the first Vinyl from the Label JACKFRUIT RECORDINGS, a new label founded in 2017. Label Owner is the Berlin based Artist, DOMPE, known for good arranged House Sounds. He releases a lot, a real creative mind. Four handmade tracks can be found on the Vinyl. THE JOKER: Do you need a Joker Deep and warm Techhouse-Bassline So who is you favourite Buffoon now Risky grinning attitudes sounds you have to hear loud. After that bomb it's time for an new experience: It's time to Boogie. 1,2,3,4 what are you waiting for Move your Body to the Groove. CRY: snappy sounds, a necessary amount of percussions and a beat that makes you teeter along. FREE BIRD: Here are some very new House Beats for you! It is really time for some spring feelings, so the sounds go fresher! And it feels like hearing the bird singing, sitting in the sun meanwhile. Real Groove comes through your Speakers - turn is loud! Percussions make you hooo. So shake your body once again and dance until the spring is coming. JACK BROWN: Hey Sweetheart you are such a hot fruity! Another brilliant cooperation between AGENT! and DOMPE and as it is common: never change a winning team! These both guys living in Berlin are not only Friends; they got a perfect match with their sounds and ideas. Soundaholics with playful whims in their heads. There is a rumour that JACK BROWN gives his Name to JACK FRUIT. Not really just kidding. JACK BROWN makes you dance, drags u to the middle of the floor. Charming Bassline, Vocal and a direct urge for snipping your fingers.

Miss Djax has turned dancefloors upside down with her pumping live version of 'Respect'. Now this version is available on vinyl. At the b-side brandnew track 'The Joker' and guess who this joker is.... Already big supported by Pet Duo and DJ Rush. limited red vinyl pressing.

For her new and most radical album »Electroacoustic Works for Halldorophone«, Martina Bertoni used the electronic instrument at EMS Stockholm to create four pieces that are massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming—almost ambient and always demanding your full attention.

Martina Bertoni returns to Karlrecords with »Electroacoustic Works for Halldorophone,« her most radical album yet. The foundation for the four electroacoustic pieces was laid during a residency at Stockholm’s legendary Elektronmusikstudion (EMS) that the Berlin-based cellist and composer used to explore the curious instrument, originally designed by Halldór Úlfarsson in 2008, as an algorithmic system in order to examine tunings and the mathematical relationships between Aiming to analyse and understand their interaction beyond the composer’s control, Bertoni sought to engage more deeply with the concepts of time, tuning, and, most importantly, control. Accordingly, her four »Electroacoustic Works for Halldorophone« seem both massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming— almost ambient and always demanding your full attention.

While the halldorophone—famously used by Hildur Guðnadóttir for her »Joker« score—roughly resembles a cello and can be played like one, it is an electronic instrument. The vibration of its strings is being picked up, amplified, and then routed through a speaker. This creates a feedback loop that becomes increasingly complex depending on how much gain is added to individual strings. Úlfarsson gave Bertoni a carte blanche for how to handle the instrument, but she stresses that she relied on »minimal interventions—some string strumming and plucking« that set the interactions of different sounds and frequencies into motion. »I decided to not approach it like a cellist would,« she explains. »Instead I used it as a kind of generative organ by turning it into a feedback machine, with tuned feedback triggering more feedback depending on the tuning, which was based on tetraphonic scales that I could apply on the four main strings as well as the sympathetic group of strings.«

Bertoni recorded the material in the EMS studio, later composing and arranging the four complex pieces in her home in Berlin, after which they were mixed and mastered by Ciaran O’Shea. While this can be considered a compositional abstraction process, traces of her concrete work as a performer are firmly ingrained in the music. »The halldorophone doesn’t have a line output, just a double set of speakers, which is why I recorded all sounds with two microphones in the EMS studio,« she explains. »That’s why there’s plenty of breathing sounds here and there—label owner Thomas Herbst and I jokingly refer to the album as my ›chamber music record‹.« And indeed, there is a striking sense of intimacy to these four pieces throughout which individual sounds, harmonic frequencies, and even subtle rhythmic figures seem to move both on their own accord but also according to a underlying vision that steers their interplay.

Indeed, »Electroacoustic Works for Halldorophone« is an album built on and marked by contrasts. The soothing polylogue of single sounds in the higher register on opener »Omen in G« is counterpointed by massive bass drones, while the second piece, »Nominal in D,« plays a cunning game of repetition and difference by combining thick textures with all kinds of rhythmic elements. »Fades in C«—the longest of the four pieces, clocking in at 17 minutes—unlocks the emotional potentials of the sonic qualities of the halldorophone, sounding at once serene and anthemic, and »Organon in D« closes the album by underscoring how Bertoni’s unconventional approach allows her to seamlessly transform simple, quiet tones into complex, towering walls of sound.

Collecting orders for repress

Perlon is more than happy to announce the new 12" by mister MATT JOHN, who is part of the Perlon family since his debut release "Joker Family Park One" (12"/ PERL49) in 2005. Only one year later the follow up "Joker Family Park Two" was born (2x12"/ PERL54). Since then, Matt had a couple of releases on Berlin based label "Bar25" and recently a 12" on "Holographic Island", his own imprint. Besides that, he tours the clubs worlwide to present his very unique sound. It's good to know, that there's more to come in 2009, watch out!
This is the first release, distributed through our new partner "Word And Sound". Hello future!

Hip Hop legends Micall Parknsun, Joker Starr & MCM (Caveman) join forces over a dope Jazz T boom bap killer "Nebula X". 7" vinyl with the instrumental on the B-side and amazing artwork by Matt Littler!

Originally released in 1990, Same Place The Fly Got Smashed was Guided By Voices’ fourth album in as many years. Roughly a concept album about an alcoholic named Joker Bob who goes on a bender, someone dies, and Bob gets the chair (“the electrifying conclusion”). From the moment the needle drops, the listener is served notice that this isn’t going to be an easy listen, as an argument taped off of a TV cuts to a basement recording of a lone, blaring electric guitar with someone yelling over the top. But for those brave enough to pass the opening hazards, there are wonders within. This particular album has come to be held in higher and higher regard by fans, and they are correct to consider it a top-tier release. The story and sequence have a flow, and consideration for approachability is optional. Many of the crudest tracks reveal themselves as necessary stitches in the album’s tapestry. Yet it also contains all time greats like “Drinker’s Peace,” “Mammoth Cave,” the epic “Local Mix-Up/ Murder Charge,” and of course “Pendulum” with its immortal opening line: “Come on over tonight, we’ll put on some Cat Butt and do it up right!”—a rare break in the clouds on one of the band’s darkest albums. This reissue, like the previous ones in this series, is a mostly faithful reproduction of the original pressing of 500 on the band’s own Rocket #9 label. And like the others, the virgin RTI vinyl is housed in a thick tip-on jacket, and includes Robert Pollard’s original handwritten lyric insert.

Boot proudly present Micall Parknsuns 6th studio LP "Still..." on limited edition single black vinyl. With killer features from Kyza, Scriblah, Joker Starr, AyePee, Josiah and Naughtz. Produced by Micall Parknsun, Aypee and Apollo with cuts by Jazz T. Killer artwork by Glen Stone. Includes the smashes "Still... "and "Kept Going"

Repress!

Berlin based duo Kyongpaul is a electronic producer and a live jazz drummer. Together they create an unique experience crossing Melodic Techno & House up to jazzy and piano influenced downtempo beats for fans of Kiasmos.

180 GRAM AUDIOPHILE VINYL
INCLUDES “INTRODUCING MYSELF”, “DRUM SONG”, AND “I AM A MADMAN”
LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON RED COLOURED VINYL

"On a dozen restlessly expressive instrumentals recorded between Marin and Reykjavík, the American guitarist finds turbulent beauty at the edges of the fingerstyle tradition." - PITCHFORK 7.9/10

"The greatest living guitar player" - Hayden Pedigo

Today, guitarist Mason Lindahl — whose “unabashedly beautiful" (Aquarium Drunkard) sound "balances the romantic dynamics of flamenco and the meticulousness of Windham Hill with the unguarded qualities of improvised music" (Pitchfork) — announces a pair of new albums: Joshua / Same Day Walking via Mt. Brings Death.

Though packaged together, Joshua and Same Day Walking chart distinct worlds. Recorded in northern California and produced by Robby Moncrieff (Dirty Projectors, Zach Hill), Joshua is woolier and warmer, evoking haze, humidity, and overgrown Spanish moss. Meanwhile, Same Day Walking — recorded in Iceland and produced by Moncrieff alongside two-time GRAMMY-winning composer / sound designer Sam Slater (Joker, Chernobyl) — is, appropriate for its icier climes, windswept and beholden to the vast emptiness of harsh landscapes. As a pair, they provide a thorough portrait of Lindahl's singular and versatile playing.

Amid Lindahl's purely evident virtuosity, close listeners can savor wonderful imperfections freckled throughout Joshua / Same Day Walking: buzzing strings, minimal electronic ambience, soft undulations of tempo. Lindahl isn’t here to pageant his craft; he's adventuring within, uncovering fresh avenues of sound and emotive gesture.

Described by friend and contemporary Hayden Pedigo as “the greatest living guitar player,” Mason Lindahl’s “austere, gothic flamenco...dares you to submit to this odd and immersive sonic universe" (Uncut). The Northern California native's solo instrumental debut Kissing Rosy in the Rain, released in 2021 via Tompkins Square, was praised as "gorgeous" (Petal Motel) and "a minimalist gem" (Everything Is Noise). Prior to that, his only other solo release is 2009's Serrated Man Sound.

Bryan Senti’s La Marea, out on 10th October, is a poignant new work for string orchestra that moves like the ocean. Written as a tribute to his father’s journey from Cuba to the United States, the music carries the listener across waters filled with memory, loss, and hope. Performed by the Czech National Symphony, La Marea is both intimate and cinematic, guiding the listener through a story that transports us from the mountain to the sea.

“The image that repeatedly came to mind was that of the proverbial raft, of being alone and adrift at sea. I can imagine the internal struggle: anchoring oneself to memories of the past while hoping, desperately so, to be reborn in a foreign land. That singular combination of grief and faith that brings someone to surrender to inevitable change”

The album brings together collaborators including bassist Spencer Zahn, cellist Noah Hoffeld, and Grammy-winning baritone Edward Parks, whose moving performance of Saloma (Tierra en Movimiento), set to the words of Chilean poet Antonia Torres Aguëro, is paired with a moving short film by Jared Malik Royal.

Co-produced with Grammy winner Justin Moshkevich and mixed by Francesco Donadello (Chernobyl, Tàr, The Joker).

La Marea is both a personal reflection and a universal meditation on migration and transformation.

Loaded with tension and anchored by bold textural and stylistic contrasts, Sam Slater’s third solo full-length finds the British sound artist, composer, and engineer grappling with his creative contradictions head-on.

Having spent a life time in bands and producing records, Sam transitioned somewhat by accident through his work with Johan Johansson into working as a composer on high profile projects such as his collaboration with Hildur Guðnadóttir on the Grammy Award-winning Joker and Chernobyl, and with Pulitzer Prize-winning journalist Mstyslav Chernov on the soundtrack to the lauded 2000 Meters to Andriivka. Having a vast set of interests and influences is an asset when helping realise a directors vision for a soundtrack, but one's own musical voice can end up being constrained. In Lunng, Slater has gone back to his wildly divergent range of influences and rather than shy away from the extremes, he's used them to create a singular vision.

Take the opening track “Heatsick”: Slater imagines an extravagant fusion of 2000s drone metal and vintage British brass, welding ear-splitting overdriven drones and blown-out choral vocals to stirring trombone swells from veteran player Hilary Jeffery. On paper, it’s hard to imagine—but Slater’s intentionality conducts these polarizing elements into a surreal blur of sonic extremes, with the guitars’ relative harshness softened by Jeffery’s eerily nostalgic colliery echoes.

His last solo album, I do not wish to be known as a Vandal (Bedroom Community, 2022), showcased this breadth by assembling a team of collaborators including Sam Dunscombe and Yair Elazar Glotman. On this record he’s linking up with acclaimed multi-instrumentalist Maria W. Horn, idiosyncratic sax virtuoso Bendik Giske, versatile percussionist Adam Betts, and the aforementioned Jeffery, Slater ushers these players toward a lattice of calculated confutations.

Working to explore the tension between the divergent practices of his collaborators—Lunng was meant to be challenging. On “Praya”, Giske’s familiar overblown horn phrases are almost vaporized, vanishing among Slater’s weightless synths and Horn’s chillingly hoarse vocals. There are traces of Horn’s Funeral Folk project, but Slater shifts the emphasis, letting her voice brush past the other elements like a hallucination.

Slater’s use of extremes isn’t just in the micro; dynamics drive the album’s overall flow. “Praya” sets the stage for the record’s heaviest, most prickly moment: “Passengers”. Here, Horn’s voice cracks, rasps, and gurgles over serrated synths and Betts’ ritualistic drums. Slater turns an industrial symphony into a folk opera—dark, dramatic, and strangely beautiful—etched with Giske’s fluttering phrases.

But the mood soon shifts. Slater careens toward chaos, unleashing double-time rhythms and piercing textures familiar to anyone with a soft spot for classic black metal. These grotesque incongruities are deliberate; Slater surveys years of musical conflict and leans in, using dissent as fuel to build kinetic energy.

The weight of sentimentality bears down on “Black Metal Rewind (Night Drive Astra, 2006)”, melting teenage memories into hypnagogic ambience—shoegaze dreams whirled with angelic choral delusions. On “Death by Nostalgia, 1688”, he ventures further into polarizing territory, distorting AutoTuned voices with cryptic strings and medieval tonalities, unsettling any stable sense of past or present.

In this record Slater focuses on pure energy, color, and mood. Lunng distills years of listening into a bracing brew—boiling each sound down to its essence, then serving it with unflinching intent.

John Twells, 2025

More Than Meets the Eye is the debut album by Belgian artist Léonard Steyaert - an evocative blend of experimental electronics and intimate songwriting. Across six tracks, the album unfolds like a psychological thriller, navigating themes of alienation, vulnerability, and ecstatic release. Think Radiohead meets Aphex Twin, with echoes of Björk, Portishead, and Messiaen.
More Than Meets the Eye is the debut album by Belgian artist Léonard Steyaert - an evocative blend of experimental electronics and intimate songwriting.

Across six tracks, the album unfolds like a psychological thriller, navigating themes of alienation, vulnerability, and ecstatic release.

Think Radiohead meets Aphex Twin, with echoes of Björk, Portishead, and Messiaen.

Mixed by James Ginzburg (Emptyset), mastered by Joker, the sound is raw, detailed, and immersive.

Tracks like Caught Breaking In and See You Burst oscillate between whispered confessions and intense sonic ruptures.

The album forms a narrative arc - from inner tension (A Threatening Morning) to the revelation of What Really Happened.

Artwork and live visuals are part of a strong visual identity created in collaboration with artists Joséphine Steyaert, Thomas Vanderniet and Esther Denis.

A limited vinyl edition and a performance-based live show will support the release.

Perfect for adventurous listeners and tastemakers seeking something personal, cinematic, and genre-defying.

Der Netflix-Erfolgsfilm „K-Pop Demon Hunters“ begleitet Rumi, Mira und Zoey durch das Leben als
K-Pop-Superstars. Wenn sie nicht gerade Stadien ausverkaufen, nutzen sie ihre geheimen Identitäten als
knallharte Dämonenjäger, um ihre Fans vor einer allgegenwärtigen übernatürlichen Bedrohung zu schützen.
Gemeinsam müssen sie sich ihrem bisher größten Feind stellen – einer unwiderstehlichen, rivalisierenden
Boygroup von verkleideten Dämonen.
Der K-Pop Demon Hunters Soundtrack enthält unter anderem den neuen Song ”TAKEDOWN” mit
Jeongyeon, Jihyo und Chaeyoung von der K-Pop-Girlgroup TWICE. Dieses Album hat es sogar auf die
#1 der deutschen Album Charts geschafft!
Das Album ist als LP erhältlich und beinhaltet ein faltbares Poster und eine Fotokarte (1 von 4). Außerdem
ist das Album als CD erhältlich und beinhaltet ein Poster und eine Fotokarte (1 von 3).

Was tun die Menschen um uns herum? Wie tun sie’s? „Wollen wir das nicht alle die ganze Zeit verstehen?“, fragt Alli Neumann, die mit ihrem dritten Studioalbum methaphorisch als funkelnder Stern auf hartem Asphalt landet. Als „ROQUESTAR“ muss sie sich dort erstmal orientieren. Inspiriert von David Bowies Ziggy Stardust, der fürs Seltsamsein bekannt wurde und sich was traut, auch um gesehen zu werden, blinkt Alli zwischen Auffallen und Anpassung. Die Musikerin bewegt sich längst fließend in dieser Dualität und changiert zwischen den Polen – man will ja doch von allen geliebt werden, oder?! Die Musikerin spielt mit diesem ambivalenten Gedanken, der unlösbar scheint und liefert mit ihrem Album „ROQUESTAR“ 12 Songs, die von genau diesem dringlichen Hunger nach Anerkennung getrieben sind. „Sie erzählen von dem Willen, geliebt zu werden.“ Eine Wahrheit und auch psychosoziale Utopie, vielleicht, „in der sich viele wiederfinden“, meint Alli, und ja doch schambehaftet daherkommt, weil deutlich wird: Wir sind schrecklich abhängig vom Außen, von dem wir so oft die Schnauze voll haben. Mit „Ich kann gar nichts“ schreibt Alli genau dagegen an: Eine selbstironische Hommage an die Imperfektion – wider jeder Erwartung. Geliebt werden wollen, trotz oder gerade wegen ... Rockstar sein, Alli sagt: „everybody’s favorite misfit“. Wie es geht, das mit dem Lieben, das ja auch immer damit einhergeht, wie es um die Liebe zu sich selbst steht, zeigt sich in der Gleichzeitigkeit ihrer Songs: Während Alli in „Vom anderen Stern“ zu Funk eine neue Liebe als Eskapismus zeichnet, „Baby lass dich fallen, um fliegen zu lernen“, erinnert sie in der Grungerock-Ballade „Nie wieder verlieren“ daran, wie giftig es sein kann, sich für einen Menschen aufzugeben. Auf „ROQUESTAR“ scheint alles in Bewegung. Es sind Anstöße, die die Musikerin gibt. Manchmal Anklagen, Aufforderungen, aus denen Sehnsüchte sprechen, nur nie Antworten. Auch weil das nicht zu Alli, der Artist, passen würde, die sich doch so gerne bewegt, wie die Welt, durch die sie fliegt. Durch Genres und Formate – als Musikerin, Schauspielerin, auf Bühnen, auch im Fernsehen, eine Künstlerin, die sich erfährt, (er)lebt, ein bunter Hund, Alli liebt, auch ihre Integrität. Und während die Songs in sich und auch im Miteinander organisch aufgehen, hört man mit etwas Genauigkeit zwei ungewöhnliche Instrumente spielen. Zwei barocke, die Allis „ROQUESTAR“-Modus musikalisch markieren. Zusammen mit ihrer Produzentin Novaa lässt sie Cemberlo und Fagott sich an vorherrschende Synthie- und Kraut-Pop-Sounds schmiegen, während das Fagott von den allermeisten aus der Popmusik verbannt wird. Sich wirklich zeigen, das kann Alli. „Being loved for not being loved“, beschreibt sie selbst, nur immer als Versuch. Bemerkenswert ist, dass die Musikerin bei ihrem Tempo und ihren Kurven der vergangenen Jahre nie Splitter ihres Ichs verloren hat. Während sie also 2025 zwischen den Zeilen über eine „ROQUESTAR“-Identität textet, ist sie es längst: Ein Stern, der vom Himmel auf den Boden einer steinigen Realität fällt, sich umschaut und unaufhörlich probiert. Im ewigen Gerangel zwischen laut und leise, Kraut und Folklore, Protest und Rückzug. Zwischen amüsiert und politisch, Großstadt und Landleben, 80ies und Barock. Alli und ihre Musik strahlen manchmal gleißend hell und manchmal gedimmt hinein in diese Welt, aber leuchten, das tun sie wirklich immer.

Roland Van Campenhout is certainly one of the most unique Belgian artists. Active since the 1960s, Roland has built an extensive and eclectic discography. With more than 20 albums featuring folk, blues, rock, world music, movie and theatre soundtracks — all blending together to create a new musical dimension that defines his true free musical spirit. He has received multiple awards, toured the world with Rory Gallagher, and performed with Tim Hardin, Leo Kottke, Ian Anderson, and the entire Belgian scene.

2025 marks 20 years of Tectonic, the pioneering dubstep and electronic label founded in 2005 by Bristol’s underground originator, DJ Pinch.
The Tectonic Sound compilation lays down the gauntlet for the future direction of the imprint. Split across 6 x 4-track 12”s, the compilation comprises many producers making their Tectonic debut, including Re:ni, Beatrice M., Yushh, Flora Yin-Wong, and Sicaria, alongside stalwarts like Om Unit, RSD, Peverelist and Kahn & Neek. It’s an exhilarating 24-track journey through experimental, bass-heavy electronic music, with almost all tracks created by the artists specifically with Tectonic's sound in mind - at the intersection where dubstep and techno meet.
“More so than just the sound, the music is in tune with the real ethos of the early dubstep scene,” - Label boss Pinch says: “People talk about 'heads in a scene - but it's led by hearts really. I've always tried to follow my heart when it comes to music and all the music here is from people I trust that do something worth communicating with the world. I love to watch and help artists grow just as much as I'm excited to release tracks from bigger names who are still passionate about what they do and have developed the powers and control to be able to output that effectively. It feels like Tectonic has been a part of so many communities over the years now, and that there is something that binds all the releases together, something that speaks for itself in a way that goes beyond words, something that's instinctive and immediate.”

Across Tectonic’s 150-strong catalogue there are seminal releases by 2562, Scientist, and Mumdance & Logos, side by side with appearances from Flying Lotus, Shed, Adrian Sherwood, Riko Dan and Photek. The label holds some of the earliest dubstep incantations of Skream, Digital Mystikz, and Joker as well as Pinch’s own productions. The evolution of the Tectonic sound branches into audio explorations encompassing sub-heavy techno and grimey soundscapes alongside leftfield electronica and future-facing beats. The common thread that binds is Pinch’s devotion to pushing underground music ahead of its time, always built to rattle a soundsystem

2025 marks 20 years of Tectonic, the pioneering dubstep and electronic label founded in 2005 by Bristol’s underground originator, DJ Pinch.
The Tectonic Sound compilation lays down the gauntlet for the future direction of the imprint. Split across 6 x 4-track 12”s, the compilation comprises many producers making their Tectonic debut, including Re:ni, Beatrice M., Yushh, Flora Yin-Wong, and Sicaria, alongside stalwarts like Om Unit, RSD, Peverelist and Kahn & Neek. It’s an exhilarating 24-track journey through experimental, bass-heavy electronic music, with almost all tracks created by the artists specifically with Tectonic's sound in mind - at the intersection where dubstep and techno meet.
“More so than just the sound, the music is in tune with the real ethos of the early dubstep scene,” - Label boss Pinch says: “People talk about 'heads in a scene - but it's led by hearts really. I've always tried to follow my heart when it comes to music and all the music here is from people I trust that do something worth communicating with the world. I love to watch and help artists grow just as much as I'm excited to release tracks from bigger names who are still passionate about what they do and have developed the powers and control to be able to output that effectively. It feels like Tectonic has been a part of so many communities over the years now, and that there is something that binds all the releases together, something that speaks for itself in a way that goes beyond words, something that's instinctive and immediate.”

Across Tectonic’s 150-strong catalogue there are seminal releases by 2562, Scientist, and Mumdance & Logos, side by side with appearances from Flying Lotus, Shed, Adrian Sherwood, Riko Dan and Photek. The label holds some of the earliest dubstep incantations of Skream, Digital Mystikz, and Joker as well as Pinch’s own productions. The evolution of the Tectonic sound branches into audio explorations encompassing sub-heavy techno and grimey soundscapes alongside leftfield electronica and future-facing beats. The common thread that binds is Pinch’s devotion to pushing underground music ahead of its time, always built to rattle a soundsystem

2025 marks 20 years of Tectonic, the pioneering dubstep and electronic label founded in 2005 by Bristol’s underground originator, DJ Pinch.
The Tectonic Sound compilation lays down the gauntlet for the future direction of the imprint. Split across 6 x 4-track 12”s, the compilation comprises many producers making their Tectonic debut, including Re:ni, Beatrice M., Yushh, Flora Yin-Wong, and Sicaria, alongside stalwarts like Om Unit, RSD, Peverelist and Kahn & Neek. It’s an exhilarating 24-track journey through experimental, bass-heavy electronic music, with almost all tracks created by the artists specifically with Tectonic's sound in mind - at the intersection where dubstep and techno meet.
“More so than just the sound, the music is in tune with the real ethos of the early dubstep scene,” - Label boss Pinch says: “People talk about 'heads in a scene - but it's led by hearts really. I've always tried to follow my heart when it comes to music and all the music here is from people I trust that do something worth communicating with the world. I love to watch and help artists grow just as much as I'm excited to release tracks from bigger names who are still passionate about what they do and have developed the powers and control to be able to output that effectively. It feels like Tectonic has been a part of so many communities over the years now, and that there is something that binds all the releases together, something that speaks for itself in a way that goes beyond words, something that's instinctive and immediate.”

Across Tectonic’s 150-strong catalogue there are seminal releases by 2562, Scientist, and Mumdance & Logos, side by side with appearances from Flying Lotus, Shed, Adrian Sherwood, Riko Dan and Photek. The label holds some of the earliest dubstep incantations of Skream, Digital Mystikz, and Joker as well as Pinch’s own productions. The evolution of the Tectonic sound branches into audio explorations encompassing sub-heavy techno and grimey soundscapes alongside leftfield electronica and future-facing beats. The common thread that binds is Pinch’s devotion to pushing underground music ahead of its time, always built to rattle a soundsystem

2025 marks 20 years of Tectonic, the pioneering dubstep and electronic label founded in 2005 by Bristol’s underground originator, DJ Pinch.
The Tectonic Sound compilation lays down the gauntlet for the future direction of the imprint. Split across 6 x 4-track 12”s, the compilation comprises many producers making their Tectonic debut, including Re:ni, Beatrice M., Yushh, Flora Yin-Wong, and Sicaria, alongside stalwarts like Om Unit, RSD, Peverelist and Kahn & Neek. It’s an exhilarating 24-track journey through experimental, bass-heavy electronic music, with almost all tracks created by the artists specifically with Tectonic's sound in mind - at the intersection where dubstep and techno meet.
“More so than just the sound, the music is in tune with the real ethos of the early dubstep scene,” - Label boss Pinch says: “People talk about 'heads in a scene - but it's led by hearts really. I've always tried to follow my heart when it comes to music and all the music here is from people I trust that do something worth communicating with the world. I love to watch and help artists grow just as much as I'm excited to release tracks from bigger names who are still passionate about what they do and have developed the powers and control to be able to output that effectively. It feels like Tectonic has been a part of so many communities over the years now, and that there is something that binds all the releases together, something that speaks for itself in a way that goes beyond words, something that's instinctive and immediate.”

Across Tectonic’s 150-strong catalogue there are seminal releases by 2562, Scientist, and Mumdance & Logos, side by side with appearances from Flying Lotus, Shed, Adrian Sherwood, Riko Dan and Photek. The label holds some of the earliest dubstep incantations of Skream, Digital Mystikz, and Joker as well as Pinch’s own productions. The evolution of the Tectonic sound branches into audio explorations encompassing sub-heavy techno and grimey soundscapes alongside leftfield electronica and future-facing beats. The common thread that binds is Pinch’s devotion to pushing underground music ahead of its time, always built to rattle a soundsystem

2025 marks 20 years of Tectonic, the pioneering dubstep and electronic label founded in 2005 by Bristol’s underground originator, DJ Pinch.
The Tectonic Sound compilation lays down the gauntlet for the future direction of the imprint. Split across 6 x 4-track 12”s, the compilation comprises many producers making their Tectonic debut, including Re:ni, Beatrice M., Yushh, Flora Yin-Wong, and Sicaria, alongside stalwarts like Om Unit, RSD, Peverelist and Kahn & Neek. It’s an exhilarating 24-track journey through experimental, bass-heavy electronic music, with almost all tracks created by the artists specifically with Tectonic's sound in mind - at the intersection where dubstep and techno meet.
“More so than just the sound, the music is in tune with the real ethos of the early dubstep scene,” - Label boss Pinch says: “People talk about 'heads in a scene - but it's led by hearts really. I've always tried to follow my heart when it comes to music and all the music here is from people I trust that do something worth communicating with the world. I love to watch and help artists grow just as much as I'm excited to release tracks from bigger names who are still passionate about what they do and have developed the powers and control to be able to output that effectively. It feels like Tectonic has been a part of so many communities over the years now, and that there is something that binds all the releases together, something that speaks for itself in a way that goes beyond words, something that's instinctive and immediate.”

Across Tectonic’s 150-strong catalogue there are seminal releases by 2562, Scientist, and Mumdance & Logos, side by side with appearances from Flying Lotus, Shed, Adrian Sherwood, Riko Dan and Photek. The label holds some of the earliest dubstep incantations of Skream, Digital Mystikz, and Joker as well as Pinch’s own productions. The evolution of the Tectonic sound branches into audio explorations encompassing sub-heavy techno and grimey soundscapes alongside leftfield electronica and future-facing beats. The common thread that binds is Pinch’s devotion to pushing underground music ahead of its time, always built to rattle a soundsystem

2025 marks 20 years of Tectonic, the pioneering dubstep and electronic label founded in 2005 by Bristol’s underground originator, DJ Pinch.
The Tectonic Sound compilation lays down the gauntlet for the future direction of the imprint. Split across 6 x 4-track 12”s, the compilation comprises many producers making their Tectonic debut, including Re:ni, Beatrice M., Yushh, Flora Yin-Wong, and Sicaria, alongside stalwarts like Om Unit, RSD, Peverelist and Kahn & Neek. It’s an exhilarating 24-track journey through experimental, bass-heavy electronic music, with almost all tracks created by the artists specifically with Tectonic's sound in mind - at the intersection where dubstep and techno meet.
“More so than just the sound, the music is in tune with the real ethos of the early dubstep scene,” - Label boss Pinch says: “People talk about 'heads in a scene - but it's led by hearts really. I've always tried to follow my heart when it comes to music and all the music here is from people I trust that do something worth communicating with the world. I love to watch and help artists grow just as much as I'm excited to release tracks from bigger names who are still passionate about what they do and have developed the powers and control to be able to output that effectively. It feels like Tectonic has been a part of so many communities over the years now, and that there is something that binds all the releases together, something that speaks for itself in a way that goes beyond words, something that's instinctive and immediate.”

Across Tectonic’s 150-strong catalogue there are seminal releases by 2562, Scientist, and Mumdance & Logos, side by side with appearances from Flying Lotus, Shed, Adrian Sherwood, Riko Dan and Photek. The label holds some of the earliest dubstep incantations of Skream, Digital Mystikz, and Joker as well as Pinch’s own productions. The evolution of the Tectonic sound branches into audio explorations encompassing sub-heavy techno and grimey soundscapes alongside leftfield electronica and future-facing beats. The common thread that binds is Pinch’s devotion to pushing underground music ahead of its time, always built to rattle a soundsystem

With a room fulla fine pickers and a set of Hollywood orchestral cues to kill for, Cory Hanson proclaims I Love People! His 4th solo album drills down (baby) on a dryly parallax worldview, with songs about all those people he loves and all the crazy things they get up to. As ringmaster for a circus show of classic folk and rock tropes, Cory tugs at our heartstrings with expert misdirection, embracing tradition by throwing it out, into the wind.

With a room fulla fine pickers and a set of Hollywood orchestral cues to kill for, Cory Hanson proclaims I Love People! His 4th solo album drills down (baby) on a dryly parallax worldview, with songs about all those people he loves and all the crazy things they get up to. As ringmaster for a circus show of classic folk and rock tropes, Cory tugs at our heartstrings with expert misdirection, embracing tradition by throwing it out, into the wind.

The Gold is inspired by the true story and theories of the 1983 Brink’s-Mat robbery, which saw
the theft of £26 million worth of gold bullion, and the decades-long chain of events that followed. First aired in February 2023, the first series of The Gold garnered 8.7 million viewers for the first episode and was nominated for a BAFTA. Series Two is inspired by theories around what happened to the other half of the gold.

Simon Goff’s work sits at the intersection of contemporary classical, electronic, and cinematic
music. His albums Vale and Spark Like Living Mothers have received critical acclaim for their immersive, textural soundscapes and compositional depth. He has also worked with some of the world’s most acclaimed musicians as a collaborator and sound engineer on Joker and Chernobyl - both of which earned him Grammy Awards.

“In series one of The Gold, the score developed around using the sound pallets of strings and electronics, acting themselves as characters in the narrative. The subject of class permeates the whole story and we used these sound worlds to represent two worlds, divided at first but becoming more and more intertwined as the series progressed. The ways in which the worlds have collided and merged in series two is even more complex. The tension is even higher and the neurosis that torments the characters runs deeper.” Simon Goff

Limited edition white vinyl (800 copies) The self-styled ritualistic electro-mechanical ensemble OSMIUM is a veritable supergroup. Made up of Oscar-winning composer and instrumentalist Hildur Gudnadóttir, veteran engineer and producer James Ginzburg, Senyawa's idiosyncratic vocalist Rully Shabara and Grammy-winning sound designer / producer Sam Slater, while each member brings along a laundry list of accolades, the project is far greater than the sum of its parts. Alloying burnished electroacoustic soundscapes with dense, metallic drones, barbed rhythms and buckled, bio-mechanical vocalizations, OSMIUM's eagerly awaited debut album doesn't try to cast a rigid future. Rather, it tempers a viscous flow of unorthodox speculations that smolders through the distant past, blazing a trail all the way to the frontier of fate. Absorbed by questions about the relationship between humans and technology, tradition and progression, the individual and the group, OSMIUM channel their experience and expertise into a set of forward-thinking sonic interrogations that skewer established cultural preconceptions. And although genre is acknowledged - the album draws from folk, doom metal, 20th century minimalism, industrial music and extreme noise - there's never a sense that it's riveted firmly in place. Widely known for her soundtrack work (including `Joker' and `Chernobyl') Gudnadóttir plays the halldorophone, a unique cello-like electroacoustic instrument designed by Halldór Ulfarsson that allows the performer to harness unstable feedback loops. Taking his cues from this process, Slater (who has worked alongside Jóhann Jóhannsson, Ben Frost and others) generates rhythms using a self-oscillating drum he designed with KOMA Elektronik and Subtext boss and Emptyset member Ginzburg responds in kind, producing booming tambura-like sonorities from a device he developed himself based on the monocord, an ancient single- stringed resonator. OSMIUM synchronize the three unique instruments using a custom system of robotics to generate basic rhythms that underpin their improvisations and experiments, and Shabara's alien tones supply the band with their conceptual fulcrum. The vocalist is one of South Asia's most recognizable underground artists, and the sounds he's able to create using exhaustively rehearsed extended techniques are so distinctive that he's been studied by scientists back home in Indonesia. Never weighed down by needless sound design or modish ornamentation, it's music that feels authentically experimental; OSMIUM have figured out an awkward symmetry between their discrete approaches, concentrating their gaze on the outcome rather than the process. The result is a work of science fiction that's driven by interaction, conversation and sensation.

Long, long overdue reissue of this gem from the depths of The Skaters dreamweaving dimension, released as a limited tape through Spencer Clark's Pacific City imprint back in 2008. Comprising a period of extreme and vital activity for both Clark as Monopoly Child Star Searchers and Black Joker and his kindred spirit James Ferraro under his own name - 'Marble Surf' or 'Discovery' - and a myriad of identities like Liquid Metal or Edward Flex, this split finds these intrepid explorers on each side of a scrying mirror.
Conjuring the Angel Snake entity as a vessel for unlocking the unconscious, Ferraro takes up the A-side with hypnotic wooden percussion sustaining queasy tape processed keyboard lines that intertwine amidst a growing haze of hiss. About halfway through the digression an announcer boombox voice cuts up the scenery for a serpentine dance around the discarded remnants of civilisations past and future. Clark's Monopoly Child rides a beaming synth and muffled percussion accents on his trademarked keyboard thrills, all ascending and descending runs brimming on the horizon, not quite here, not quite out of reach, fading out to a galloping murk smeared by hallucinatory flute-like sounds and portamento accents that float in harmonic suspension.
Truly visionary and arresting stuff from these true purveyors of the netherworld, due to be rediscovered in these times of poor half-reassessments of the given past. It was never a dream, it was always a dream.

Limited edition milky-clear 2LP of The Adicts’ only official live album for RSD2025.

First time on vinyl for 35 years; now with bonus disc with 13 additional tracks!

Remastered, and with improved packaging with previously unseen photos.

The Adicts came from Ipswich on the east coast of England, dressed in white in an amalgam of The Joker and Clockwork Orange imagery. Their previous studio albums had made a big impact in the UK, with singles entering the lower reaches of the national charts on Sire Records – (who insisted they change their provocative punky name to ADX or The Fun Adicts for children's TV!).

With catchy, glam-punk singalong tunes and theatrical shows, they were dramatic and exciting live – the best way to experience them. The Adicts still continue to grow their audience and regularly tour the USA, UK and Europe.

Recorded live at the Alabama Halle, Munich, Germany. Mixed from multitrack by The Adicts.

Joker Marble Vinyl. Romantic is Mannequin Pussy's standout 2016 album. Mannequin Pussy are a beloved rock band from Philadelphia. Their music feels like a resilient and galvanizing shout that demands to be heard; across four albums, the band has made cathartic tunes about despairing times. Romantic is the band's second full-length album, and it was widely critically acclaimed in NPR, Pitchfork, Stereogum, and many many. Stereogum named the title track, "Romantic" the #14 song of the year in 2016.

Mit 'Ekko' legt die in Berlin lebende irisch-norwegische Künstlerin Tara Nome Doyle ihr drittes Album vor - eine Reise ins Unbekannte und in die Tiefen des eigenen Ichs. Auf dem Weg dorthin geht es um Schmerz, Abschied, Neuanfang und schließlich um Akzeptanz.

In nur 30 Minuten strahlt das Album eine bemerkenswerte Klarheit aus - nicht nur in seiner Kürze, sondern auch in seiner emotionalen Tiefe.

Tara hat 'Ekko' größtenteils selbst produziert und die musikalische Palette bewusst einfach gehalten. Sie arbeitete mit dem Grammy-prämierten Produzenten und Toningenieur Simon Goff (The Joker, Chernobyl) zusammen, um eine präzise, zurückgenommene Klanglandschaft aus Stimme, Klavier, Gitarre, Streichern, Mellotron und gelegentlichen analogen Synthesizern zu schaffen.

- Ltd. Col. LP: (Klares, transparentes Vinyl, bedruckte Innenhülle mit Songtexten)

MJ Lenderman is a songwriter born and raised in Asheville, North Carolina. The anatomy of an MJ record might go something like this: warped pedal steels and skuzzed out guitar; crackin" a cold one with some buds; a voice reminiscent of the high lonesome warble of a choirboy. Songs snake their way from a lo-fi home recording to something glossier made withn longtime friends at Asheville"s Drop of Sun studios, but the recording setting doesn"t seem to matter much - at its core, a Lenderman song rings true. Manning Fireworks is a remarkable development in MJ Lenderman"s story as an incredibly incisive singer-songwriter, whose propensity for humor always points to some uneasy, disorienting darkness. The punchlines are still here, as are the rusted-wire guitar solos that have made Lenderman a favorite for indie rock fans looking for an ernerging guitar hero. There"s a new sincerity, too, as Lenderman Iets listeners clearly see the world through his warped lens.

Scientist's name will be found on many dub releases in peoples record collections.His connection to King Tubby's studio is inseparable and many say when the dub end of Reggae music had fallen on quieter times it was Scientist with his often stripped back style and at other times, wild off the wall remixes that breathed life back into the dub cannon.

Scientist (born Overton Brownie,1960, Jamaica) was in many ways King Tubby's apprentice. Having helped his own father out repairing televisions and such like, he would help Tubby on winding transformer coils, that the amps of the day all needed. His interest in recording grew as he watched the many sessions taking place at Tubby's Dromilly Avenue Studio, learning the ropes as the musicians came and went. His first break happened when King Jammy (then Prince Jammy) was too tired to work on a session booked for producer Errol 'Don' Mais. Scientist engineered the session to every one’s bewilderment and great satisfaction.

His first hit would be a mix of Barrington Levy's 'Collie Weed' and his reputation built on the many versions he cut at Tubby's where he would become the engineer of choice. His pared down mixing style suited the new Dancehall reggae sound that came at the tail end of the 1970's and rolled into the 1980's. Such was his stature that albums were now sold with his name on their jacket, 'Scientist Vs Prince Jammy, 'Scientist meets The Space Invaders' to name but two.

His time at King Tubby's was followed as chief engineer working for the Hookim Brothers at the mighty Channel 1 Studio's and on many of top producer Henry 'Junjo' Lawes tracks, that were hit after hit at the time.

We have compiled some tuff tracks from the late 70's / early 80's just before everything went digital. Some great dub versions to some killer tracks that rocked the dancehalls around this golden time.The mighty Tristan Palmer whose killer cuts 'BadBoys','Stop Spreading Rumours','Eveready' and 'The Greatest Lover’ alongside Michael Palmer's debut release 'Mr Landlord' and Robert Trench's 'Mr Babylon'. The songs stand back-to-back with Tony Tuff's timeless 'Never Trouble Trouble' and the biblical Rod Taylor's 'The Lord is My Light'. Sammy Dread's 'Wah Dah Wah' and the always respectful Dennis Brown's 'Time and Place' all benefited a touch of magic from The Scientist and his laboratory of effects.

Hope you enjoy the set.....

lady gaga's surprise album inspired by the character, Harley Quinn which she has played in Joker: Folie a Deux)

14 Songs To Beat Jet Lag... For Intercontinental Sugar Daddies! You belong to the Jet-set? This Lp is for you! You don"t belong to the Jet-set but you dream to? This Lp willmakes you familiar with the pool parties!

Continuing our quest to get all of the classic early AMT albums released on vinyl, we turn to 2004’s 'Mantra Of Love’, and with the help of Makoto Kawabata’s studio wizardry, we’ve made it possible.

This latest instalment in the ‘Acid Mothers Temple Vinyl Archives - First Time On Vinyl’ series (as with the three previous SOLD OUT releases in the series) have all been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin.

Here’s what others had to say upon it’s original CD only release back in 2004 …

“Acid Mothers are strong folk. You'd think they'd tire quickly, all tucked away on their island, strewn about on tree roots while baking their lungs and throats to a knotty green tinge. But instead of waltzing through life like hippies, they manage to not only tour and put out records every year, but also to fill those albums with 30-minute jams and assorted freakouts. And while evil jam bands would fill that space with guitar work taken from the Classic Rock Manual of Clichés, Makoto Kawabata and company assault listeners with frighteningly dense walls of white noise, psychedelic swirl effects and, yes, even guitar solos-- albeit ones that are more Merzbow or Keiji Haino than Gary Rossington. Truly, AMT's endurance and threshold for cosmic lashings are both worthy of admiration.

But how much AMT can you take in one sitting? If there's anything this band has taught us-- via records such as 2002's Electric Heavyland and the ferocious Acid Mothers Temple & the Melting Paraiso U.F.O-- it's that they're not afraid to reach for the upper regions of consciousness. On Mantra of Love, they offer two titles over the course of one hour, never faltering along the way, and it's as if we listeners are just brief visitors passing through a never-ending, spontaneous group trip. For all I know, Kawabata has hundreds of hours of this stuff on his hard drive-- at any single moment, this record's sheer volume of sound is a clamor to behold. However, if you aren't dialed into that the particular space AMT inhabits (for me, it's the mystical fire-baptism standby), you might not hear their glorious noise for all the, well, glorious noise.

"La Le Lo" begins as a lengthy psychedelic ballad sung by Cotton Casino (who doubles on "beer & cigarettes"), who is accompanied by her own ghostly backing vocals. The band is playing a mantra as Casino waxes earth-mother stylings to the moon. The serenity is broken by a patented AMT rave led by Kawabata's electric sitar (!) solo. Ace rhythm section Tsuyama Atsushi ("monster bass") and Koizumi Hajime hold things together, as does the generally decent recording quality (not a given for these guys), but the real money is in effects-- lots and lots effects. Much like France's Richard Pinhas or AMT's countrymen in Les Rallizes Denudes and High Rise, the band understands the collaborative power of solo + overdriven Moog sirens and screams. And, also like those artists, Acid Mothers can go on all night if need be. About 25 minutes into this piece, any hell that hadn't already broken loose gets its due, and the band speeds to a fiery climax before winding down into glimmering astro-ambience.

The second track, "L'Ambition dans le Miroir", also begins as a minor ballad featuring Casino's haunting solo vocal. The Mothers set her up with a faux-blues drag and a thick buffer of synth-rays; when Casino actually enters, she fights for airtime with an array of falling stars and cosmic dust. However, this time there is no overwhelming solo to power the comedown. Casino intermittently coos in the background while droning horns keep the auxiliary pixie haze from evaporating. As they showed on In C and La Novia, AMT are more than adept at creating calmer storms-- listeners just have to catch them in the right light. Mantra of Love doesn't necessarily capture the most inspired moments in their canon but as usual with this band's records, it's rarely at a loss for moments of horror or grandeur.”

Acid Mothers Temple & The Melting Paraiso U.F.O. : Cotton Casino - Vocal, Beer & Cigarettes - Tsuyama Atsushi - Monster Bass, Vocal, Cosmic Joker - Higashi Hiroshi - Synthesizer, Dancin' King - Koizumi Hajime - Drums, Percussion, Sleeping Monk - Kawabata Makoto - Guitar, Bouzouki, Electric Sitar, Violin, Hammond Organ, Speed Guru

A Day in the Life' was released in 1967 and reached #1 on the Billboard Jazz Albums chart.

From the early 1960s to the late '80s, A&M was one of the most eclectic and powerful independent record labels in the world. The roster of artists who recorded there includes The Carpenters, Captain Beefheart, The Police, Joe Cocker, Suzanne Vega, Procol Harum and Janet Jackson, among others. Founded as an independent company by Herb Alpert and Jerry Moss in 1962, soon the label garnered interest and success, and was acquired by PolyGram in 1989. Throughout its operations, A&M housed well-known acts such as Sting, Sergio Mendes, Supertramp, Bryan Adams, Burt Bacharach, Liza Minnelli, Paul Williams, Quincy Jones, Cat Stevens, Peter Frampton, Carole King, Extreme, Joan Baez, the Human League, Soundgarden, Duffy, and Sheryl Crow, among others. Reissue of the debut album on A&M Records by jazz guitarist Wes Montgomery, released in 1967. It reached #1 on the Billboard Jazz album chart and #2 on the R&B chart. Considered by far the best of his three albums on A&M (in partnership with Creed Taylor’s CTI Records), A Day in the Life features a plethora of star sidemen, such as Herbie Hancock, Ron Carter, Ray Barretto and Grady Tate, among others, as well as superb arrangements by Don Sebesky.

THE DYNAMICS • DRAG’N'FLY
by VINCENT HELLO.

Jamaica, 1960s. Ska artists, rock steady and reggae take back some soul songs of the United States, thus giving their versions that will in turn become future classics. The hits of the moment are also seasoned with Jamaican sauce, no matter where it comes from Original, pop, country, jazz... The rhythms of the island permanently transform the tracks of origin. In 2024, with their third album called Dragn'fly and decorated with a beautiful dragonfly (a "dragonfly" so in the language of King Tubby) the Dynamics honour Jamaican tradition and dynamite 10 versions of hits from yesterday and today. The Dragonfly spread his wings reggae, soul, funk to land in all headsets at the heart of good stereos and on spicy dancefloors. Because this dragonfly is a true superfly that speaks to the heart... and legs.

After two albums whose success led them to walk the globe of Glastonbury in Tokyo, honoured by the large elders (the first part of Lee Perry here, a regular dj support of Don Letts over there) the Dynamics are alive so their 'soul reggae vocal sound system” in front of audiences specializing in Jamaican or to those who are who were lucky enough to meet them by chance in Chemical Brothers... or Lady Gaga.

The Dynamics have forgotten the weight of ancestors to make their own recipe. They proclaim it, they are Sound System! The voices of Mounam, Steve Levi and Mr Day are in the front row, so making lovers, preachers, crooners and crooners to Turns of Duty, while Fab Master Flab all in one of the roots and futuristic echos. But if the mind is a sound system, the dynamics sounds also as a group through instruments live performances that plunge the tracks into a fervor unique. And then there are the hits, so, from all times and of all styles.
The low rider becomes toaster and leaves the road a American carried by these vocal harmonies Sky to take the exit Kingston. On the roadside, the joker delivers his lovers soft rock after a small detour to Muscle Shoal, The time to borrow a guitar from Duane Allman. In the south again, Mounam “Mrs Dynamics” meets the spirit of «Mr Dynamite» and tells him his radical, soul version. “ man’s world...” inna digital style! The spiritual anthem “you got to have freedom” by Master Pharoah Sanders becomes a universal skank, pop and dub who sends resounding high its universal message Dance! The dynamics are mutating the classic of ESG into a small, minimal pop bomb that is not without resemblance to the Neptunes of Mr Pharell Williams. On the edge of the track, Peter Gabriel sees his “Sledgehammer” groover as he does could imagine it and dissolve into sublime soul scrolls. Later, “After laughter...” soul classic celebrated and sampled Born into a rock steady air promised also to eternity. JJ Cale’s "cocaine," leaves its on the dancefloor for a reggae disco version, necessarily! And then, we must conclude. So it’s time to send an original title. It will be "Rubba Sub", to the aromas of sleng teng, which proves that far from the hits, the Dynamics deploys same layouts to deliver fresh and authentic sounds. And when the dub echoes evaporated, that the riddims have been silent, only remains an album majestic, in turn a future classic, full of unique Dynamics sound that mixes with instinct the echoes of yesterday to its own voices today.

Porches veröffentlichen sechstes Studioalbum "Shirt"
Porches, das Projekt des New Yorker Musikers Aaron Maine, veröffentlicht sein sechstes Studioalbum "Shirt" am 13. September bei Domino. "Shirt" ist teils angstbesetzte Fantasie, teils bekenntnishaftes Melodrama - ein Rockalbum, das zwischen Realität und Fantasie oszilliert und sowohl die Unschuld der Vorstadtjugend als auch die ausgefranste Realität des Erwachsenseins widerspiegelt. Es ist eine Mischung aus chaotischen Impulsen, unstillbaren Wünschen und einer immerwährenden Sehnsucht und spielt mit der Spannung zwischen der eigenen Person und dem eigenen Image - dem Gewicht der Träume, die an der Realität zerschellen. Das Ergebnis ist etwas Vertrautes und Unheimliches zugleich, eine hymnische Hommage an diese inhärente Dualität, die auf krachenden und schmeichelnden Klängen beruht. "Shirt" ist sofort als das bisher stärkste Album von Porches zu erkennen. Grungige Gitarren, die bedrohlich glänzen, Schlagzeug und Bass, die einem warm in den Magen schlagen, durchsetzt mit Momenten unheimlicher Ruhe, um ein körperliches Gefühl von Spannung und Entspannung zu erzeugen, das in jedem Track mitschwingt.
Eine prägnante Platte, die den Hörer in einen fiebrigen Zustand versetzt. Shirt's hormonelle Rocksongs kollidieren mit emotionalen Balladen und erzeugen eine dynamische Spannung, die den Hörer vorantreibt. Auf "Shirt" geht es ebenso um die Höhepunkte wie um die Banalität zwischen den denkwürdigsten Momenten des Lebens, wobei nicht nur der erste Kuss gefeiert wird, sondern auch die damit verbundenen Ängste.

Porches veröffentlichen sechstes Studioalbum "Shirt"
Porches, das Projekt des New Yorker Musikers Aaron Maine, veröffentlicht sein sechstes Studioalbum "Shirt" am 13. September bei Domino. "Shirt" ist teils angstbesetzte Fantasie, teils bekenntnishaftes Melodrama - ein Rockalbum, das zwischen Realität und Fantasie oszilliert und sowohl die Unschuld der Vorstadtjugend als auch die ausgefranste Realität des Erwachsenseins widerspiegelt. Es ist eine Mischung aus chaotischen Impulsen, unstillbaren Wünschen und einer immerwährenden Sehnsucht und spielt mit der Spannung zwischen der eigenen Person und dem eigenen Image - dem Gewicht der Träume, die an der Realität zerschellen. Das Ergebnis ist etwas Vertrautes und Unheimliches zugleich, eine hymnische Hommage an diese inhärente Dualität, die auf krachenden und schmeichelnden Klängen beruht. "Shirt" ist sofort als das bisher stärkste Album von Porches zu erkennen. Grungige Gitarren, die bedrohlich glänzen, Schlagzeug und Bass, die einem warm in den Magen schlagen, durchsetzt mit Momenten unheimlicher Ruhe, um ein körperliches Gefühl von Spannung und Entspannung zu erzeugen, das in jedem Track mitschwingt.
Eine prägnante Platte, die den Hörer in einen fiebrigen Zustand versetzt. Shirt's hormonelle Rocksongs kollidieren mit emotionalen Balladen und erzeugen eine dynamische Spannung, die den Hörer vorantreibt. Auf "Shirt" geht es ebenso um die Höhepunkte wie um die Banalität zwischen den denkwürdigsten Momenten des Lebens, wobei nicht nur der erste Kuss gefeiert wird, sondern auch die damit verbundenen Ängste.

MJ Lenderman is a songwriter born and raised in Asheville, North Carolina. The anatomy of an MJ record might go something like this: warped pedal steels and skuzzed out guitar; crackin" a cold one with some buds; a voice reminiscent of the high lonesome warble of a choirboy. Songs snake their way from a lo-fi home recording to something glossier made withn longtime friends at Asheville"s Drop of Sun studios, but the recording setting doesn"t seem to matter much - at its core, a Lenderman song rings true. Manning Fireworks is a remarkable development in MJ Lenderman"s story as an incredibly incisive singer-songwriter, whose propensity for humor always points to some uneasy, disorienting darkness. The punchlines are still here, as are the rusted-wire guitar solos that have made Lenderman a favorite for indie rock fans looking for an ernerging guitar hero. There"s a new sincerity, too, as Lenderman Iets listeners clearly see the world through his warped lens.

DJ support: J:Kenzo, Kahn, Rob Smith and Don Letts. This includes BBC Radio, SWU FM (part of the Rinse network)

Bay Area producer Dubamine returns to Dub-Stuy with yet another sureshot featuring the label’s own JonnyGo Figure on vocals. The title track, Bulletproof, is a classic Dubamine tune: a ghostly, flute melody riding over a deceptively minimalist riddim that showcases his skills in crafting compelling beats. Jonny comes correct on this one, mashing up the dance in his own trademark style. The flipside is another Dubamine banger, this time sampling the unmistakable voice of an iconic British DJ, over a rolling riddim with righteous horn lines that channel Aswad. Mastered by Joker for maximum weight.