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SATYA is thrilled to announce the next chapter in its vinyl-only catalog: an evocative EP by São Paulo-based producer Dru. Scheduled for release on March 21, 2025, this record captures the serene yet dynamic energies of Dru's distinctive sound, blending aquatic themes with dubby textures and grooves.

Dru is a producer and DJ with a passion for minimal and microhouse. He has steadily risen through the scene, earning the support of luminaries such as Mihai Pol, Arapu, and Barac. With previous releases on his own labels, Totoyov and Microdots, Dru has honed a sound that is both personal and universal, reflecting his unique journey.

Rooted in the calming beauty of Brazil’s pristine beaches, Dru explains that the EP emerged during a reflective chapter of his life. "I was looking to produce tracks on a more dubby vibe," he shares. "The aquatic and fresh feel of the tracks reflects my connection to the sea and the tranquility I find there." This theme flows through the EP, offering listeners a refreshing escape into soothing yet intricate soundscapes.

The EP comprises two standout originals:

"Lax" captures a serene moment in Dru’s life, characterized by personal harmony and simplicity. The title itself is an 
abbreviation for "Relax," reflecting the calm state of mind during its creation.

"Afterbreak" marks a transitional period post-breakup, yet the track maintains a composed energy, symbolizing growth, 
renewal, and forward momentum. 
Dru draws on a broad spectrum of influences for this EP, from the African-reggae-inspired percussive touches to the intricate dubby aesthetics of Andrey Pushkarev’s Luck of Access label. These elements intertwine with Dru’s Brazilian roots, creating a fusion of global sounds with a personal twist. 
One of the most exciting milestones during the production process was securing remixes from Nicolas Duvoisin and Superlounge, both of whom enthusiastically joined the project early on. With contributions from these respected artists, the EP transcends boundaries, bridging dubby minimalism and deep house groove.

The vinyl-only release marks an exciting new chapter for Dru and SATYA. With its aquatic themes, dubby energy, and heartfelt storytelling, this EP promises to captivate both seasoned collectors and fresh ears alike.

Als Sohn der berühmten Theater- und Filmschauspielerin Angela Winkler ("Dark", "Die Blechtrommel") ist dem Berliner Songwriter, Theatermusiker, Technoproduzenten und Labelbetreiber Lasse Winkler der Kultur-Rummel bekannt. Engagieren tut er sich jedoch bislang vor allem in der berliner Technoszene und veröffentlicht spaßige Electro-Titel wie "Supermarkt" oder "Matjesfilet", die unter seinem Pseudonym Acud die Runde machen. Unter seinem Klarnamen arbeitet er nicht nur als Musikproduzent für "Tatort" und Theaterinszenierungen, sondern veröffentlicht deutschsprachige Pop-Musik. Das kommende Album "Weltflucht", welches unter anderem in einer Speisekammer in der französischen Auvergne aufgenommen wurde, geht auch mal tiefer unter die Haut. Teils in die Kopfstimme abdriftend, singt er über das berliner Lotterleben oder dem Drang nach Realitätsflucht, so wie er auf der anderen Seite die Schönheit des Moments frönt, angetrieben von der Kraft der Natur.

Wewantsounds is delighted to announce the reissue of Sho-Nuff's highly sought-after album "Body Pressure" from 1983. Recorded for Japanese label King Records, the album was only ever released in Japan and disappeared without trace making it one of the most coveted Modern Soul/Boogie albums on the international collectors scene. Mixing funk and Boogie with a few juicy ballads for good measure, Body Pressure is a superb album that lives up to its reputation, hence the hefty price tag of up to 1000€ for an original. The audio was remastered in Tokyo by King from the master tapes and the album is reissued here with its original artwork and OBI for the first time since 1983 with new liner notes by Charles Waring.

There's iconic. Then there's *iconic*.

A MASSIVE speaker-smashing release, decades overdue. It's been bootlegged - shamefully so, many times over the years - but finally we present the first ever officially licensed reissue of this truly special Afro-disco-not-disco LP from 1979. A favourite of Harvey, Antal, Young Marco and, er, every great DJ to ever play deep records ever, basically. It's not hard to see - or, indeed, *feel* why.

Gem after gem of relentless, irresistibly funky gold, it's an incredibly revelatory album with endlessly complex drum patterns and basslines to dive into, throughout. Truly, this is uniquely FIRE music, unlike anything else you've ever heard, based on Gwo ka music from the gorgeous islands of Guadeloupe and Martinique. A thrilling synthesis of primal, hypnotic drums - the most tribal of percussive elements high in the mix throughout - with the loping synth pyrotechnics of, amongst a whole host of other greats, Wally Badarou and bass power of disco funk don Sauveur Mallia (Arpadys, Spatial & Co.)

Originally released on the seminal French label Barclay, you'd be hard pressed to even find an original copy in nice condition anywhere, let alone for a reasonable price, so it's high time an officially licensed, remastered reissue came around. It's just the latest in a long line of Be With reissues where the music sounds like the - drop-dead dazzling - cover. This here is a true drum attack. BUY ON SIGHT!

Tumblack was a short-lived project, produced and arranged by electronic wizard Yves Hayat and it can certainly be regarded as one of the first examples of Zouk, mixing powerful disco-funk arrangements with Gwo ka, traditional music from Guadeloupe. Gwo ka is an Antillean Creole term for "big drum". You can say that again! It refers to both a family of hand drums and the music played with them, which is a major part of Guadeloupean folk music.Whilst the first side is credited to the exceptional Tumblack band, the flip is given over to "Tumblack & Friends". These weren't just any old friends. Oh no, they were the absolute cream of the French scene (think Arpadys, Voyage, Le Club, Giant, CCPP, Synthesis, Swing Family) such as Sauveur Mallia, Wally Badarou, Marc Chantereau on percussion, Slim Pezin on guitar and Jean-Paul Batailley and Pierre Alain-Dahan handling drum duties.

The urgent, frantic "Fracas" gets things moving straight away with a cavalcade of drums and percussive funk before giving way to the stratospheric "Invocation", one of the album's many, many highlights. It's effectively one long heavenly drum break, a really hard, raw, tribal drum workout without a whole lot else going on - and all the better for it! One to make you sweat, no question. Up next, "Jubilé" is announced with a bellowing accapella voice, chanting the titular name before the heaviest of kicks smashes out your system and lulls you into an absolute state of bliss for nearly 6 minutes. Whoooooosh! Rounding out the sensational A-Side, "Vaudou" is a scratchy, funky patterned drum workout which - yep, yet again - absolutely slays your neck muscles, making them snap and contract in extraordinary fashion. TURN IT UP!

Ushering in the B-Side, the brief, fidgety, African chant-funk of "Parlement" segues seamlessly, beautifully into "Waka", an overwhelmingly rich gem of percussive funk. You do not want this to end, once it hits its stride. For maximum heavenly drum pleasure, you'd need to go a long way than the moment "Waka" feels like it's fading out before it kick-drum-blend into the mighty "Caraïba (Intro)". It's just staggeringly good. It's a minute-long layered drum prelude to the gigantic track which follows. Indeed, "Caraïba" is arguably the best loved and most well-known cut off the LP. And with good reason...featuring that Mallia bass, warm Rhodes and clavs, synth magic, memorably alto sax lines and, of course, tribal chanting.

Another mighty super-ahead-of-its-time classic, the bouncing bass heavy synth funk of "Chunga Funk" deploys Mallia and Wally Badarou (on Mini Moog) exceptionally well. I mean, come on, that bassline is just ridiculous. Try not to move to this one. This extraordinary record closes out with the more traditional Gwo ka sounds of "Bateau La Passé", the tribal chorus making the hairs on the back of your neck stand up.

Tumblack really is a gorgeous late-70s disco-not-disco essential. It's an absolute MONSTER that will completely blow you away; and, yes, it's as compelling and trance-inducing as the cover. The audio for Tumblack has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The cover of Tumblack is so iconic and we sought special permission from original artist Hélène Majera to recreate this at Be With HQ. It absolutely zings off the print and serves as the perfect finishing touch to this long overdue re-issue.

Geniusz, Minor Talent, Generational Talent. Let the old folks fight it out. Sharp Pins are too busy staying up late watching vampire movies. Fathers and Children of the Revolution. Finally cartographed and designed by the actual Youth in Revolt "Nothing Stands in their way, they ARE the face of today". How can you tell you've been in the presence of the Sharp Pins? You see their sticker on yr phone, yr car, yr guitar, yr drums, yr bass, yr clarinet, yr flugelhorn, yr tuba, yr dog - its a MOD MOD WORLD, we're just living in it. 14 tracks 33RPM. Sharp Pins is the super solid lo-fi noise pop project of talented Chicago musician Kai Slater of Lifeguard and Dwaal Troupe."Radio DDR" originally released at home as a Hallogallo tape. "Youth Revolution Now".

The Austin, TX-based singer-songwriter—whose decades-long career has seen six full-length studio albums, three EPs, countless collaborations, and an illustrious supergroup project in Glorietta—spent a season of rest away from his focus on writing songs. In the wake of the end of a long relationship, he wanted to prioritize processing his grief as a human, not as an artist bleeding on the page. “I love all the records I’ve made in the past. But in making them, there was always the thought in the back of my mind of where and what it could get me. I made both creative and business decisions with a goal in mind... a goal that often never came. This time it was all about just the joy of making it, about having fun with it.”

“One of the most compelling and complex releases of Lee ‘Scratch’ Perry’s post-Black Ark canon, Mercy is the fruit of a long and complex working process that has yielded exceptional results. Spearheaded by the maverick artist and musical outlier Peter Harris with Fritz Catlin, the drumming co-founder of industrial funk dub act, 23 Skidoo, Mercy’s experimental sonic occupies its own space.” David Katz (People Funny Boy: The Genius of Lee “Scratch” Perry).

Dash the Henge are excited to announce the vinyl release of Mercy an innovative record featuring the legendary Lee ‘Scratch’ Perry and the work of Peter Harris and Fritz Catlin. It will be preceded by vibrant visual representations of key tracks ‘Reggae Poison’, ’Row Fisherman/Whale Song’ and ‘This is Hell’ created by Peter Harris and Llyr Williams. “I always saw Lee as a performance artist rather than a musician in the traditional sense, so this conceptual backing feels like a more accurate setting for his stream of conscious performance art,” Peter Harris explained. “There is an attention to Lee’s history here too, something that elevates the musical collage with the echoes informed by albums like Super Ape where earlier tracks were recorded over again. In ‘Big Fish,’ the lyrics pay homage to Bob Marley’s ‘Small Axe’ and the tune references Perry’s version of ‘Sugar Sugar,’ which he recorded with the Silvertones. Although the structure might seem chaotic, the songs were crafted over a long period of time and the approach was the same as making a painting, where foundations are worked on then painted over and over until it is full wrested.” Nathan Saoudi (founder Dash The Henge/Fat White Family) boils it down. “It’s kind of quintessential outsider music - I can’t explain what they are doing, but they have a why, and that’s enough. That’s why I needed to get involved.”

Die Rockikonen Rush feiern ihr 50-jähriges Jubiläum und präsentieren der Welt die erste vollständige RushAnthologie, die die gesamte Karriere der Band umspannt, mit 50 Titeln, darunter 7 unveröffentlichte, auf 4
CDs und 7 LPs. Den Auftakt der Sammlung bildet die allererste offzielle CD- und LP-Wiederveröffentlichung
der allerersten Singles der Band, „Not Fade Away“ und „You Can’t Fight It”. Abgerundet wird die Anthologie durch Auszüge aus jedem Studio-, Live- und Deluxe-Wiederveröffentlichungsalbum, das die Band
offziell veröffentlicht hat und Vault Editions von „Working Man“ und „The Trees“, die beide alternative
Gitarrensoli enthalten. Als nächstes folgen 5 unveröffentlichte Live-Songs aus dem Jahr 1974 und den
Abschluss der Feier bildet die feurige letzte Aufführung von „What You’re Doing / Working Man / Garden
Road“ mit Neil Peart am 1. August 2015 in Los Angeles.
Hugh Syme, der langjährige Kreativdirektor der Band entwarf brandneue Grafiken zum 50. Jubiläum
sowie neue Illustrationen. Die Rockjournalisten David Fricke und Phillip Wilding berichten in einem 100-
seitigen Hardcover-Buch, das in allen drei physischen Formaten erhältlich ist, anhand unglaublicher Fotos
der Band über ihre persönlichen Erfahrungen mit der Band und ihre größten Erfolge. Exklusiv für die Super
Deluxe Edition hat Fantoons als zweites gebundenes Buch einen 100-seitigen Graphic Novel erstellt

Measure Divide makes his full debut EP for Mutual Rytm X with his latest release, 'Everything Is Porridge'.

Karachi-born artist Measure Divide now resides in Toronto, where his FORMAT parties have revived the techno scene over the last decade. In that time, he has eschewed techno by numbers with innovative sounds on Clergy and Mutual Rytm while appearing at iconic clubs like Berghain, K41 and Tresor. Outside of the underground, he has years of experience in sound design and scoring for animations and films, and that is what he channels here into a uniquely playful sound with a vibrant and playful departure from his usual serious tones for his first full EP on SHDW's Mutual Rytm X.

A record for adventurous DJs and listeners craving bold, mischievous and innovative sounds, the EP's title, inspired by an inside joke about calling anything edible "porridge", reflects the chaotic and unpredictable state of the world - a mushy mix of uncertainty. This same unpredictability shines through the tracks, which combine techno, breaks, modular experimentation and plenty more.

The superbly original title cut begins with a restless mix of unusual percussive sounds and fizzing synths over thudding drums. It's tense and twisted and sounds like nothing else. 'Wormy Wonderland' is another brilliantly outthere cut with freaky noises and scuzzy textures over body-popping techno drums, and 'Eeeeeermmmm' then slows down with a menacing synth buzz and caustic broken beats. Digital bonus tracks 'Shrew Cascade' and 'Clumsy Clatter' further challenge techno norms with watery sound effects, twisted synth lines and inventive rhythmical patterns.

Super newskool sound !
Is this Techno ? Is this Tekno ?

The exact inbetween from Denmark (but well... Towsky is defenitly Italian...)
And thismelt of north/south is kind of unique !

ENJOY !!!

Tina Turner’s Iconic breakthrough album is celebrating its 40th anniversary, with the 2015 remaster now available on this limited edition Pearl Vinyl.

Private Dancer catapulted Tina into superstardom, selling 5 million copies in the US alone. It featured the #1 single What's Love Got To Do With It as well as top 10 hits, Let's Stay Together and Private Dancer written by Dire Straits singer/guitarist Mark Knopfler. Tina cleaned up at the 1985 Grammy Awards claiming 4 awards including Record Of The Year, Song of the Year and Best Vocal Performance.

Tina Turner’s Iconic breakthrough album is celebrating its 40th anniversary, with the 2015 remaster now available on this limited edition picture disc.

Private Dancer catapulted Tina into superstardom, selling 5 million copies in the US alone. It featured the #1 single What's Love Got To Do With It as well as top 10 hits, Let's Stay Together and Private Dancer written by Dire Straits singer/guitarist Mark Knopfler. Tina cleaned up at the 1985 Grammy Awards claiming 4 awards including Record Of The Year, Song of the Year and Best Vocal Performance.

Canadian go-slow master Eddie C is back with more of his sumptuous and sensuous grooves on the magnificent Funkyjaws Music. This new 12" kicks off with the emotionally intense and gospel-laced vocal sounds of 'Jesus Calling' with a passionate pastor lighting up the airways. 'Show Me The Way' is a more paired down sound this time with a raw soul edge and nice dusty drums, then 'Superior Disco' brings some lavish string stabs and funky basslines to some killer instrumental grooves. 'Loud Minority' closes out with some lovely jazzy organ work over more low-slung and dusty disco beats.

Mongolian hip-hop producer Bodikhu has never been to Rio but this is his lovely letter to the city he has often dreamt of. He has a love of the great Joao Gilberto and armed with that and a worm out MPC he set to work, laying down tropical beats and sunny melodies. The result became an instant classic and spawned a number of tunes that went on to pick up more than a million streams. It's a record that excites the imagination as well as warming the soul and this version comes with superb original artwork designed by illustrator David Burnett on a lovely splatter-coloured vinyl inspired by its own cover.

Zoetrope Vinyl. Schrank zu klein, Arsch zu groß, blasse Waden, hellgrüne Luftballons in der Steckdosenfrisur - das ist Schwiegermutters Fiebertraum in Reinform, das ist der körperhafte Stinkefinger an die Selbstoptimierer*innen-Gesellschaft, das ist Punk in der Jetztzeit-Version, das ist der "EXTRA"Lifestyle. Paula Carolina zelebriert eben diesen Lifestyle Woche für Woche erfolgreich auf den Festivalbühnen der Bundesrepublik - und hat ihm mit "EXTRA" ein musikalisches Denkmal gesetzt. Paulas neue Single ist eine Musik-gewordene Ode auf die Weirdness und das Besonderssein, ein augenzwinkernd-romantischer Vorstoß gegen Normschönheit, Langweilertum und "Otto Normal"-Standards - "als wär' auf der Tanzfläche jedem scheißegal, was man anhätte". "EXTRA" ist nicht umsonst der Namensgeber des Ende September erscheinenden Paula Carolina-Debütalbums - dieser Song steht exemplarisch für die künstlerische Vision seiner Macherin, die ihren Platz zwischen den Stühlen unlängst gefunden hat: "Fühl' ich mich heute wie ein Punk oder doch nur wie die Göre von Nebenan? Egal!". Paula-Carolina-Musik ist "irgendwie anders" und jedes Mal ein bisschen neu. Zwischen rustikalem Gitarren-Geschrubbel, tanzbar-schiebenden Drums und kaum erwartbaren Airhorn Einschüben blüht die Weltenbummlerin in "EXTRA" erstmals überhaupt mit einer Rap-ähnlichen Stimmperformance auf. Paulas Vocal-Experimente münden zwischendurch in einer Vulkanausbruch-artigen Ohrwurm-Hook und im letzten Drittel des Songs in einer epochalen SingSang-Bridge. Zwischen Punk-Attitüde und Techno-Club-eske Hektik mischt sind also auch die nötige Portion Pop-Appeal. Wer "EXTRA" lieber in einem anderem Genre-Gewand hören will und sich in Jungle-, Dancehall- oder Happy-Hardcore-typischem Tanzstill zum Song bewegen möchte, kann dies übrigens auch tun. Ja, richtig gehört: Ab 3. August - also einen Tag nach Single-Release - wird täglich ein neuer Remix des Originalsongs veröffentlicht. Star-Produzent Marti Fischer, den Paula-Carolina-Fans spätestens seit seinem erfolgsgekrönten "Schreien! - Turbo Remix" kennen dürften, hat ein umfangreiches Begleitwerk zu "EXTRA" realisiert und mehrere, verschiedenartig elektronische Alternativ-Versionen der Außenseiter-Hymne zusammengeschustert. Als wäre das nicht genug "EXTRA" zu "EXTRA", haben auch Großstadtgeflüster eine stilechte Remix-Version der Single gefertigt und der Bonus-EP ihren Stempel aufgedrückt. "Es geht wieder los", im Kosmos Paula Carolina - und zwar so richtig.

This anthology follows Now-Again's Loving On The Flipside, issued more than a decade ago. And that anthology itself got its start in a different time, a decade even earlier - the era in which Now-Again's Egon and his friends chased down funk 45s and the odd LP for their testosterone riddled, aggressive sound. Often times the funk song on one of their chosen is would be the throw-away b-side, the hasty afterthought the band cobbled together the night before hitting - or while in - the studio because they'd put all of their energies into writing the amazing ballad that would ensure their entry in soul's history books. Every once in a while, that funk song they coveted could have been - in an alternate universe - a ballad. The Third Guitar's "Baby Don't Cry," El Pooks* "I Could Do The Impossible" and Spider Harrison's "Beautiful Day" all fit into this category. That realization notwithstanding, more often than not they shined over the ballads to get to the tough stuff. Then they started flipping those funk records over to find some loving on the flip side. Some marvellous tunes were there to be found. This is the long awaited follow up. Contained within this anthology are some of the greatest soul ballads that go sweet with a beat - or, to follow our tagline, epitomize "sweet funk." Most of these songs have never been compiled. Some have never been issued in any form. Some, like the Ledgends entry here, were sampled to great success (in that case for Freddie Gibbs and Madlib's "Deeper"). Some haven't been sampled, but, like Herb Johnson's entry, are patiently awaiting their day. It should go without saying that we're proud to present this music in good conscience; with the full participation of everyone but the most obscure names contained within. And, for those who we've not yet been able to contact, this is our message: We've found your brethren, we've placed them beside you on an album that we hope you feel is befitting of your collective contributions to soul music and now we're just waiting for you. Though the music you recorded is from the years past, vour time is now.

Soul Jazz Records" Studio One Showcase 45 features a roll call of classic Studio One reggae legends including Horace Andy, Cornell Campbell, Bob Marley and The Wailers, Jackie Mittoo, The Heptones, The Skatalites and more - seminal reggae artists who all launched their careers at the legendary Studio One label. The album was previously only ever released as a long-deleted limited-edition seven-inch box set for Record Store Day. This album has now been expanded into a super double-vinyl album edition as well as first time on CD, with both featuring a massive eight bonus tracks of wicked Studio One classics and rarities.

An imperial phase Actress commits a lushly amorphous installation piece made for the Berliner Festspiele to vinyl, rendering a post-industrial symphony full of iridescent shifts in gyring, OOBE-like spatial coordinates landing somewhere between nutopian ambient, kankyō ongaku and sawn-off bass science.

‘Grey Interiors’ was made in collaboration with Actual Objects and is an absorbing animation and navigation of those post-human ideals that have prompted Darren J. Cunningham to his best work across the preceding two decades. In its hypnagogic symphony of the elements, he short-circuits distinctions of classical music’s metric freedoms and the hyperspatial sensuality of concrète/electro-acoustic and ambient musics with an artistic license that has come to distinguish his work in the contemporary field, and arguably identified him as this generation’s most vital electronic abstractionist.

The first half of the album is bewitchingly airless, materialised in a twinkling vacuum. Naturalistic environmental recordings and a half-heard piano swirl around nauseous airlock whooshes and eerie bass drones. It's all pulverised to a powdery, shimmering residue; if Actress's music is defined by its character and texture - that sweet spot between the bedroom and the soundsystem - then this one advances the narrative without losing its backbone. And like a lot of his best work, it comes into its own on the back of zonked eyelids, conjuring a play of shifting geometric patterns within its imaginary physics and nuanced narration of ephemeral melodic phrasing and vaporous textures.

At about the halfway point, that dissociated piano finds its groove, coalescing into a jerky drum machine rhythm popping like bubbles in the stifling atmosphere. We can draw some intersecting lines here thru electronic music lore - traces of vintage AE, Push Button Objects, UR - but Actress always leaves an indelible fingerprint on anything he touches. Even when he's rubbing against the gallery-industrial complex, he manages to fill a stagnant space with electricity and wit; look at the title itself: is it a reference to the "landscape beyond man" as the installation's press release might have us believe, or the institutions themselves?

Mental tribe classic sound... Damned well done and dancefloor... With a Sioux superb last track called Abyss. Blasting sound :)

In 2017, Matthias launched his record label named Superluminal, after the astronomic motion observed in 1902 by Jacobus Kapteyn in the ejecta of the nova GK Persei, which had exploded in 1901. His discovery was published in the German journal Astronomische Nachrichten, and received little attention from English-speaking astronomers until many decades later. It appears to travel faster than light, its existence could conceal the most inexplicable mysteries of our universe which gave birth to many of the secrets hidden in the path of mysticism and esotericism.

The label celebrates its 8th Anniversary with Matthias’s first self-released album. The instalment pays homage to the roots and influences the artist has genuinely embraced throughout the years. An immersive composition which summons a line from the sounds of the past to the present, designed meticulously and displayed within gatefold cover.

It certainly manifests a polyhedral vein with some very cerebral, experimental songs among more dancefloor oriented music. The artist delves into a self exploratory leap of synth-driving notes, striking chords of late decaying dub pianos. Certainly a journey that pairs conceptual alignment with more clubby-essential, stripped-down recordings.

The song’s progression evokes atmospheres from the far out worlds, carved into a space-echoing psychedelic trip with sinister tribal-percussive rhythm. The song’s arrangements are simple-complex drum’s versatile patterns, forged and elegantly blended into cinematic soundscapes.

This is a one way ride to the forest of mysteries, from which, there is no return. The time of the day between dusk and night, when it gets dark.

Words from the label:

Dark moody vocals meet super disco beats: This is what it sounds like when pioneering DJ and producer Jens Mahlstedt invites Saâda Bonaire over to his studio.

Stephanie Lange and Claudia Hossfeld, the original singers of legendary Eighties band Saâda Bonaire, plus founding member Ralph “von” Richthoven are teaming up four decades later for two very special takes on “You Could Be More As You Are”. Out now, exclusively on twelve inch vinyl.

Warehouse Find!

Because of their mix of hellified gangster shit and progressive compositions, I once jokingly called Clipping "Deathrow Tull." Well, it's not a joke anymore. While Clipping's last few projects have been record-long concepts like classic prog rock, their cyberpunk-infused new album Dead Channel Sky is mixtape-like, a carefully curated collection in which every track is a love letter to a possible present. It sounds crisp and classic at the same time. When something strikes us as retrospective and futuristic at the same time, it's a reminder of how slipshod our present moment truly is. Juxtaposing high-tech, corporate command-and-control systems (the "cyber") with the lo-fi, D.I.Y. underground (the "punk"), cyberpunk proper starts in 1982 and ends in 1999, from Blade Runner to The Matrix. Concurrently, hip-hop matured, went through its Golden Era, then melted into further forms: it went from from Fab 5 Freddy to Public Enemy to Missy Elliott. While other genres flirted with it, hip-hop was fickle and fey. Rap and rock birthed mutant offspring maligned by most, and hip-hop's relations with electronica rarely fared any better. What if someone explicitly merged hip-hop and cyberpunk - those twin suns of the '80s and '90s - into one set and sound? After all, both movements are the result of hacking the haunted leftovers of a war-torn culture that's long since moved on. On Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening: rave, trip-hop, hip-house, acid house, drum & bass, big beat-the detritus of a different timeline, the survivors of armed audio warfare. Clipping are no strangers to sci-fi: two of their records were nominated for Hugo Awards (one of science fiction's top literary prizes), and a novella spun-off from their music was nominated for a third. On Dead Channel Sky, Clipping's co-conspirators include everyone from the guitarist Nels Cline, to their labelmates Cartel Madras, rapper/actor Tia Nomore, and wordsmith Aesop Rock. Diggs is known for intricate lyrics and rapid-fire rapping, and the tracks that Snipes and Hutson build in the background are no less complex. All of the above serves to give us a glimpse of an adjacent possible present, where hip-hop and cyberpunk are one culture. Binary stars are often perceived as one object when viewed with the naked eye. Like those twin sun systems, it'll take some special equipment and some discerning attention to pull the stars apart on this record. As Diggs barks on the fire-starting "Change the Channel": Everything is very important!

T. Gowdy returns with a major statement and luminous stylistic expansion on his third album for Constellation. Trill Scan is an exquisite suite of songs literally and figuratively about alchemy, where Gowdy melds his background in choral and medieval music with his trademark analogue electronics. Following the acclaimed Miracles (Bleep Album of the Week / Albums of the Year 2022), Gowdy's bar-raising new LP centers human voice for the first time. Choral set-pieces and solo lead vocals, along with his own lute playing, are novel elements in Gowdy's work, and draw on strains of Middle Ages polyphony and the Baroque "broken style" to further distinguish Trill Scan from anything in his discography to date. Gowdy sees "the modal language of medieval Europe as a less distant cousin to indigenous traditional music practice" compared to a Classical-colonial "patriarchal order of tonality that honours a system of domination." The 12th century Notre Dame School of choral music and 17th century style brisé each carry tonal materiality, heterodox technique, and cultural-historical symbolism central to Trill Scan's conceptual and compositional alchemy. Gowdy coheres these beautifully into his palette of serpentine slowburn electronics, a minimal analogue-driven techno shaped by aleatory strategies and tinged with post-punk grit. Gowdy's sound has been aptly described as "gently transportative, flickering like a busted halogen lamp" and his overriding pursuit of psychoacoustic immanence likened to "getting your brain massaged" and praised as "blissful work that bristles with effervescent energy, like brain waves coming in and out of focus." Trill Scan expands this sonic sensibility with more conspicuous harmonic complexity, stylistic variety, and humanistic narrative arc. Alternately sacramental and intimately personal vocals, sometimes wordless and sometimes lyrical, are worked into superlative instrumental tracks, yielding a warmly immersive concept album that's equally Gowdy's most musical. Gowdy sings explicitly of alchemy on the hypnotic album centerpiece "Novus Lumen" with lyrics that gesture at these medieval processes of material investigation. The tension between the scientific and esoteric is crucial; the separation and synthesis of physical substances in medieval alchemy maps onto his fixation with the interplay between the materiality of sound and psychoacoustics. Gowdy follows the Jungian interpretation of classic alchemical texts as an historical bridge to theories of the psyche, where consciousness itself is treated as materiality and similarly subjected to methodical analysis and experimentation, to deconstruction, dissolution, transformation, reintegration, metamorphosis. Song titles like "Arislei Bone" and "Materiadiscipuli" further reference these mythopoetic throughlines from medieval alchemy to modern psychology. Gowdy chooses disruptive forms from the history of Western music that symbolize and prefigure the modern psychological subject and its struggle for/against order, even as they also evoke liturgy and the Renaissance court. The sacramental adds a potent dimension to his pursuit of psychoacoustic activation, meditation, and transcendence, as choral passages intersperse with electronic drone and pointillism throughout the album. His gorgeous Fennesz-meets-lute rendition of the Baroque composition "Courante" by François Dufault offers idiomatic salon-secular counterpoint. Album closer "Strewn" is bookended by a final recurrence of choral invocation, with pulsing earworm motorik techno in between, over which Gowdy whisper-sings a dreamlike vision quest of mythic-alchemical imagery: "as I washed my eyes they turned to metal / and the memories melted to the metal / the metal of my heart." A mesmerizing final song that explicitly invokes Gowdy's search for materialized abstraction and substantive musical immanence wrought from his own psycho-therapeutic subjectivity, and encapsulates the album's turn towards more harmonic, historicized, and humanistic elements. Trill Scan commingles empyrean and earthly electronic songcraft to genuinely original and absorbing effect. Thanks for listening. RIYL: Coil, Nicolás Jaar, Alessandro Cortini, Pantha Du Prince, Fennesz, Visible Cloaks, Actress,

On his Discrepant debut Memotone aka Bristolian Will Yates collects some unreleased recordings under a most aptly titled name - »Pruning« - following a healthy stream of releases for such esteemed labels as Black Acre, The Trilogy Tapes or Soda Gong.

Considering the process of pruning as a practice of selective removal, the album takes its name at face value never falling into a mere collection of tossed off material or random B-side assemblage, making it a cohesive listen throughout its disparate timeframe and evasions.

A statement about Memotone's vision itself, »Pruning« veers closer to his Fourth World/ECM/Exotica meets Sci-fi transmutations in alignment with what would be expected from a Memotone release on Discrepant. »Moss Zone« briefly sets the tone with a warm but queasy synth bedsheet that flows into the »Weird Figures« cyber- jungle, all small twinkling percussions and rainforest pads slowly rising. 'Riders' brings the synth-flute to an early Warp meets John Hassell's »City: Works of Fiction« scenario that pops up again in more disrupted form on »Wisdom MOTHER«. »Not What I Thought's« skewed tropical guitar gets going on lo-fi percussion and dissonant synth chords while »Jim Starling and The Inverse Church« bring to mind »Autoditacker« era Mouse on Mars going jazz-fusion. Or what we should expect from their Smalltown Supersound stint. »Beach Scene« is exactly it, as the sun sets into »Come In Don't Mind the Ghost« summer night's stars with all the allure of Stereolab.

Alluring, that's exactly it. Do come in.

Cultured Dutch producer Milio returns to his home label to retool his last album Invisible Lands with the dance floor in mind. This new and club-ready 12" arrives via Atomnation on March 14th 2025 and shows a superb new side to the artist.

Invisible Lands was another marked artistic evolution for VIAVIA label head Millio who employed all new skills to translate the fantasies of his childhood into an immersive long player. As ever it was coloured by his love of hardware and brimmed with life because of his on-the-fly approach to production. Now, four of those lush originals get reimagined for different moments in the club.

These are four deep, stylish club cuts full of the sort of warm emotions that make a lasting impression.

Blasé is a French-American pop artist, composer, arranger, producer, singer and author. Since his childhood and adolescence in New York, he experimented, mixed together 70s rock, electronic music, disco and hiphop, to create a sound that will take him directly to Paris with his first band Haute, with Anna Majidson. A first hit will be born, «Shut Me Down», whose session Colors accumulates more than 30 million views on YouTube.

After this first success, and following numerous collaborations with various artists such as Agoria, DJ Pone, Lala&ce, Niro or Jwles, he found his musical signature and started solo. The UFO Blasé released his first EP «Why Blasé? » in 2023 on Record Makers label, a unique fusion of Chic, The Strokes and Manu Chao.

Blasé releases his first album «BLABLABLA» in 2025, an album that stands as a personal manifesto of his sound obsessions that open almost as many tracks: 15 original titles in search of the groove.

With his educated ears to the radio and charts across the Atlantic, he honors this generous vision of pop that encompasses old-school hip-hop, R&B, jazz, funk, disco and new-wave, and navigates between different styles in the manner of American artists. Some songs are in French while others are in English, featuring singer Anna Majidson, rapper Jwles, and the late American artist Cola Boyy. So we go on «BLABLABLA» from a studio haunted by Quincy Jones to a cellar where he rehearses The Cure of «Boys Don’t Cry».

Five for Fighting achieved a hit record with "Superman (It's Not Easy)" in 2001 leading to his America Town album going Platinum.

For the follow-up, The Battle Of Everything, John Ondrasik went into the studio with Bill Bottrell, best known for his production work with Sheryl Crow.

On the influences behind Battle and its recording, Ondrasik said, "When I was a kid I could put on Dark Side of the Moon, turn up the sound in my headphones, lie down in the dark, and go away. I wanted that experience again, and so Bill and I were ambitious to the point of absurdity. If we wanted drama, we'd get a thirty-piece orchestra. If we wanted a rock edge, we went after it with reckless abandonment. It was like doing my own private Quadrophenia."

The Battle for Everything was released in 2004. The first single, "100 Years" was a top 40 hit on the Billboard Hot 100 chart. The album itself was certified Platinum in 2009. and is now finally available on vinyl for the first time.

This is a limited edition of 500 individually numbered copies on gold coloured vinyl. The LP contains a 4-page booklet with lyrics and pictures.

compiled by tsunaki kadowaki
artwork by yoshirotten
mastering by kuniyuki takahashi

Tsunaki Kadowaki, a staff member at Kyoto’s record store Meditations, the supervisor of "New Age Music Disc Guide", and the founder of Sad Disco, curates the fourth installment of "Midnight in Tokyo" themed around Ambient Kayō.

The Midnight in Tokyo series by Studio Mule focuses on Japanese music, serving as a soundtrack for Tokyo nights—whether for home listening, club play, or as a driving BGM, transcending location and space. After a six-year hiatus, the fourth volume takes "Ambient Kayō" as its new perspective, compiling genre-defying tracks released between 1977 and 1999 to explore the intersection of Japanese ambient and pop music.

For this long-awaited fourth installment, selections were made regardless of record label status (major or independent), era, format (vinyl or CD), original release price, or prior reissues. Instead, the focus was on music that deeply moves the listener, is open-minded and evocative, brims with inspiration and spiritual insight, and embodies the "utagokoro" (singing heart) of Japanese artists.

Opening the compilation is "Umi e Kinasai" by Yōsui Inoue, a legendary Japanese singer-songwriter whose works have recently gained renewed interest as hidden gems of Walearic and ambient pop

Composed and arranged by Katsu Hoshi—who is also known for his arrangements on Inoue’s masterpiece Ice World—the track features renowned players such as Masayoshi Takanaka, Hiroki Inui, and Shigeru Inoue. The song embodies a yearning for Balearic horizons, tinged with youthful vibrancy and sentimentality.

Next, "Oritatamu Umi", compiled from Keiko Nosaka, a 20-string koto player, and George Murasaki, a pioneer of Okinawan rock, is an instrumental track from their album "Niraikanai Requiem 1945". As the title suggests, it carries themes of requiem and remembrance, conveying poetic lyricism even without words. Blending Ryukyuan/Okinawan harmonies and indigenous elements, it unfolds as an intimate and nostalgic piece of progressive rock.

Also featured is "Natsu no Kowareru Koro" by Higurashi, a folk-rock band led by Seiichi Takeda, formerly a guitarist of The Remainders of The Clover, the predecessor of RC Succession. Like the opening track "Umi e Kinasai", this song was also produced by Katsu Hoshi. It stands as a folk/new music piece that takes a step into an "otherworldly" realm, recommended for fans of Twin Cosmos and Masumi Hara.

From the enigmatic Blue, the only work left by the mysterious composer S.R. Kinoshita, comes "Mangrove", a hidden treasure of Japan's ambient/new age scene from the CD era. With an oriental and enigmatic atmosphere, the track evokes a mystical world of deep, uncharted jungles, unfolding as an otherworldly New Age Kayō.

"Yaponesia Sakura", selected from Rehabilual’s sole album New Child, is a masterpiece of Japanese new age music. Produced by Swami Dhyan Akamo, a disciple of Indian meditation teacher Osho and a renowned balafon player, the track features Michio Ogawa (Chakra) and Atsuo Fujimoto (Colored Music). Their collective artistry creates an exquisite spiritual ambient pop sound.

"Asa no Hitoshizuku", the opening folk song from Sachiko Kanenobu’s album Sachiko, is also included. Known for her legendary folk album Misora, produced by Haruomi Hosono, Kanenobu’s fourth album after resuming her career was inspired by her experiences living in San Francisco and revolves around the theme of "love." This track carries the same intimate poetic world as Misora, imbued with a pure, crystalline innocence.

From the synth-pop band E.S. Island, known for the Haruomi Hosono-produced *Teku Teku Mami", comes "Yume Fūrin ", selected from their long-lost new age classic Nanpū from Hachijo. Created while the band’s core duo was living in Hachijō Island, the album aimed to sonically capture "the high and happy vibrations of everyday island life." This track offers a dynamic, tribal-infused New Age Kayō experience.

Dubbed "the world's first Min’yō House Mix" "Esashi Oiwake (Maeuta) " comes from Kanazawa Akiko HOUSE MIX Ⅰ, a collaboration between Japanese house music pioneer Soichi Terada and Akiko Kanazawa, a renowned min’yō singer. Through the prism of club music, Hokkaido's Esashi Oiwake, one of Japan’s most iconic folk songs, is transformed into a futuristic ambient pop piece with intricate sound design.

The compilation also includes "Sweet Ong Choh", a track from Voice From Asia, a group active between 1989 and 1992 featuring vocal artist Shizuru Ohtaka. Taken from their imaginative minimal work Voice From Asia, released under Aoyama Spiral’s music label Newsic, the song presents a tranquil, tribal-minimal soundscape enriched by ethnic instruments.

Hailed by Haruomi Hosono as having “a shaman residing in her voice,” singer-songwriter Nami Hōdatsu also appears in the selection. Known for her collaborations with Henry Kawahara, her debut album featured "Asa-Hikari-Ame-Yume", a track that now stands as a precursor to modern vocaloid/synthesized vocal music—a hidden gem of post-choir aesthetics that deserves rediscovery.

Likewise, "Tennessee Waltz", from Naomi Akimoto’s album One Night Stand, supported by members of Mariah, serves as another early prototype of vocaloid/synthesized vocal music. The track weaves fragmented vocal samples, pastoral yet sweetly minimal synth sounds, and mechanical beats into a strikingly unconventional piece in the history of Japanese music.

Closing the compilation is "Heaven Electric", a track from Nav Katze’s album Gentle & Elegance, which featured remixes by Autechre, Seefeel, and Sun Electric. Merging elements of IDM, ambient techno, and chillout, the song embodies an optimism reminiscent of space music while seamlessly blending a mystical Japanese aesthetic—an ambient pop masterpiece.

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The album presents 12 exquisite pop tracks infused with an ambient feeling, resonating deeply with the evolving landscape of the mid-2020s—a time of post-hyperpop and Y2K revival.

Tsunaki Kadowaki (Compiler)

Born in 1993 in Yonago, Tottori, Tsunaki Kadowaki is a staff member and buyer at Kyoto’s Meditations record store. He is the editor of New Age Music Disc Guide (DU BOOKS) and a contributor to Music Magazine, Record Collectors' Magazine, ele-king, and more. Kadowaki has written liner notes for multiple Japanese releases (Brian Eno, Masahiro Sugaya etc.) and runs the Sad Disco music label under Disk Union. He also curates Spotify’s official New Age Music playlist and performed as a DJ at YCAM’s Audio Base Camp #3 in 2024.

Ancient Japanese spirits meet contemporary electronic music in *Yokai Parade EP*, a mystical collaboration between Italian producer Volantis and Japanese artist Hiroko. Inspired by a psychedelic experience in Kobe where train sounds summoned supernatural visitors, this four-track journey merges folklore with modern dance music through a unique blend of hardware synthesis and haunting vocals.

The title track “Yokai Parade” leads listeners into a shadowy realm where Hiroko’s Italian narration intertwines with Japanese train announcements, calling forth ancient spirits. Eden Burns transforms this nocturnal tale into a hypnotic, percussion-driven remix that deepens its ceremonial essence. On “La Kappa,” Hiroko embodies a playful water spirit, her accented Italian dancing over dreamlike sequences. Fabrizio Mammarella’s Italorama Version injects classic Italo disco energy, creating a perfect bridge between Japanese mythology and Mediterranean dance floors.

Co-produced with Niccolò Barozzi, this vinyl and digital release captures a unique moment where East meets West, and traditional folklore dissolves into electronic rhythms.

LOUISVILLE, KENTUCKY has had more than its share of out-of-nowhere bands following from the second big bang that was punk rock. The Babylon Dance Band, Circle X, Your Food, Squirrel Bait, Bastro...these are but some of the exceptional music acts originating in Louisville after 1977. Now it"s time for the great secret of the Louisville first-wave punk scene to be revealed: The Endtables. The Endtables were the crazed brainchild of guitarist Alex Durig, brooding chess-master of the amplified freak-out, and singer Steve Rigot, a flamboyant transgender giant from the shores of southern Indiana who reinvented himself as a Warhol Factory superstar. Like Scarlett O"Hara wrapped in a green velvet curtain, Rigot crafted his own glamorous reality from what was available in the blasted cultural landscape of 1970"s Kentucky. Gold spray paint, duct tape, Ace bandages ... a spectacularly other trailblazer who caused folks to toss their received ideas of beauty and go with the new thing instead. The band first took the stage in late 1978 and was finished by the summer of 1980. In the fall of 1979 they recorded six tracks at a Louisville studio, four of which came out on a 7" EP on their own Tuesday Records. The two remaining tracks ("White Glove Test" and "Trick or Treat") were issued as a single on Self Destruct records in 1991. Both records are among the rarest of any American punk release - more sought after than seen, passed on disintegrating cassette tapes and shouted over upon impact. The music of The Endtables is another chapter in pure American weirdness, as jaw-locking today as the day it was recorded. The scent of modern can be detected in Steve Rigot"s remote vocalese, set against Alex Durig"s guitar outbursts, while drummer Steven Jan Humphrey and bassist Albert Durig (age fifteen!) supply frenzied rhythm. The band rocks its fevered vision to a ferocious degree while Rigot grimly rhymes the truths that remained locked out of the public"s pop tastes in "79-"80. Thirty years of rap and roll later, The Endtables seem inevitable.

A few weeks ago, Brigade Loco officially announced that they will release their third album in the coming months. The band from Gipuzkoa, with seven years of trajectory, will release their new full-length under the title"Bide baten esanahia" ("The meaning of a road"). This new album will finally be released in February 2025. As usual, the album has been recorded at the Sound of Sirens studio in Iruña under the supervision of technician Julen Urzaiz. This album is a firm step forward for a band that wants to evolve and write its own trajectory without repeating chapters previously made. In view of this, the band says they are very excited about the project. It has been more than a year of work and effort before this ambitious project sees the light of day, and they are looking forward to sharing their new tunes with their audience. Brigade Loco are about to start a very important episode in their career. An episode with interesting paragraphs, plotsand characters. Stay tuned.

A few weeks ago, Brigade Loco officially announced that they will release their third album in the coming months. The band from Gipuzkoa, with seven years of trajectory, will release their new full-length under the title"Bide baten esanahia" ("The meaning of a road"). This new album will finally be released in February 2025. As usual, the album has been recorded at the Sound of Sirens studio in Iruña under the supervision of technician Julen Urzaiz. This album is a firm step forward for a band that wants to evolve and write its own trajectory without repeating chapters previously made. In view of this, the band says they are very excited about the project. It has been more than a year of work and effort before this ambitious project sees the light of day, and they are looking forward to sharing their new tunes with their audience. Brigade Loco are about to start a very important episode in their career. An episode with interesting paragraphs, plotsand characters. Stay tuned.

Red vinyl. Released in 1982, III Wishes marked a new chapter for Shooting Star, as it was their first album without founding keyboardist Bill Guffey. Despite the lineup change, the band continued to refine their signature blend of melodic rock and soaring instrumentation, further establishing themselves in the AOR scene. With Van McLain, Gary West, Charles Waltz, Ron Verlin, and Steve Thomas still leading the charge, III Wishes showcased powerful hooks, tight musicianship, and the band's signature violin-infused rock sound. While it didn't achieve mainstream superstardom, the album reaffirmed Shooting Star's underrated brilliance and commitment to delivering heartfelt, high-energy rock.

Red/Black splatter vinyl. Released in 1982, III Wishes marked a new chapter for Shooting Star, as it was their first album without founding keyboardist Bill Guffey. Despite the lineup change, the band continued to refine their signature blend of melodic rock and soaring instrumentation, further establishing themselves in the AOR scene. With Van McLain, Gary West, Charles Waltz, Ron Verlin, and Steve Thomas still leading the charge, III Wishes showcased powerful hooks, tight musicianship, and the band's signature violin-infused rock sound. While it didn't achieve mainstream superstardom, the album reaffirmed Shooting Star's underrated brilliance and commitment to delivering heartfelt, high-energy rock.

Clear marble vinyl. Hailing from Kansas City, Missouri, Shooting Star made history as the first American band signed to Virgin Records. Their 1980 self-titled debut, produced by Gus Dudgeon (renowned for his work with Elton John), showcased a powerful blend of melodic rock, soaring harmonies, and violin-infused arrangements. Recorded in England in 1979, the album gained national attention with AOR radio staples like "You Got What I Need," "Bring It On," and "Tonight." However, it was "Last Chance" that truly stood out_later praised by AllMusic as "one of the finest songs ever." With a lineup featuring Van McLain, Gary West, Charles Waltz, Bill Guffey, Ron Verlin, and Steve Thomas, Shooting Star blended classic rock with orchestral textures, crafting a unique and memorable sound. Though they never reached mainstream superstardom, their debut album remains a hidden gem of heartland rock, capturing the energy and ambition of a band on the rise.

Clear Vinyl. Hailing from Kansas City, Missouri, Shooting Star made history as the first American band signed to Virgin Records. Their 1980 self-titled debut, produced by Gus Dudgeon (renowned for his work with Elton John), showcased a powerful blend of melodic rock, soaring harmonies, and violin-infused arrangements. Recorded in England in 1979, the album gained national attention with AOR radio staples like "You Got What I Need," "Bring It On," and "Tonight." However, it was "Last Chance" that truly stood out_later praised by AllMusic as "one of the finest songs ever." With a lineup featuring Van McLain, Gary West, Charles Waltz, Bill Guffey, Ron Verlin, and Steve Thomas, Shooting Star blended classic rock with orchestral textures, crafting a unique and memorable sound. Though they never reached mainstream superstardom, their debut album remains a hidden gem of heartland rock, capturing the energy and ambition of a band on the rise.

PRESSED ON BLUE SPLASH COLORED VINYL!

Executive Producers: Benny the Butcher & ElCamino

Benny the Butcher Presents: The Outcome, the new compilation from B$F and Buffalo-based producer ILL Tone Beats, is now available on vinyl. The project boasts star-studded features from artists such as Benny the Butcher, Conway the Machine, and Westside Gunn, who provide hard-hitting verses over Tone’s dynamic production. The album’s 14 tracks, produced entirely by ILL Tone, showcase the distinct sound of B$F that has drawn acclaim from critics and fans alike.

Haii Usagi is a two piece electronic/exerimental band from Columbia, MO

Members consist of Pete Hansen (Drums and Keyboards) and Eric Burch (Keyboards,
Synths, and Programming).

"Electro-thrash, calling up the ghost of Brainiac, sans vocals and guitar. Haii Usagi brings
the bleeps and blips that drives and veers as opposed to superficially just addressing
your need to dance the night away". - Beer and Pavement
"Haii Usagi approaches it with an emphasis on songcraft, focusing on the hook rather
than the tracks being simply a groove you can dance to. They also manage to hint at a
number of styles from rock to ambient while staying true to their electronic vision. I
know some of the more punk than thou types may find problems with Haii Usagi's
sound, but for those willing to open their minds you'll find a group who manages to make
their own vision of what the genre should be and proves that not all electronic dance
music has to sound generic". - TTWN