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Dies ist das ultimative Burnout-Biker-Psycho-Meisterwerk. Circuit Rider ist ein 40-minütiges Rezept für den Nervenzusammenbruch. Es wurde direkt von den Bändern neu gepresst, um die Zigarettenverbrennungen, Harley-Abgase und Kokain-Kater des Originals perfekt wiederherzustellen. Circuit Rider wurde von den Acid Archives in die Liste der Top Ten LPs aufgenommen, die am wahrscheinlichsten im Besitz eines Serienmörders sind, und ging auf derselben Reise verloren wie Kenneth Higney, Nicodemus & Matchez, YaHowWa, Boa, Heitkotter, Dave Lamb & Gye Whiz, Raven, Fraction und - klar, warum nicht? - The Doors' L.A. Woman.

On 4 October 2024 Universal Music Recordings and Decca Records are making Jamaican/British jazz saxophonist Joe Harriott’s album ‘Movement’ available again for the first time since it was released in 1964. Long sought after by collectors and connoisseurs, original copies now sell for upwards of £1,000.

This new edition was mastered at Abbey Road using high definition 24bit/192kHz audio files, copied directly from the original stereo analogue master tapes (previously only the mono version has been on vinyl). Images of those tapes are included in the package alongside new sleeve notes written by noted author, compiler and documentary maker Tony Higgins, who also acts as Executive Producer for Decca’s ‘British Jazz Explosion’ series.

Recorded in 1963, ‘Movement’ was released as part of the Lansdowne Series, overseen by the influential Denis Preston, one of the UK’s first independent record producers, and engineered by Adrian Kerridge. Of the nine tracks, seven are Harriott originals, whilst the other two were written by another pioneer of British Jazz, Michael Garrick. Playing alongside Joe were bassist Coleridge Goode (b. 1914 Jamaica, d. 2015 London), drummer Bobby Orr (b. Scotland 1928, d. 2020), pianist Pat Smythe (b. Scotland 1923, d. 1983), and trumpet/flugelhorn player Ellsworth ‘Shake’ Keane (b. St. Vincent 1927, d. 1997).

Born in Jamaica in 1928, Joseph Arthurlin Harriott was a pupil at the Alpha Boys School (alma mater to Harold McNair, Dizzy Reece, and a myriad of Ska greats). He arrived in Britain in the early ’50s, initially touring with the Ozzie Da Costa Band, followed by a brief spell with the Ronnie Scott Big Band, and sessions backing the likes of George Chisholm, and Lita Roza.

By the mid ’50s Joe was a big enough draw to release records under his own name, and whilst these early recordings conform to the then popular bop style, the following decade would see him release albums whose titles chart his development; ‘Free Form’ in 1960, and ‘Abstract’ in 1963.

‘Movement’ is a testament to Joe Harriott’s visionary approach to jazz. It blends structure with freedom, tradition with innovation, and individual expression with collective creativity. His development of free-form jazz represents a significant contribution to the genre, paralleling yet distinct from the work of Ornette Coleman and other American free jazz artists. It is an essential listen, not only for fans of British jazz, but jazz fans in general.

It is perhaps best summed up by the epitaph that now adorns Joe’s gravestone; “Parker? There’s them over here can play a few aces too.”

“Everything here is a gem. Neneh triumphs with a seamless and unorthodox blend of hip-hop, R&B, dance music, and pop” 4 ½/5 Allmusic

Coloured vinyl reissue of Neneh’s second album – first UK reissue on vinyl since its release in 1992. On release the album gained favourable reviews (4/5 in both Q and Rolling Stone) with Allmusic labelling the album “magnificent and risk-taking”.

The singles “Money Love” and “Buddy X” charted internationally with album track “Trout” featuring Michael Stipe and receiving heavy airplay on US alternative radio. Portishead’s Geoff Barrow co-wrote and co-produced “Somedays” and “Move with Me” appeared on the soundtrack of the 1993 Sharon Stone film Sliver.

The Swedish-born, UK-based artist started her musical career in The Slits going on to gain global recognition as a solo artist with her 1988 single ‘Buffalo Stance’ from the album “Raw Like Sushi’. Always irreverent, unpredictable and stylish, she has now released five studio albums and collaborated with Peter Gabriel, Massive Attack, Michael Stipe, Lenny Kravitz, Geoff Barrow and Four Tet, won two Brit Awards and been nominated for a Grammy.

Blu’s music has been championed by outlets like XXL, Pitchfork, Okayplayer, HipHopDX, and more. In recent years, he has been interviewed by Billboard, Complex, LA Weekly, Noisey, Red Bull Music Academy, and more. Blu has collaborated with prominent artists like The Roots, Logic, Miguel, MF DOOM, Madlib, Anderson .Paak, Lupe Fiasco, Freddie Gibbs, Aloe Blacc, Roc Marciano, Slum Village, 9th Wonder, and more. Classic 2014 album on gatefold 2LP vinyl, now available after years out of print. Good To Be Home features guest appearances by Evidence, Fashawn, Alchemist, Casey Veggies, MED, Planet Asia, Oh No, Pac Div, Strong Arm Steady, Thurz, Visionaries, Chace Infinite, Cashus King, and more. L.A. rapper Blu burst onto the scene in the late 00s with the widely acclaimed Exile collaboration Below The Heavens, igniting a West Coast hip-hop renaissance in the process. With his cool Cali demeanor and undeniable lyrical talent, Blu drew praise from fans and tastemakers alike, launching a remarkable career that continues thriving to this day. His first ever double album, the 2014 masterpiece Good To Be Home is an essential part of this story. An unapologetic celebration of Los Angeles music and culture, the album takes listeners on a vivid journey through Blu’s storied stomping grounds. With sweeping strings and hypnotic bass lines supplied by producer Bombay, Good To Be Home features a host of West Coast hip-hop luminaries, including Evidence, Fashawn, Alchemist, Casey Veggies, MED, Planet Asia, Oh No, Pac Div, Strong Arm Steady, Thurz, Visionaries, and more. A cohesive collection with 20 tracks and no filler, this classic release is now available again on vinyl after years out of print.

Produced by Lenny Kravitz (Executive) and Fela Kuti’s original engineer Sodi Marciszewer (Artistic). Worldwide tour in 2024 / 2025 (North America, Europe, Australia). New album from 2018 Grammy nominated album “Black Times”. Seun Kuti set to release highly anticipated album ‘Heavier Yet (Lays The Crownless Head)’ featuring guests Damian Marley and Sampa The Great on October 4th. Afrobeat virtuoso Seun Kuti is gearing up to unleash his latest musical masterpiece upon the world with the upcoming release of his album that will be set to make waves globally via Milan independent label Record Kicks. Coming 6 years after the Grammy nominated album ‘Black times’, this album marks a pivotal moment in Seun Kuti's illustrious career, showcasing his evolution as an artist and activist. Executive produced by legendary musician Lenny Kravitz and Fela Kuti’s original engineer Sodi Marciszewer (artistic producer), ‘Heavier Yet (Lays The Crownless Head)’ promises to deliver a sonic experience like no other. With both Kravitz's and Sodi’s expertise together with Seun Kuti's unmatched talent, the album is poised to redefine the boundaries of contemporary music while staying true to the roots of afrobeat. Featuring a tracklist of six electrifying songs, each track on ‘Heavier Yet (Lays The Crownless Head)’ embodies the spirit of resistance, resilience, and revolution. Each song talks about standing up against challenges and fighting for change. Like the standalone singles ‘Dey’ feat reggae icon Damian Marley, described as “a song about embracing and championing who we are, regardless” and ‘Emi Aluta’, “a song about struggle (Aluta means struggle) that pays homage to all the great revolutionaries”, that features Zambian singer, rapper and songwriter, Sampa The Great, one of best and most innovative lyricists of our time. The song ‘T.O.P.’ is about “how society values money and success more than people”. Seun Kuti wants to change this by promoting empathy and reconnecting with nature. In another song, ‘Love & Revolution,’ he expresses his love for his wife and believes that true love can inspire people to make the world a better place. “This project has been very special to me from the moment I conceived it, speaking to Lenny Kravitz, who has shown me such a brotherly love and respect” Seun says. “He has brought me to his home. I met his daughter Zoe and he has guided us with fierceness. Since we spoke about the album, three years ago, as the executive producer of this project, he has always been by our side and very supportive”. “I want to thank Craig Ross and Sodi, the producer of this project. We had a great time. It was the first time for me in the studio with Sodi and I was really impressed by his work and his fatherly advice and dedication”. Each song on the album is a testament to Seun Kuti's unwavering commitment to using music as a tool for social change and empowerment. Through his powerful lyrics and infectious grooves, he continues to carry on the legacy of his father, the legendary Fela Kuti, while carving out his own path in the world of music. As a musician and pan-African activist, Seun has been involved in a number of campaigns in recent years, including #EndSARS – a social movement against police brutality in Nigeria. Significantly, he’s revived the Movement of the People (M.O.P.), the political party his father set up in 1979, which was quashed by the military government not long after Fela’s failed presidential bid. Fans can expect an album that not only entertains but also inspires and ignites a spirit of activism and liberation. Seun Kuti is a Nigerian musician, singer, and songwriter renowned for his captivating performances and socially conscious music. He is the youngest son of Afro beat pioneer Fela Kuti. Seun has spent most of his life preserving and extending his father's political and musical legacy as the leader of his father's former band Egypt 80. As a developing saxophonist and percussionist, he entered the formal ranks of the band before he was 12. In 1997 when Fela passed, in fulfilment of his father's wishes, Seun assumed the mantle as head of Egypt 80 and he has run it ever since. During his career, Seun Kuti released 4 albums with Egypt 80: ‘Many Things’ (2008), ‘From Africa with Fury: Rise for Knitting Factory Records’ (2011), coproduced by Brian Eno and John Reynolds, ‘A Long Way Beginning’ (2014) and the Grammy nominated ‘Black Times’ (2018) that included a feature from Carlos Santana. They also released numerous EPs. Seun has played for enthusiastically receptive audiences globally and collaborated with many great artists. In 2022, he joined forces with Roots frontman and MC extraordinaire Black Thought in the EP ‘African Dreams’. In 2023, Seun collaborated on Janelle Monae's ‘The Age of Pleasure’ (Grammy nominee for Album Of The Year) with the two singles 'Float' and 'Knows Better', teamed up with Talib Kweli and MadLib for their album ‘Liberation 2’ on the song ‘Nat Turner’ featuring Cassper Nyovest and released a new version of the single ‘Bad Man Lighter’ with Black Thought, featuring Vic Mensa

Debut album from Los Angeles duo Los Yesterdays, Sweet Soul music meets Mexican Folklorico "Sweet soul music also known as lowrider oldies on the West Coast, rolas and souldies are typically early 60s-style tunes that emphasize vocal harmonies. Most songs are slow-to-midtempo, many are ballads, and the sub-genre is generally stripped down compared to the highly produced Motown hits of the time....there is a generations-long appreciation for sweet soul music among California’s Latino communities. Eastern Los Angeles teens.... helped foster a love of sweet soul in the early 60s by covering soulful ballads by artists like James Brown... Those sounds... were kept alive by record collectors and people who spent evenings cruising along East Los boulevards." BILLBOARD // Los Yesterdays are a Chicano soul band from Los Angeles based around the creative collaboration between Gabriel Rowland and Victor Benavides. They began working together when Rowland a drummer by trade, then creaky and exhausted from waking up at dawn to work construction decided to channel those struggles into song. He contacted Benavides, a former bandmate of Rowland’s deceased brother, to record the soul ballads that Southland Chicanos call “oldies.” Los Yesterdays filter love-struck R&B crooning through guitar-strumming Mexican balladeering; the result is something that sounds like the Los Angeles of yesterday and today the indelible, immovable Los Angeles of cruising Whittier Boulevard, of cold drinks on the porch on blazing summer nights, of watching a blue-orange toxic sunset and wondering if they are thinking about you. Los Angeles changes; Los Angeles stays the same. Los Yesterdays have changed, outgrown their childhood barrios and the bands of their early 20s and their private garage hermitude; Los Yesterdays are Frozen In Time. Tracks: A1. Nobody’s Clown A2. Frozen In Time A3. Something Happened A4. I Can’t Feel A5. Brown Boy B1. Last Request B2. I Want You To Stay B3. But You Did B4. Name On Me B5. Love Is A Game For Fools

Bones Shake are a scuzzy, fuzz enthused garage rock trio formed in Manchester in 2011. They play everything to the extreme; violent bottle-neck blues riffs, drums kicked, pounded and exploited and squeals of reverb drenched vocals which when combined, will help save your soul. With a relentless energy, they’ve never taken their foot off the gas. In July 2022 they released Bleed to critical acclaim, itself the follow up to 2019’s debut LP Sermons. Purge sees the trilogy complete. Through tirelessly playing across the UK and Europe, their cult following makes them one of the best not so kept secrets in the underground scene. Wherever they go they fill out venues and have now played the infamous Raut Oak festival twice. With a string of previous releases under their belt, they have gone from strength to strength and attracted attention worldwide. Imagine a desert dive bar, the only bar in a hundred miles, the soundtrack as the shots fly is Purge. Talking about the LP, Bones say that “we needed to purge ourselves of these songs so we stuck two fingers up, lodged them at the back of the larynx and spewed out a new album.” Opener ‘Banshee’ wastes no time in providing that proverbial kick to the face these guys are infamous for. With a gnarly vocal and guitar interplay you’re hooked from the first note; the intensity rises with every rotation and if this one doesn’t leave you breathless you are not listening loud enough. ‘One Kiss’ is a filthy little blues number that taunts and teases, while ‘Pretty Little Things’ takes you on a journey through their sound bringing out all the bumps and grinds you could possibly muster. ‘The Creeper’ is a bit different to their usual, adding a sense of intrigue and unease that draws you in deep. Lead single ‘Let Go’ is an adrenaline fuelled expedition through all the best parts of their sound, with a few surprises thrown in for good measure. ‘Passive Intervention’ changes track a little, keeping you aurally attentive while title track ‘Purge’ is the experience that can’t be surmised, get the volume up high and release. With its rolling, thunder-esq. drums, closer ‘Stench’ rounds things off in the best way; leaving you wanting more. Purge is without doubt their strongest and most visceral release to date, dare you miss out on this experience

‘What makes Sex Swing so powerful is that they transcend the limitations of rock music. Their sound is so full of possibilities, violence, sexuality, sacrifice, even religion. If there was a future to look forward to for heavy guitar music, this is it’ The Quietus The locals call it Sop Ruak – eighty thousand square miles of mountains and mystery and unholy medicine. “It really is an endless seam of activity,” Sex Swing frontman Dan Chandler explains of Golden Triangle – both the title of their new album and the region between Myanmar, Thailand and Laos that inspired it. To know this contradictory corner of the world is to understand fully why the cult-beloved noise-rock artisans turned to it when writing their hotly-anticipated third full-length. The real-life Golden Triangle is a groundswell of both natural wonder and drug production, and who combines beauty and narcotic brutality better than Sex Swing? For a decade now, this
collective of revered UK underground musicians, comprising members of Earth, Mugstar, The Keep and Jaaw, have been pulling audiences into drug- like slipstreams with their alchemy of pummelling rhythms, towering guitars, and unrelenting saxophone through which glimmers of light occasionally pierce through. No wonder their Golden Triangle is an album telling distortion-shrouded tales from one of the most storied, enigmatic places on the planet, with enough invention within to fill eighty thousand miles and more.
Where does this violent, hypnotic aural travelogue take you within the Sop Ruak? The seven tracks that make up The Golden Triangle see the band – completed by bassist Jason Stoll, drummer Stuart Bell, guitarist Jodie Cox, synthesist/guitarist Oli Knowles and saxophonist Colin Webster – adventure first to ‘The Confluence of the Ruak and Mekong Rivers,’ full of shimmering orchestration and feather-light ambience. Then come stops in ‘Myawaddy’, named after a small town embroiled in bloodshed on the border of Myanmar
and Thailand, and ‘Boten, Route 13’ – sparked by stories of a seemingly endless stretch of road from Laos into China. Before long, listeners are plunged into ‘Hpakant’, one of the album’s most invigorating and singular moments, lyrically inspired by a jade mine in Myanmar, where the spoils of forced labour are exchanged for prostitution and methanphetamine. The result is a mesmerising slow-burn of sax, snaking rhythms and sinister spoken word courtesy of the Scottish-born Bruce McClure, who “took the theme and turned it into a sci-fi story of exploitation and vice,” explains the frontman. It’s a track that, like the rest of Golden Triangle, underlines the evolution Sex Swing have undertaken since forming in 2014. From the raw and primitive sounds of the self-titled debut full-length, followed up by the coruscatingType II in 2020. Sex Swing’s third effort retains those early primitive elements and adds layers of structure and complexity. Golden Triangle initial formation was that of programmed beats and bedroom recordings shared electronically in the height of the pandemic. Those ideas were then completed during intensive writing sessions at a secluded farm in Oxfordshire.
Album credits consist of recording by Stanley Gravett at Holy Mountain Studios in Hackney, mixing by Wayne Adams at Bear Bites Horse, mastering from James Plotkin, and the continued aesthetic collaboration with artist Alex Bunn. Golden Triangle bristles with a rawness familiar to fans of the British sonic punishers, but adds new elements indicative of a group never resting on their laurels or sitting in one place. Why would they, after all? There’s an entire world of mountains and mystery and unholy medicine out there to be explored. The Golden Triangle, it seems, is just the beginning.

‘What makes Sex Swing so powerful is that they transcend the limitations of rock music. Their sound is so full of possibilities, violence, sexuality, sacrifice, even religion. If there was a future to look forward to for heavy guitar music, this is it’ The Quietus The locals call it Sop Ruak – eighty thousand square miles of mountains and mystery and unholy medicine. “It really is an endless seam of activity,” Sex Swing frontman Dan Chandler explains of Golden Triangle – both the title of their new album and the region between Myanmar, Thailand and Laos that inspired it. To know this contradictory corner of the world is to understand fully why the cult-beloved noise-rock artisans turned to it when writing their hotly-anticipated third full-length. The real-life Golden Triangle is a groundswell of both natural wonder and drug production, and who combines beauty and narcotic brutality better than Sex Swing? For a decade now, this
collective of revered UK underground musicians, comprising members of Earth, Mugstar, The Keep and Jaaw, have been pulling audiences into drug- like slipstreams with their alchemy of pummelling rhythms, towering guitars, and unrelenting saxophone through which glimmers of light occasionally pierce through. No wonder their Golden Triangle is an album telling distortion-shrouded tales from one of the most storied, enigmatic places on the planet, with enough invention within to fill eighty thousand miles and more.
Where does this violent, hypnotic aural travelogue take you within the Sop Ruak? The seven tracks that make up The Golden Triangle see the band – completed by bassist Jason Stoll, drummer Stuart Bell, guitarist Jodie Cox, synthesist/guitarist Oli Knowles and saxophonist Colin Webster – adventure first to ‘The Confluence of the Ruak and Mekong Rivers,’ full of shimmering orchestration and feather-light ambience. Then come stops in ‘Myawaddy’, named after a small town embroiled in bloodshed on the border of Myanmar
and Thailand, and ‘Boten, Route 13’ – sparked by stories of a seemingly endless stretch of road from Laos into China. Before long, listeners are plunged into ‘Hpakant’, one of the album’s most invigorating and singular moments, lyrically inspired by a jade mine in Myanmar, where the spoils of forced labour are exchanged for prostitution and methanphetamine. The result is a mesmerising slow-burn of sax, snaking rhythms and sinister spoken word courtesy of the Scottish-born Bruce McClure, who “took the theme and turned it into a sci-fi story of exploitation and vice,” explains the frontman. It’s a track that, like the rest of Golden Triangle, underlines the evolution Sex Swing have undertaken since forming in 2014. From the raw and primitive sounds of the self-titled debut full-length, followed up by the coruscatingType II in 2020. Sex Swing’s third effort retains those early primitive elements and adds layers of structure and complexity. Golden Triangle initial formation was that of programmed beats and bedroom recordings shared electronically in the height of the pandemic. Those ideas were then completed during intensive writing sessions at a secluded farm in Oxfordshire.
Album credits consist of recording by Stanley Gravett at Holy Mountain Studios in Hackney, mixing by Wayne Adams at Bear Bites Horse, mastering from James Plotkin, and the continued aesthetic collaboration with artist Alex Bunn. Golden Triangle bristles with a rawness familiar to fans of the British sonic punishers, but adds new elements indicative of a group never resting on their laurels or sitting in one place. Why would they, after all? There’s an entire world of mountains and mystery and unholy medicine out there to be explored. The Golden Triangle, it seems, is just the beginning.

After a handful of EPs and a Long Player, Athens CHAIN CULT are back, and bring more post-punk angst. Their 2nd album continues the ideas of their previous releases, but in a much more thoughtful and crafted manner. Indeed, the production has stepped up and the result is an album that surpasses any of their previous work. A precise rhythm section overlaid by a dreamy soundscape of cleverly interwoven guitar work frames catchy anthems which depict an inner anguish or the collateral damage we all suffer from our capitalist hellscape, or both. Imagine listening to THE CHAMELEONS or THE SOUND but you wished for a harder edge, more direct, more straight, and a more punk take on things. Then Harm Reduction is what you need. Both singles of the album come accompanied by videos to be hosted at LVEUM YouTube Channel. An album to be listened to over and over; an apt accompaniment to watching the world burn

Crypt of the Wizard is proud to present Necro Soft - Don't Test the Unmaker's Patience on vinyl and digital formats. What if the devil recorded a record? Would it scream for attention as loud as it could, with all knobs turned to 10? Would it be just another relentless wall of noise vying for your shortened attention, only to be forgotten while the next hot thing is being released, but this time, once again, promising a more raw and extreme experience than previously imagined? Seems unlikely. Satan is a subtle seducer. Luring and waiting are his tactics. His is the insidious rhythm that runs down your leg, causing your foot to tap while your lying lips are still saying, "This isn’t really my kind of thing." All sequins and satin, laughter and fun, while whispering in your ear about his plans for the final destruction of the infinite universe so quietly, you forget to stop enjoying yourself. Necro Soft’s debut LP Don't Test the Unmaker's Patience is crafted from this very notion. Rising from Copenhagen’s unrelentingly creative Mayhem scene with connections to bands such as Ryg Din Sidste Bøn and Gabestok, you already know you’re in for something special. With the devil at the helm and influenced as much by contemporary black metal as by the UK big beat scene of the 1990s, bands such as The Prodigy are seldom listed as having an impact on underground metal records, but here we are! A shimmering wash of drum machine rhythms and perpetual pop production designed to ensnare listeners with its irresistible beats while subtly corrupting their souls. Listening to Necro Soft is akin to entering some kind of damned Heavy Metal disco, high as a kite, and fixating on the glittering mirror ball in the ceiling before noticing that the floor is sticky with blood.

Crypt of the Wizard is proud to present Necro Soft - Don't Test the Unmaker's Patience on vinyl and digital formats. What if the devil recorded a record? Would it scream for attention as loud as it could, with all knobs turned to 10? Would it be just another relentless wall of noise vying for your shortened attention, only to be forgotten while the next hot thing is being released, but this time, once again, promising a more raw and extreme experience than previously imagined? Seems unlikely. Satan is a subtle seducer. Luring and waiting are his tactics. His is the insidious rhythm that runs down your leg, causing your foot to tap while your lying lips are still saying, "This isn’t really my kind of thing." All sequins and satin, laughter and fun, while whispering in your ear about his plans for the final destruction of the infinite universe so quietly, you forget to stop enjoying yourself. Necro Soft’s debut LP Don't Test the Unmaker's Patience is crafted from this very notion. Rising from Copenhagen’s unrelentingly creative Mayhem scene with connections to bands such as Ryg Din Sidste Bøn and Gabestok, you already know you’re in for something special. With the devil at the helm and influenced as much by contemporary black metal as by the UK big beat scene of the 1990s, bands such as The Prodigy are seldom listed as having an impact on underground metal records, but here we are! A shimmering wash of drum machine rhythms and perpetual pop production designed to ensnare listeners with its irresistible beats while subtly corrupting their souls. Listening to Necro Soft is akin to entering some kind of damned Heavy Metal disco, high as a kite, and fixating on the glittering mirror ball in the ceiling before noticing that the floor is sticky with blood.

Pioneering Dutch punk band, the Squats, was one of the first to emerge from the underground of late 1970s Nijmegen.

Pioneering Dutch punk band, the Squats, was one of the first to emerge from the underground of late 1970s Nijmegen.

Zimmerman conjures up a kind of Arcadian folk surrealism that is utterly his own.” MOJO "Startling collection of intimate, home-recorded songs from the cult singer-songwriter adored by David Bowie and Big Thief alike. I eulogised the “Arcadian folk surrealism” of his 1974 ‘Over Here In Europe’ but, if anything, this informal collection of intimate home-studiorecordings is even better. Recorded between 1973 and76 whilst living in Belgium this is the kind of assured, organic freewheeling folk music that has the mellow, introspective rough-edged feel of some lost private-press LP, the kind rightly revered by Endless Boogie’s Paul Majors as “real people” music. A true find.” Andrew Male MOJO magazine Never released before collection featuring Ian A Anderson & Maggie Holland recorded 73-77 is among Tucker’s finest - Free-ranging, Playful, Intimate - his Songpoet imagination unbound and in full bloom. Recorded between 1973-76 this is the first ever release for ‘I Wonder If I’ll Ever Come True’ a stunningly beautiful, homegrown collection by Songpoet Tucker Zimmerman and friends. The range and depth is astonishing. From the heady surreal journey of ‘It All Depends’ Upon the Pleasure Man’, to the uplifting Gene Clark-esque 'So It Goes’, to some of his most beautiful & touching love songs in ‘Let’s Start Over Again’ & ‘Song’. Only one song has seen the the light of day before now - ‘Taoist Tale’ from his 1984 album ‘Word Games’. This recording from a decade earlier loses no power in its folkier stripped down style driven by Tucker’s strong narrative.
While living in bucolic seclusion in Belgium with Marie-Claire, Tucker invited visiting musicians (Derroll Adams, Wizz Jones, Maggie Holland, Dave Evans, Ian Anderson) into his home studio to play and live tape whatever songs he had at hand. Maggie Holland and Ian A Anderson feature, while Tucker found a freeing simplicity in just guitar, ’70s organ, bass and piano. We are so grateful to Ian A Anderson, who carefully kept and curated these recordings from 50 years ago. “Every time I would leave, Tucker would hand me another tape full of songs”. Ian worked with Tucker and ourselves to present this wonderful album. The collection is among Tucker’s finest - free-ranging, playful, intimate - his Songpoet imagination unbound and in full bloom. The ethos, the playing, the freedom, feels like Ronnie Lane’s time in the Welsh Borders. Unhurried, liberated, down-home and cosmic. Extraordinary music made among friends.

Zach Bryans fünftes Studioalbum, The Great American Bar Scene, erscheint am 11.10.2024. Im Juli erschien die Single „28“. Im Juni erschien bereits ein musikalischer Vorbote mit „Purple Gas“. Als Feature gastiert Noeline Hofmann, eine aufstrebende Countrymusikerin aus Kanada.Bryan singt mit Bruce Springsteen den von Beiden gemeinsam komponierten Song „Sandpaper“ und mit John Moreland huldigt er mit „Memphis; The Blues“ den Blues der Musikmetropole Memphis. Mit dem großartigen Gitarristen John Mayer beschwört er die „Better Days“. Drei unfassbar starke Songs, die ohne Frage als Highlights des Longplayers bezeichnet werden können! Die drei ersten Singles „Pink Skies“, „Purple Gas“ und „28“ gaben die musikalische Marschrichtung bereits an. Das gilt auch für die restlichen Titel des großartig gelungenem und umgesetzten Albums. Der ehemalige Soldat hat’s wirklich drauf und komponiert und textet Songs, so wie er sagt „wie ein Akkordarbeiter“, die sich aber keinesfalls mal schnell dahingeschrieben anhören, sondern den Zeitgeist, das echte Leben und gleichermaßen Ängste aber auch unbändige Lebensfreude widerspiegeln. Seine Geschichten erzählen von Liebe, Freunden, Bars und ja, vielleicht den besungenen „besseren Tagen“, auf die wir alle sehr gespannt sein dürften – wenn sie dann kommen, nicht wahr? Fazit: Das 19 Titel umfassende Album beinhaltet 18 Songs und ein (gesprochenes) Gedicht. Man fühlt sich als Hörer musikalisch sofort abgeholt und lauscht dem, meist sehr akustisch aufgenommenen Songs. Deshalb kommt auch keine Sekunde Langeweile auf – ein starkes Album.

Dual Dimension EP marks a milestone for Fides Records releasing its 20th entry in the main catalog. This split EP features labelhead Z.I.P.P.O and eclectic duo Tapefeed, each contributing two tracks to create a unique blend of sounds that capture the essence of techno. 

Side A opens with Tapefeed's "Hellz Bellz" a percussive workout that delivers stripped-down, peak-time energy, perfect for driving dance floors into a frenzy. Following "Surge of Hope" takes listeners on an evolving journey, starting deep and gradually transforming into an energetic yet meditative composition.

On Side B, Z.I.P.P.O's "Satara" stands out as a 909-based techno gem. Its mind-twisting sound design, rolling lead, and mental bleeps take you on a profound auditory voyage, rich with depth and complexity. The Side B concludes with "The Strange Door" a deep techno track that combines tribal rhythms with atmospheric depth.

Dame Area's highly anticipated fourth studio album, "Toda la verdad sobre Dame Area" ("The Whole Truth about Dame Area"), a collaboration with the renowned labels Mannequin Records and Humo Records.

Formed in 2017 within the vibrant underground scene of Barcelona's Màgia Roja club, Dame Area comprises the Italian-Catalan duo Silvia Konstance and Viktor Lux Crux. They fuse industrial-tribal polyrhythms with minimalist synth basslines, drawing profound inspiration from avant-garde masters such as Esplendor Geometrico, Throbbing Gristle, Suicide, Einstürzende Neubauten, Can, Coil, Swans, Big Black, and Wolf Eyes.

This record represents a new phase in Dame Area's discography. It's a big step up in terms of sound, composition and ideas. This record it's the perfect representation of what they have been playing live the last three years and what most people know them for. Also it serves as a companion piece to 2022’s Toda la mentira sobre Dame Area ("All The Lies About Dame Area"), which had a stronger focus on melody, while this latest record is more aggressive and industrial-influenced, with a greater emphasis on percussion.

Tracks like the Suicide-influenced "Si no es hoy cuando es" and "Sempre Cambiare" are an onslaught of industrialism and experimentalism—formidable, volatile, and unpredictable avant-garde subversion. Silvia explains, "One of our biggest influences is doing what our influences wouldn't do. We're more into dynamics and structures atypical of electronic music, with changes in time signatures, starts and stops, and dynamics more typical of rock music. We use any musical idea from any genre. Some songs on the album are based on flamenco rhythms, others influenced by '60s experimental pop, heavy metal, or contemporary electronic music."

The confrontational "Vengo dall'aldilà" accelerates with heavy percussion, while "Tu me hiciste creer" builds into a rhythmic, transcendent noise of yelled vocals and hypnotic beats. Viktor adds, "This song took us more time to complete than any other we have recorded. It was a very organic process, evolving slowly from some instrumental percussive stuff we were doing live. Then we started using feedback as a rhythmic element (through a metallic sheet), and this was the first song where we incorporated this element, typical of noise-rock and experimental rock."

Elsewhere, "Esto Es Nuestro Ruido" represents a manic, eclectic form of contemporary industrial music, post-punk, and EBM. Silvia notes, "It's the first album we recorded outside a studio. Although we've been playing live with metallic percussion and floor tom from the very start, in the studio, with some exceptions, it was mostly sample-based until now. On Toda la verdad sobre Dame Area, all drums and almost all metallic percussion have been recorded live."

With a growing reputation as one of the best live bands around since their inception, Dame Area has toured extensively across Europe, performing at renowned festivals like Atonal, CTM, Nuits Sonores, Dour, and Fusion, as well as legendary clubs such as Berghain, Tresor, Apolo, and Spook Factory.

Recorded at Sol de Sants Studios and Estudio Hermetic between August and November 2023

Silvia Konstance: vocals, synths, percussions, electronics, production
Viktor L. Crux: synths, drums, percussions, electronics, production
Mixing and additional production by Guillermo Sánchez Rojo
Mastering by Paul Mac at Hardgroove Mastering
Designed by Leo Sousa
Photography by Fabio Calabretta
Photo concept by Dame Area

Finnish duo Lampen presents their second album "Halogen" on We Jazz Records, September 20. Lampen is Kalle Kalima and Tatu Rönkkö. Kalle plays guitar, Tatu plays percussions and sampler. The band makes its home between Helsinki and Berlin, where Kalima is based. Lampen's sound is reminiscent of the wide-screen meditations of the likes of Earth and The Necks, but on a territory of their own. Think meditative deep contemporary jazz drawing from way outside of the genre's borders and landing somewhere with heightened levels of low key sonic intensity. Ideas form in time and nothing is rushed, and when you land in the full eruption of the duo's force, you get there surprisingly yet logically.

Sasu Ripatti presents the fourth volume in his "Dancefloor Classics" series with five 10" releases coming throughout 2023. Music for imaginary dancefloors, released on Ripatti's own label "Rajaton".

”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” click, click, click.

He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?

He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.

”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”

New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.

She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”

”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” click, click.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Dancefloor Classics”, what’s the idea and what can we expect?

I’ve been slowly writing these sort of dance music pieces and finally curated them together for a conceptual release. I like to create music for a dancefloor that exists only in my imagination and doesn’t try to suck up to the standardized reality.

2) Your vinyl format is 10” which is quite special (as opposed to LP / 12”). Why did you choose it?

It’s my favourite format, absolutely. The size is perfect, and you can make it sound really good @ 45 rpm. And you still can make great artwork.

3) You seem interested in sampling/repurposing, what does it mean to you as an artist to approach something already existing from a new angle? How does the source material inform you about the approach to take?

I guess i could flip it around and just say I’ve outgrown synths or electronic sounds to a great extend, and having gotten rid off all my synths already good while ago I’ve used samples as my main source material a lot. It’s obvious on this series that i’ve sampled existing music, but I also sample instruments and things in the studio and resample my own library that I have built over the years, it’s quite large. To me the end result matters, not so much how I get there. Once I have something on my keyboard and play around, it’s all an instrument, though with sampling other music it becomes a really interesting and complex one as you’re possibly playing rhythm, but also harmonic content and maybe hooks or whatever, all at once.
I never sample premeditadedly, like listening to records and looking for that mindblowing 3 sec part. I just throw the cards in the air and see what lands where, just full intuition and hopefully zero mind involved, playing tons of stuff, trying things, just recording hours of stuff. Then comes the interesting part to listen to hours of mostly crazy stuff and finding that mindblowing 3 sec part.

4) What is your relationship with the dancefloor (conceptually and/or in experiences / as a performer)?

Very complicated. I have never really felt comfortable on a dancefloor but have always wanted to. There’s something in club music, in theory, that really speaks to me. It has never really materialized for me – speaking mainly from a performer’s point of view who goes to check on a dancefloor for a moment after a concert. I never have DJ’d or felt much interest towards it. But again, I love the idea and concept of DJing. As well as producing music for imaginary DJs. Lately, as in the past 10+ years, I haven’t even performed in any sort of club spaces. So my relationship to the dancefloor is quite removed and reduced, but there’s quite a bit of passion and interest left.

All tracks composed and produced by Sasu Ripatti.
Artwork & photography by Marc Hohmann.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

Sasu Ripatti presents the fifth and last volume in his "Dancefloor Classics" series. Music for imaginary dancefloors, released on Ripatti's own label "Rajaton".

--

”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” click, click, click.
He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?
He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.
”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”
New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.
She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”
”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” click, click.

Das zwölfte Studioalbum von Joan As Police Woman 'Lemons, Limes, and Orchids' ist eine krönende Darbietung ihrer Stimme in all ihrer metamorphen Pracht. “I was ready to make an album that truly featured my voice. The basics were recorded like they used to be- with me singing live along with the band. My good friend said told me this is the sexiest album I’ve ever made. Honestly, I think she’s right.”

Die Platte ist eine Nocturne über Liebe und Verlust und eine Abrechnung mit unserer kollektiven Desorientierung, zwischen Festhalten und Loslassen.

Joan tourte um die Welt, trat in Spelunken und Konzertsälen, bei unabhängigen Musikfestivals und bei der BBC auf und arbeitete mit einer Vielzahl von Berühmtheiten zusammen, darunter Lou Reed, Rufus Wainwright, Tony Allen, Damon Albarn, John Cale, Laurie Anderson, Sufjan Stevens, Anohni, Beck, Meshell Ndegeocello, Toshi Reagon, David Byrne und Daniel Johnston. Sie nahm an drei Africa Express-Projekten teil, unterrichtet am Clive Davis Institute of Recorded Music an der NYU, lebt in Brooklyn und liebt die Welt.

- Ltd. Col. LP: (Tangerine (orangerotes) Vinyl):

Hört her, hört her! Aus den mystischen Gefilden der Neo-Norse-Lehre stürmt EIHWAR auf die Bühne wie ein Berserkerangriff auf ein ruhiges Fjorddorf. Mark und Asrunn haben sich den Weg des Kriegers nicht ausgesucht, sondern er hat sie gewählt. Aus dem ursprünglichen und doch unerforschten Terrain ihrer Seelen entsprungen, haben sie einen klanglichen Moloch geboren, der uralte Götter mit dem unverschämten Chaos des modernen Zeitalters vermischt.

Man stelle sich ein Paralleluniversum vor, in dem Wikinger Synthesizer entdeckten und zu Techno headbangten. Dies ist das Debütalbum von EIHWAR, Viking War Trance. Eine wilde Platte, die nicht nur den Rahmen sprengt, sondern ihn mit der Grausamkeit von Thors Hammer zerschmettert. Hemmungslos und reuelos ist dieses Album ein elektrisches Met-Hallenfest zum Soundtrack der Apokalypse. Es hat alles: technoide Beats, die im Herzen eines sterbenden Sterns geschmiedet wurden, tranceartige Stimmen, die Odin von den Toten auferstehen lassen könnten, und schamanische Trommeln, die einen Sturm in Walhalla auslösen könnten. Stelle dir vor, du stehst in einem Moshpit mit Wikingerkriegern, berauscht von der Magie des Nordlichts, und würdest die Wut von Fenrir und die Trauer von Baldr kanalisieren, mit allem Schwung und Schweiß. Mit Tracks wie "Völva's Chant", "Viking War Trance" und "Mjölnir" ist es eine in der Tonart des Chaos gesungene Saga, die dazu bestimmt ist, die wildeste Trance auf jeder Tanzfläche oder jedem Schlachtfeld zu provozieren.

- Ein elektrisierendes Debütalbum, das traditionelle nordische Klänge mit modernen elektronischen Beats vermischt und so ein einzigartiges, festliches und chaotisches Musikerlebnis schafft, das man am besten als eine Mischung aus Heilung und Carpenter Brut bezeichnen kann.
- Nach ihrer viralen Explosion auf YouTube werden Eihwar das Publikum in ganz Europa in ihren Bann ziehen und haben Auftritte auf großen Festivals wie Hellfest, Leyendas del Rock und Trolls & Légendes im Jahr 2024 bestätigt.
- Das Album enthält sorgfältig selbst produzierte Tracks und visuell überzeugende Cover und Videos, die ein kohärentes und immersives Erlebnis garantieren.

Senking and DYL team up again after first collaborating for a track on 2020’s »Uniformity Of Nature« EP that also featured different solo productions by the two producers. »Diving Saucer Attack« is the first full-length record by the German artist and his Romanian collaborator, released through the Berlin-based Karaoke Kalk label, home to the former’s work for more than a quarter of a century. The six pieces, two of which were produced individually, both showcase the duo’s shared interests for dub-heavy, adventurous electronic music while also emphasising the productive friction generated by the subtle differences between their respective approaches.

Cluj-Napoca-based DYL, real name Eduard Costea, cites his colleague Jens Massel’s work and especially his »Ping« EP—released in 1999 through Karaoke Kalk—as a crucial point of reference for his own development. »He’s one of the producers who inspired me to start making music,« he says. Massel was already familiar with his partner’s eclectic productions when he was approached by him with the idea of collaborating for a piece in 2020. They didn’t stop there, as Massel explains »It went very well and ever since we’ve been sending each sounds and tracks.« As their first joint album, »Diving Saucer Attack« documents the multi-faceted results of this on-going process.

The album opens with a track in true Senking style. Throbbing bass frequencies, haunting synth melodies and carefully placed rhythmic elements form a slow, but driving groove. Before DYL’s »a7r380R« introduces the listener to his anthemic take on IDM, the collaborative second track »2024« showcases how well their respective philosophies complement one another: the two create a detailed soundscape in which an intricate interplay of percussive elements and melodies can unfold. The title track transforms rattling drums and growling bass sounds into a laid-back, spooky trip-hop tune with a live-jazz feel, while »Astral Project« sees the duo venture into the uncanny regions of dub techno. »Not Just Numbers« closes on an even more sombre note—a fitting closing statement to an album full of twists and turns.

»Diving Saucer Attack« is a special album on more than the musical level. Massel released his first records under different guises such as Fumble, Kandis, and Senking through Karaoke Kalk between 1997 and 2001, after which he focused on his work as Senking, putting out a string of iconic albums through raster-noton, among others. 23 years after his last Senking LP for Karaoke Kalk, 2001’s »Silencer,« his return is as non-nostalgic as you’d expect it from such a forward-thinking producer: together with DYL, he continues to explore the possibilities and outer limits of electronic music in an intergenerational dialogue.

“Live In Liverpool” was recorded during the last night of the “New Adventures” tour at Grand Central Hall, Liverpool, UK, on October 18th, 2019. It features true P.P. Arnold classics, like “The First Cut Is The Deepest” and “Angel Of The Morning”, as well as special live versions of the songs from “The New Adventures of... P.P. Arnold”, such as “I Believe”, “Hold On To Your Dreams”, Paul Weller’s “Shoot The Dove”, the Northern Soul classic “You Got Me”, and Steve Cradock’s “Still Trying” and “Magic Hour”. This special live performance is a true testament to P.P. Arnold’s versatility as a vocalist and her charisma as a performer, and shows just how effortlessly her rich, soulful voice lends itself to various genres, from soul to rhythm and blues to rock and pop. “Live In Liverpool” will be released as a CD Digipak edition and 180g black double vinyl, packed in a high- quality gatefold jacket on October 18, 2024, via earMUSIC.

Katia und Marielle Labèque, das berühmte Klavier-Schwestern-Duo mit mehr als fünfzigjähriger Karriere,
veröffentlichen ihr neues Album, das der Musik von Philip Glass gewidmet ist als umfangreiche 3-LP Box.
Mit Begleittexten von Philip Glass und Fotos von der Aufführung in der Pariser Philharmonie.
Sein zwischen 1993 und 1996 komponiertes Triptychon, das auf den Filmen von Jean Cocteau basiert, wird
hier vervollständigt. Nach ihrer viel beachteten Aufnahme von ”Les Enfants Terribles”, die hier enthalten
ist, präsentieren die Pianistinnen nun zusätzlich auch die beiden verbleibenden Werke der Cocteau-Trilogie:
”Orphée” und ”La Belle et la Bête”, arrangiert von Glass’ Musikdirektor Michael Riesman.
Nach seiner Porträttrilogie (Einstein, Gandhi und Echnaton) wandte sich Philip Glass für seine Opern
den Werken von Jean Cocteau zu. So greift er den Mythos von ”Orphée” (Orpheus) und ”La Belle et la
Bête” (Die Schöne und das Biest) wieder auf. Er schließt seine Trilogie mit ”Les Enfants Terribles” (Die
schrecklichen Kinder) ab, einem ebenso tragischen wie erschreckend leichten Roman, in dem zwei Kinder
in den vier Wänden ihres Zimmers eine imaginäre und grenzenlose Freiheit erlangen. Dies sind Themen,
die Glass’ hypnotische, unendliche Musik unter den Fingern von Katia und Marielle Labèque aufs Schönste
beschwört.

Limited edition 7" vinyl of "La Mujer Serpiente" on the A side and "Selam (Bass Mix)" on the B side.

La Mujer Serpiente/Cumbia Serpiente is the 1st single from Earthtones' upcoming LP on Wonderwheel. This collaboration with longtime friend & co-producer, Oliwa, features vocal delivery and heartbreakingly beautiful songwriting by Colombian Canadian artist/singer, Lido Pimienta. Behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of upliftment of womxn and femmes everywhere.

Selam is a vision of peace. This collaboration between producer/DJ Earthtones and Ethiopian musician/vocalist Etsegenet Mekonnen features haunting vocals sung in Amharic.

Analog & semi-modular synths combine with 909 drums and afrobeats percussion by Earthtones, to weave grooves for Etsegenet's depth in songwriting, voice and soul. The main version has a dancehall bassline that calls one to movement, while the dub versions evoke mystery amidst long modulated leads + filtered pads.

Selam enezra ahunim (let us sow peace).

Parisian label Chuwanaga is proud to present their latest 12-inch series release from Jéroboam, "Brexit Funk / Peckham Night". The band, also known in the streets of Paris and Montreuil as Echoes Of, is celebrating Britfunk and the rich musical heritage of Greater London, reflecting their deep appreciation for the iconic Britfunk sound. After several successful collaborations celebrating the genre with the label at the infamous New Morning venue in Paris, Jéroboam has crafted two brilliant compositions for this EP.

"Brexit Funk" is an electrifying homage to the classic London Jazz-Funk scene of the late seventies and early eighties. It is a tremendous track, reminiscent of the early sounds of Incognito and Freeez, infused with the energy of Hot Cuisine and Hi-Tension. It features a standout brass section, amazing solo performances, and a strong rhythm section. Having played in London and now across the whole UK, the band decided to ironically name this track as a musical memory of this strange transition.

On the B-side, you’ll find "Peckham Night" and its dub version, an outstanding composition that perfectly emulates the late seventies soul-jazz vibe. Beautiful vocals by singer Agyei blend seamlessly into this perfect composition. All along, you really feel the band coming together, bringing out the best of their soul. It really is the work of passionate and experienced musicians who have built strong confidence playing together for years.

Jéroboam is a group of 10 Parisian funkateers recognized as one of the biggest funk outfits on the current French scene. They already boast extensive live experience and a solid reputation between Paris and London. In addition to their original and popular tributes to American funk cities of the 70s-80s, they have also gained attention as a formidable backing band for Howard Johnson, Junior Giscombe, and Kyoto Jazz Massive. Having also released two highly acclaimed EPs on the Space Grapes label, they continue to work on their own original compositions under the name Jéroboam, with their debut album scheduled for release in 2025.

For almost 10 years and with 3 albums on the clock, Voilaaa has established itself with a unique style, reviving African rhythms and atmospheres in the colors of Disco dancefloors and Funky arrangements, all often accompanied by lyrics and vocals tinged with humor and commitment.

As a result, the Afro-Tropical adventure launched by producer Bruno “Patchworks” Hovart today leaves behind a host of hits (“On te l’avait dit”, “Spies Are Watching Me”, “Ben Bene La”, …), as well as trips around the globe and as many gigs and festivals, but also and above all numerous and lasting collaborations with singers like Lass, Pat Kalla, Sir Jean, Ayuune Sule, Rama Traore, or Fouley Badiaga, the latter which also marks its great return on two tracks of the album.

With C'est tout, Voilaaa returns to us without revisiting this unstoppable recipe, while seasoning things with a more Latin and Caribbean inspiration, brought back in Bruno Hovart's suitcases after several stays in South America in recent years. Introduced last spring with the release of a first maxi single, this new opus once again delivers hit after hit.

As on the already famous “Faché” alongside Pat Kalla, which displays all the classic assets of Voilaaa’s sound: punchy Afrobeat horns, woozy chords and crunchy clavinet licks rising above a low-slung, hypnotic, dub disco-meets-Afro-boogie groove. The rest of the album is not to be outdone with a total of 14 wild tracks entirely composed by an unstoppable Bruno Hovart.

Two exceptions confirm the rule, a beautiful interpretation of the song "Love and Death" by Ebo Taylor, where Voilaaa's Afro skills perfectly melt with Angolan and Brazilian vapors, beamed by Joao Selva's lovely vocals; as well as a magical cover of “Too Young to Die”, transporting Jamiroquai to the crossroads of Africa and the Antilles, carried by the superb vocal performance of singer Olivya (Dowdelin) for a first collaboration.

Well, Voilaaa is back as its best, “that’s all” (C’est tout).

Founded by Radio 1’s Danny Howard, ‘Nothing Else Matters’ celebrates 100 releases with a series of limited coloured vinyl; compiling their biggest and most sought after releases. ‘If You Were’ saw huge DJ support from Camelphat, Marco Carola, MK, Claptone, Riva Starr & Alan Fitzpatrick, while ‘Touch Me’; reworked by PAX alongside original artist Rui Da Silva received support from Fischer, Pete Tong, Arielle Free & Gorgon City. Moods very own Nicole Moudaber released ‘Rise Up’ with the vocal talents of London’s Community Gospel Choir and was a huge moment for the label receiving support from Catz N Dogz, Jamie Jones & Fatboy Slim. Finally ‘Down To Earth’ by Armand Van Helden and Mark Knight was another huge release on the label, pairing two Dance heavyweights together with a release that continues to garner support across club and radio.

Maelstrom returns to Central Processing Unit for the fourth time, and it's the one born Joan-Mael Péneau's lengthiest drop on the Sheffield label yet. The French artist has been a mainstay in the European electro game since the 2000s, and Malestrom brings that experience to bear on new LP The FM Tapes. He goes about this album with the assurance of a seasoned pro, combining his mastery of electro production techniques with a trademark guile to craft an expertly-paced eleven-track affair.

The first section of The FM Tapes sets out the album's stall with style and aplomb - listeners are in store for a rich feast of off-kilter machine-funk which will feature no shortage of intriguing detours. On opener 'Ondes Courtes' the mix throbs with all manner of strange electronic gristle: a distorted bass hum rattles the monitors; wisps of distortion float across the mix; eerily pretty keys wax and wane before giving way to a radar pulse.

'Ondes Courtes' is an ominous slouch of a scene-setter, and it lines things up perfectly for following cut 'Alt50ser' to lock in. This track's churning, gurgling mid-tempo rattle brings to mind the wacky insistence of Modeselektor. Maelstrom repeats the slow-fast one-two again directly afterwards - 'La Vie Sociale Des', a strange nugget that sounds like an early Eski instrumental stripped for parts and blasted into the cosmos, is an ideal prelude to the twitchy space-funk of 'My Digitone'.

Maelstrom's staying power in the electro world comes, in no small part, from his ability to apply his delightfully idiosyncratic choices to some of the genre's staple production tropes. On The FM Tapes, he marks himself out once more as a pleasingly unorthodox talent by taking tracks in unexpected directions to produce surprising - and often rather moving - results.

There are multiple cuts here which channel the more cerebral end of Richard D. James' AFX/Analord output: 'My Digitone' may be a quicksilver techno-electro number, but there's still something cinematic about the synth treatment here which softens the edges; 'Suede's minor-key oscillations bring other CPU veterans like Cygnus and Bochum Welt into view; 'Res 06', one of two Fasme collaborations on the record, is full of pathos even as the beat programming bangs and whirrs throughout.

While there's a deep emotional undercurrent to The FM Tapes, though, Maelstrom's commitment to bringing the thrills surfaces time and again. If 'Res 06' had Maelstrom and Fasme getting wistful, the album's other Fasme link-up 'Trempo' is one of the hardest club joints here, a piece of old-school Detroit energy replete with some great cascading drum production. Indeed, 'Trempo' comes in the middle of a run towards the album's end where Maelstrom takes the handbrake off - there's a wild-eyed sense of fun to 'The Operator' and 'Upside Down DX7' which has one thinking of the zany cut-and-thrust of KiNK's best work.

Maelstrom's latest drop for Sheffield's Central Processing Unit label is an album of leftfield electro numbers that bring both pounding beats and poignant production.

RIYL: KiNK, Modeselektor, Cygnus, Bochum Welt, AFX

Being Punk and Hippie at the same time.
Les Rythmes Ruban experiment with the idea by doing absolutely what they want, but with love. Moving forward with enthusiastic trial and error has the double advantage of enjoying the scenery and easily crossing paths with people we love.
The first encounter between Marina P and Blundetto took place in 2014 with their collaboration on the track "Last Broken Bones" from the album "World Of". Marina, who had just created her label Homeys Records, continues to multiply experiences on stage and in the studio, solo or always well accompanied (Mungo's Hi-Fi, Stand High Patrol, Woman Hi-Fi with Biga*Ranx, Jahtari...).
But Marina's spectrum of influences goes far beyond reggae, drawing from the jazz sound of her parent's record player, her cello practice, and the discovery of great voices of Soul and Jazz like Nina Simone, Billie Holiday, Chet Baker...
The track "Eugenio", written and composed by Marina, embodies all of this; it belongs to no particular style. It's primarily the evident essence of the song, its lyrics, and its emotion that inspired Blundetto to "set it to music", available to your ears in two different arrangements

Repress!

This EP is delicately melodic and fluid that even in its short four tracks shows a producer with different bows to their arrow. Intro is a laid back, downtempo affair with vocal samples punctuating the track’s pared down synths and gently propulsive beats.

Contrast that with Engang, which sees Jos Ma chisel all other elements away and put trust in the groove and urgency of its percussive elements. It’s something he echoes in Like Honey, although here the bright stabs of keys provide a welcome interjection - as does the chopped-up vocals that offer a further counterpoint to its kwaito-reminiscent shuffle. It is perhaps here that his respect and love of central and southern Africa’s dance forms is presented at its most bare.

The EP finishes with Mongo’s Dance, so-called after the Cuban Mongo Santamaria and driven forward by a chopped-up pachanga rhythm taken from one of the pioneering percussionist’s tracks. He then adorns it with wavy synths and flutes, each intertwining over the top as though engaged in ritual with one another. It’s a euphoric, slightly delirious end to an EP that puts Jos Ma firmly in Mas O Menos’ “neither here nor there” camp – a producer who simply follows his instincts and revels in the enthrallingly wandering music it throws up.

repress !

Patrice Scott emerges from the studio, once again, with a fresh 4-tracker of authentic Sistrum sounds to soothe, move and invigorate listeners, worldwide.

The vibes are high and the grooves are modern, yet firmly rooted in tradition. Put simply, this is proper deep house music for the heads, crafted as only Patrice can. Enjoy the sonic journey…

1 – For My People
A low-slung groover, “For My People” opens the EP in fine form. Soft chords lay the groundwork as the bassline bobs and weaves through the rhythm section. Liquid synth stabs soon punctuate the groove, as dreamy layers float in and out. Without a doubt, this is a high quality head-nodder and a dancefloor delight.

2 – Let’s Dance
Elevating the BPMs ever-so-slightly, “Let’s Dance” gets moving with a proper, straight ahead rhythm, sprinkled with just enough shuffle to add that P. Scott signature. Blippy keys bounce atop a backdrop of sweet synth chords while the bassline punches through in refined fashion. This is the Sistrum brand of deep, hypnotic, spiritual house music, straight up.

3 - Abstract Jazz
This one is all about those keys… Amidst the crisp, punchy beats, the electric piano dances and hypnotizes. There is really only one option when this cut is on the system - close your eyes and feel it.

4 - The Detroit Track
Nothing less than an homage to his hometown and the sounds and culture that have shaped a musical revolution, “The Detroit Track” is a study in timeless quality. Jazzy synth riffs, punchy bass, spacey echoes and classic, shuffled beat structures remind us that Detroit house music has a special magic unto itself. Feel the magic and let it move you.

Transversales Disques proudly presents PANORAMA, an excursion through rare French soundtracks & other rarities mostly never reissued or compiled.
11 forgotten nuggets recorded between 1969 and 1980 by famous masters like Francis Lai, Alain Goraguer and Michel Magne alongside underrated composers like Jean Schwarz, Christian Gaubert or Maurice Lecoeur. A cinematic journey overflowing with moody strings arrangements, funky drum breaks, typical French basslines and psyched atmospheres.

Deluxe Tip-On jacket LP including exclusive and extensive liner notes.
Vinyl Only / No Digital
Remastered from the original master tapes

RESOUND NYC - Das neue Album von MOBY! Nach seinem gefeierten Album ”Reprise” (Mai 2021), auf dem unter anderem Kris Kristofferson, Mark Lanegan, Jim James und Skylar Grey zu hören waren, hat Moby nun 15 seiner legendärsten New Yorker Tracks aus den Jahren 1994 bis 2010 neu interpretiert und instrumentiert. Mobys 20. Studioalbum ist nicht nur eine Reflexion über die vielleicht entscheidendste Zeit in seinem Leben, sondern auch über sein einstiges Zuhause, New York City. Dort wurde er geboren, dort nahm seine Karriere ihren Anfang – im Punkrock und als DJ in Underground-Clubs.
»Bevor ich Punkrock für mich entdeckte, war ich im Classic Rock zu Hause«, sagt Moby. »Mein erstes Konzert war 1978 Yes im Madison Square Garden. Es war also mehr als verlockend, sich noch einmal mit meinen Liedern auseinanderzusetzen und zu gucken, ob sie einer traditionelleren, nicht-elektronischen, orchestralen Bearbeitung standhalten.« Begleitet wird Moby auf diesem Album von großartigen Künstlern wie Nicole Scherzinger, Gregory Porter, Ricky Wilson und Amythyst Kiah.

As many artists before them (Gainsbourg, Snoop Dogg, Lavilliers, Sinead O'Connor…), DA BREAK embarques us to revisit their best tracks “Inna Reggae Vibe”, and invites us listeners to rediscover their repertoire with a more than ever “Roots” sound. An enchanted break that will seduce the early fans as well as reggae connoisseurs; A suspended moment with a band on their new musical quest, assuming a different side of their DNA.

The idea of an “old school reggae auto remix” had bloomed for quite a long time, with the will to dive into the 60s & 70s sound esthetics and to pay tribute to this reggae culture - this unique cultural temple they love and respect so much.
DA BREAK concerts are always rich and intense musical moments, thanks to a crew of solid musicians, so the choice to record LIVE, all in the same room, was quite obvious; with “vintage” instruments and microphones, to enjoy this warm and authentic sonic texture. The result is a “Roots & Rock Steady” album without electronics, leaning towards sweaty and rough Jazz, tropical Soul or even Gospel with sand between the toes… definitely Reggae!
DA BREAK remains DA BREAK, with its inner light, this time looking towards the Caribbean musical culture.

Given the historical influence of Jamaican Sound Systems on the American Block Parties, it seemed logical for DA BREAK to pay tribute to the artists that influenced them since day one, and still do today: Bob Marley & the Wailers, Jimmy Cliff. Culture, Toots & the Maytals, Burning Spears, The Gladiators, YellowMan, Israel Vibrations, LKJ & Mad Professor, UB40, Shaka Demus, Peter Tosh... Just to name a few.

Tokyo's Ryota OPP, who has released for Meda Fury / R&S, Le Temps Perdu, is going to start his own label Encrypt Nude and release his own sounds.

He has a long experience as a buyer and curator of the 2nd hand record shop "Coconuts Disk Ekoda" in Tokyo.
From this experience, he represents the influences that come from his favourite non-dance music such as Santana, Jaco Pastorius, Herbie Hancock, and managed to implement the mood of jazz, minimal, experimental, ambient, world, psychedelic feeling into his deep house music productions, and his DJ style.

'Palace' on the A takes us to an ambient/electric deep house place, utilising ethnic oriental percussive sounds in combination with cosmic Detroit flavours

On the B-side, a magical, psychedelic sound with chord progressions influenced by Terry Riley or the minimal moments of Jaco Pastorius forms into a deep house progression, equally influenced by the raw machine soul of the motor city.

photography by Julie Sundberg
artwork by Ayako Goka
mastered by Isao Kumano (PHONON Studio)

UK's Will Hofbauer, who has released on his own Third Place and other popular labels such as Wisdom Teeth, Rhythm Section International, Rinse Recordings and Aus Music, appears on Ladybug split series 'SF Traxx' These 3 dance tracks are made up of delicate rhythms and Will's unique sound.

A is Will's side, 'Cricket' transitions from breakbeats to 4/4, the experimental dance track 'Clod', and 'Cocodrilo' trips with unsettling synth and unique sound design.
All are wonderfully balanced dance floor tracks, uniquely distorted and loose.

On the flip side is Igaxx, a well-received release on Macadam Mambo and Angis Music.
It features the funky synth track '4.5 SL Trip', the floating breakbeat of 'Liquefy' and the mysterious downbeat cut with swirling bass and raspy distorted guitars 'Ray In Space'.

A split EP then, but one which highlights the individuality of both artists.

Girls of the Internet’s Tom Kerridge announces the release of forthcoming album When I Was Lost, I Found Myself on Classic Music Company, Luke Solomon’s revered imprint. Following the acclaimed, self-released 2020 album ‘Girls FM’, ‘When I Was Lost, I Found Myself’ delves into a deeper and more personal journey for Tom. Spanning 12 blissed out genre-blending house records and featuring stellar vocalists such as Sadie Walker, Allysha Joy, shiv, ALLKNIGHT, Anelisa Lamola and more, Tom continues to demonstrate his innate ability to nurture talent and collaborate on this latest LP. With heavy support from BBC Radio 1, BBC 6 Music and BBC Introducing, Girls of the Internet’s previous singles from the LP, in particular ‘Never Ever Ever’ featuring Irish singer-songwriter shiv (which also saw a remix from legendary producer Henrik Schwarz) have seen the group reach new heights in recent months. Selected as BBC Introducing’s Track of the Week, both ‘Never Ever Ever’ and the following garage-inspired ‘Gravity’ featuring ALLKNIGHT have formed a path laden with anticipation for the full LP. Girls of the Internet’s manifesto is clear; to create dance music that calls back to how it was made at its inception, but with the knowledge and experience of the past 50 years of the genre.

Puddu (Al Dente/Schema Records) with a solo release discography of 16 albums, among which stand out the three original volumes of the red-light soundtracks of Danish films ” The Golden Age Of Danish pornography", and also known for his collaborations with Edda Dell'Orso (Maestro Ennio Morricone's legendary vocalist,) Joe Bataan, Lonnie Jordan of L.A funk band War, and Gene Robinson Jr of Breakwater.

Alex Puddu will follow the previews singles Texas Blonde and Pullover Grigio releasing after the summer, for the first time a brand new album in Italian language, called ”Deliria” proposing a new sound that drags us into the Italian funk music of the late seventies and early 80s, and the new music from the italian indie pop and new disco scene, within names like, Nu Genea, Pellegrino. Viscardi & Il Duo Magnetico, Frah Quintale, Marco Castello and up to the electronic sounds, between adult oriented soul and disco that are part of the unmistakable style of Alex Puddu's writing and production.

U-BEND return with a couple of certified benders.
Road-tested this summer from Maceo's, Pikes and The Pagoda all the way to the Worlds End...
Bringing euphoria to both early morning dance floors and kitchens alike, BNDRS003 dives deeper into the chugger side of the U-BEND sound with both tracks clocking in well under 100bpm. ‘50Peter20' combines a driving, sweaty 90bpm groove with waves of a half remembered blissed out melody.
'Bending You Bending Me' pulls in a more exultant direction, where a familiar voice gradually percolates up out of a hypnotic guitar-driven groove.
As always, these are verified as go-to options for the last track of the night or the first track of the morning.

Cover designed and silkscreen printed by Arsi Keva in Kalasataman Seripaja, Helsinki (Finland).
Recycled innersleeves linocut printed by Gilles Lostale in Saint-Pierre-des-Corps, France.

''The bass-clarinetist Ville Lahteenmäki's raucous, ruggedly braying style makes him a notable addition to the Dolphy-Murray-Mahall lineage that produces maximum excitement with every outpouring of notes. His accompanists, drummer Nicolas Leirtre and bassist Trym Saugstad Karlsen, are like himself, students at the renowned Trondheim Conservatory, an institution whose impact on European jazz has been significant in modern times.''
- Kevin Le Gendre / Jazzwise

''Lähteenmäki is indeed very distinctive and original in his music. Although in some of the quietest parts the thought of John Coltrane, for example, creeps into the back of my head, the voice is that of a young and skilled musician who knows the history of the genre well.''
-Arto Murtovaara / Kulttuuritoimitus

''Straight to the point, no fuss – and greedy tough!'' Jan Granlie / Salt Peanuts

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

Back In Stock!

Debuting on Fluid Funk with a lush and lax voyage dreamy coastal scapes, Dutch artist Uzu Moon dishes out feel-good, Cali-funk-informed vibes by the dozen over the course of four delectably smooth tracks, infused with elements of LA beat, soulful house and post-balearic elevation - including a rework from Cody Currie.

A bespoke late-summer joint to bump out loud in your open-top, "Asa" gets the ball rolling slo-mo style, brittle piano stabs chiming alongside mangled rap samples, playful acid spurts and a languid jazzy shuffle to drive it all. Funky synth hooks blazing, "Sunder, Love" lets off washed-out RnB vibrations over beds of 303-emulating squelch, topped off with a guitar solo a la Santana like you're chilling out in Venice Beach.

"When I Get Home, I'll Know It's Over" then heads for the opposite side of the Pacific with its koto-esque resonances, soft tapping drums and rugged acid loops weaving a melancholia-laced, loungey narrative for the dance floor and not. "Sunder, Love" as reshaped by Shall Not Fade affiliate Cody Currie revs things up two notches further, turning the original into a doped-up chugger, primed for sustained hustlin' n bustlin' in the ballroom with its convulsive congas and vaporous melody fluttering like a groovy butterfly.

The Danza Nativa label is fresh off the back of a fine fifth birthday celebratory compilation but wastes no time getting back to business. Alderaan is the man in charge with his second for the label and 'Transition' kicks off with some mad LFO business melting your mind. Psyk remixes it into a more paired back and spooky subterranean techno prowler. With 'Vortex' there is yet more nocturnal menace with ticking hi-hats seeing rhythm as squelchy, unsettling sounds peel off the beats. 'Futurismo' closes down with a gurgling lead line and distant sci-fi sounds that complete this most futuristic EP.

In the galaxy of popular music, Elvis Presley can lay claim to
his very own constellation. It is not just the global record sales
he has accumulated, or the No.1 hits from all over the world -
nor even the songs made familiar by the 30-plus films he
made… It is simply that it is now impossible to imagine the
world of music without Elvis Presley. Nearly fifty years on from
that untimely death, the enduring legacy of Elvis leaves no
doubt as to who still reigns as The King…

Frankfurt’s Max Buchalik is in the early phases of his production career but has many years of experience throwing parties in his hometown, where he is a pioneering force. With his deep understanding of dancefloor dynamics, he now pairs his love of the 80s with rich sound designs on his debut release for Brooklyn-based imprint Melodize.

Opener ‘Higher State’ is a bright house cut awash with sugary, pixelated chords and twinkling pads. Its retro-future charms and colourful, uplifting arps all serve to get hands in the air and heads amongst the stars. Remixer Venice Arms is an alias of accomplished dark disco don Curses, who has long been a fixture in the Berlin underground. His take on ‘Higher State’ is a snappy proto-house cut with 80s synth work and natty chords that are busy and full of fun.

The second original ‘Midnight Passion’ is another vibrant track with throwback synth progressions and retro textures. The melodies shine bright as they rain down over snappy drums and melancholic leads packed with exciting emotions. Remixing this one is Italian DJ, producer and label owner Fabrizio Mammarella, who has a fine discography that takes in releases on DFA, Permanent Vacation and Correspondant, as well as his own Slow Motion Music, Wrong Era Records and Emet. His lively disco-house version is lit up with shiny chords, chattery percussive patterns, woodpecker-like hits, and sustained chords that will dazzle the dance floor.

Reissue

Carl Finlow has been turning out killer electro since forever and is the man behind the revered Random Factor alias. He started it back in 1994 and since he's brought us four full lengths on 20/20 Vision, with a new one dropping very soon. In the meantime, here's a reissue of one of his most in demand classic EPs that's back on wax after initially making waves way back in 2000. The cuts draw on electro-pop and lithe future disco a la Metro Area, from the sparkly 80s-vibed opener 'Old News', 'Richochet' - imagine dub techno rerouted through guitar-led funk - to the more heads down, deep and moody dancefloor delight 'Update' and the indelible melodies of closer 'Swing'. Timeless machine funk from one of its latter day masters.

Back in stock!

Jesse Koolhaas is back with his new album Click Me. More electronic than his last album Organized, Jesse explores the use of analog synthesizers, samples and foley to create a downtempo cinematic sound. Melancholic at times and getting inspiration from various places like 70’s Italian cinema soundtracks, jazz fusion and the golden age of electronic music, Click Me is taking the listener on a journey through his inner world.

2024 Reissue

DE-TÜ make their long awaited return to Infernal Sounds. Having previously released on IFS008, IFSXXX002 and also featuring on IFS018 alongside DRPTNDRP, this double header may be their highest calibre of dub-influenced 140 to grace the label. 'Roadblock' kicks off proceedings in the best way possible, hitting you deep in the belly with monumental amounts of weight on the drop, whilst layering a reverberating vocal lead and a daunting backdrop to bring you deeper inwards. The flip however, 'St. Paul's (City Road Dub)' takes things in a slightly different direction. Although it still provides that trademark DE-TÜ sound, it's certainly orientated more around the soundsystem, providing a perfect flex within the dubwise sound. It's the perfect example of progression as all the elements fold and merge, creating a track that will captivate you from start, to finish.

The release has already received heavy support from the likes of J:Kenzo, Truth, Leftlow, Kursk (Innamind Recordings) and a few other reputable DJs.

2024 Repress

The newly remastered edition of the 1985 LP ‘Song of the Motherland’ by Shabaka’s father AnkAnu(formerly Anum Iyapo) will be reissued via Native Rebel Recordings. The album was remastered by Guy Davie at Electric Mastering, and has new cover art and design by Anum. The album will be available May 25th (African Liberation Day)

Info/Bio
Afrika Liberation Day (ALD) is observed on the 25th May. Events have historically been held on the weekend/bank holiday surrounding this date, which makes this coming weekend, ALD weekend.
The Album is a triumphant celebration of Afrikan-Caribbean verbal expression. The songs combine to haunting effect, the Rastafari Nyabinghi' drumming of Jamaican and continental Afrikan and Pan-Afrikan percussion and musical styles (even an Australian Aborigine Didgeridoo) with his folk-roots based Afrikan Jamaican vocal style.

The result is uniquely creative in construction and style, thought- provoking, entertaining and spiritual in content. The power of Anum I word and sound will paint mental imagery of red, gold, green and black.
Prepare yourself…

Gil Tamazyan is the founder and president of Capsule Labs, a boutique pressing plant, record label and analogue mastering studio in Los Angeles. He has been making cultured sounds for twenty years and does everything from deep house to Italo disco while drawing on a wide range of influences from the words of jazz, funk and more.
-On “Morning Cleanser,” Gil Tamazyan beautifully crafts a deep house record with notes of jazz sprinkled throughout.
-Pressed on 180g black vinyl for the best listening experience.
Gil Tamazyan unveils "Morning Cleanser," a musical gem that masterfully blends house and jazz, showcasing his signature authenticity and groove. The EP begins with "Bumper Car Theater," where Gil's craftsmanship paints a spacious sonic landscape. A steady bassline anchors the track, while ethereal chords drift, inviting introspection and calm. As dawn breaks, the title track "Morning Cleanser" emerges with vibrant chords and infectious beats. The groovy bassline sets the rhythm, and spirited vocals infuse the track with energy, awakening the senses and stirring the soul.
Continuing the journey, "My Body" offers a sultry exploration of sound and sensation. Smooth keys intertwine with dreamy vocals, creating a warm and intimate ambiance. The rhythmic groove carries listeners away, transporting them to a realm of pure musical delight. Closing the EP, "News Cast" weaves a tapestry of rhythm and melody. Powerful kicks and a punchy bassline drive the track, while a sultry saxophone ties back to the opening track, adding a sense of allure. With "Morning Cleanser," Gil Tamazyan delivers a mature and grounded musical experience, inviting listeners to tune in and vibe out.

The Vessel Recordings label - with owner/orchestrator Ira James at its helm - has pretty much won us over right from the off. It has dropped a slew of early releases all at once and they are all well-crafted and original deep house EPs that marry soul and drive to perfection. 'Body' licks off and has a humid and sexy throb to it, while 'Freespeech' is more raw and dirty. It's brilliant, too, with deft chords and seductive vocals woven into the mix. 'Hourglass' shuts down with some crisp percussive house action and proper nice chord work that oozes soul. A great collab from Juwan Rates and Jlove, a pair we can't wait to hear more from.

Over the past four years and under his Tyresta alias, Nick Turner has been integral to operations at PITP's sister label, Fallen Moon Recordings. His meticulous curation for FMR showcases top-tier sound collages and experimental electronic music and that dedication shines in Lia Kohl and Daniel Wyche's latest release, 'Movie Candy. It's a captivating exploration of free-spirited electronic music that seamlessly blends cello, guitar, synths, voice, field recordings, and electronic treatments into a record that brims with both nostalgia and innovation. Wyche describes it as an homage to the obscure ephemera of films-like the allure of candy wrappers and the mesmerising cinema carpets-forging vivid memories that linger and evolve through time.

Clan Caimán, led by composer Emilio Haro, is a group from Argentina, but their timeless, organic music transcends nationality. “Pica-Pau” (woodpecker), their third album, is their most abstract and minimal to date, but this is not a cold abstraction nor an austere minimalism; the music here, with its focus on rhythm and texture, is warm and hypnotic, seeming to have existed forever despite the fact that it was recorded in 2023-24. As on their previous albums, all with EM Records, the music is driven by the kalimabafon, Haro’s self-made tuned percussion instrument. The kalimbafon’s patterns weave through waves of reverb-drenched lap steel and guitar, as bass undertow and sans-cymbal percussion allow the music to flow music inexorably forward, like a broad, timeless river. The compositions here have a feeling of being immersed in deep night, surrounded by life, away from the enclosed isolation of the urban environment. As with previous albums, the compositions are instrumental, the exception being the final song, a vocal version of the opening track, sung in a language invented by Haro.

Acquit is a super under-the-radar label that has been making some great moves in recent times. DX 9's 'Incoming Signal' is further proof of that. It's a Detroit-referencing techno outing with the sort of chord work that gets you lost deep in through while the bulky drums lock you into an intergalactic trip. The G-Prod remix brings prickly and kinetic electro beats, while the Taho remix is awash with celestial synth work and cosmic melody. 'Decoded Signal 1' is a final original that has more kick and but still plenty of machine soul. This sweet 10" is limited to 200 copies so move fast.

Johnny Tillotson burst onto the pop scene in 1959 with the classic 'Poetry In Motion' to be followed by other country flavoured biggies such as 'Send Me The Pillow You Dream On', 'Jimmy's Girl' and 'It Keeps Right On A-Hurtin' - all were hits in Britain. Born in Florida, Johnny's big break came when in 1958 he was signed to the small Nashville label, Cadence, together with another unknown act at the time - the Everly Brothers. Johnny has always regarded himself as a
country singer and many of the songs featured here are his own compositions recorded at the height of his career. His style is remarkable in that it has blended the best of country and pop qualities without losing the validity of the basic essentials of either. He had his own style and he has held on to it without making any concessions to a fickle industry that swings from one personality to another at the drop of a needle. We hope you'll enjoy this album of his best recording

Johnny Tillotson burst onto the pop scene in 1959 with the classic 'Poetry In Motion' to be followed by other country flavoured biggies such as 'Send Me The Pillow You Dream On', 'Jimmy's Girl' and 'It Keeps Right On A-Hurtin' - all were hits in Britain. Born in Florida, Johnny's big break came when in 1958 he was signed to the small Nashville label, Cadence, together with another unknown act at the time - the Everly Brothers. Johnny has always regarded himself as a
country singer and many of the songs featured here are his own compositions recorded at the height of his career. His style is remarkable in that it has blended the best of country and pop qualities without losing the validity of the basic essentials of either. He had his own style and he has held on to it without making any concessions to a fickle industry that swings from one personality to another at the drop of a needle. We hope you'll enjoy this album of his best recordings.

Tiga & Hudson Mohawke recently released their hit single 'Feel The Rush', featuring none-other-than Channel Tres. After landing in Tiga's recent Boiler Room set, Feel The Rush created a full-on ID frenzy prior to release. The original track harnesses a signature Tres vocal over a low-slung LMZgroove. Turbo have enlisted three dance music legends for the remix project : Honey Dijon, Mr. G, and Johnny Aux (of Paranoid London). Tech-house + Detroit techno + Acid House... just in time for summer 2024.

New pressing of Oiro Pena's debut. All compositions & instruments played by A.E. Vauhkonen Risoprinted cover art printed by Timo Vaittinen Spiritual flute jazz by the mastermind Antti Vauhkonen. Originally released as a 20 copy edition lathe-cut, now on 10" vinyl. ”Wow where did this come from??!? Raw and essential outsider jazz which will be whispered about for years to come…” -Matti Nives / We Jazz "Vauhkonen’s hands simultaneously summon up brass, flutes, keyboards, drums, stringed instruments and all sorts of percussion. The sound is firm and slightly cosmic, like early Sun Ra Arkestra at its heartiest. But that’s enough about the music, listen for yourself.” – Markus Karlqvist

Juho Toivonen is a 25-year-old experimental musician from Pori, Finland whose debut solo tape “Lament & Rejoice” was released in 2021 and soon after that his sophomore follow up "Suurpää" came to see the light of the day. After these releases filled with deep drones and ominous ambience, Toivonen is reaching for new heights.

On his first solo vinyl "Kasveille ja Eläimille" Toivonen meditates using improvised repetitions made with untuned piano that is accompanied with occasional field recordings and sustained synthesizers.

On this LP you hear two kanteles built by the Master Luthier Rauno Nieminen. One of them is a copy of a historical instrument built by the folk poet Ontrei Malinen in 1833. It is carved from single piece of pine, and it has five bronze strings. The other one is carved from a single piece of spruce. Its lowest seven strings are bronze, and highest three strings are English iron. On most tracks the two kanteles are played simultaneously.

For me, playing these instruments is searching for meaningful ways to interact with wooden objects from another time. By choosing a set of 5 to 15 frequencies and plucking them, I'm able to think, feel, and imagine more than I could without the instruments. the patterns that emerge from the vibrating strings give temporal shapes to thoughts.

The music on this album is improvised. It was recorded at home after dark and outdoors in daylight during 2020-2022. No overdubs or edits were made afterwards. On the last track the kantele is accompanied by detritus gathered from the forest floor.

Tuokioita translates to moments. This music is about colouring time.

Italian duo HUMA returns to Angis Music with a brand new, ultra-limited singlesided 10" featuring "Gentle Frames", the ultimate dancefloor anthem. To record
this special jam, they've joined forces with Brothermartino, old friend of the
label and key figure in the Italian underground scene, who has enriched the
magical atmosphere of the track with his flute, turning it into a potent blend of
jazz, funk, and broken beat with a retro-futuristic flavor. Don't miss it!

London-raised, Lisbon-based songwriter, producer, and DJ William Florelle has been on our radar at R2 Records for some time now having released some of our favourite organically soulful
electronic jams of recent times, so when the opportunity came to release some of his music it was a natural fit.

“Red Velvet” is a sultry and soulful jam that typically blurs the lines between Will Flo’s soul-driven influences from jazz through R&B to club-focused dance music capturing his unique organic yet
electronic syncopation.

The maestro Kaidi Tatham has delivered a stunning remix featuring his signature broken-jazz virtuosity – timeless music.

Karizma comes in the door with one of his beat-down Dubs for that late-night drop, and finally Ato Ayerra blesses the release with the Beringel “2am Snack” Remix.

Egle Martin enjoyed a long career as a dancer, actress, singer and played an important role in the promotion of Afro roots in Rio de la Plata and in reclaiming Afro-Argentine culture. Her performances were fresh and powerful, showcasing diversity and, later on in her career, her desire to diffuse Afro-Latin American culture. By the time this single was recorded, Egle Martin had already performed in several plays and films; she had already sung with Dizzy Gillespie and the Berlin Symphony Orchestra; she had already released an album with composer and bandoneon player Astor Piazzolla. And she was already beginning to frequent the Casa Suiza, with its gatherings and carnivals in the neighborhoods of San Telmo and San Nicolás in the beautiful Buenos Aires of the 1960s, teeming with happenings and avant-garde galleries. Egle sings in Spanish and her voice dazzles with a very distinctive sound and texture as she performs these rhythms; you can clearly appreciate the freedom and power in her vocals. In 'El Dombe' tenderness permeates the lyrics as she tells the world what this dance and its cadenced rhythm is all about. 'Dombe Bariló' is bolder and more sweeping in scope: the ritual and empowering message is uplifting... Roberto Montiel's arrangements are a prime example of the brilliant fusion of soul, funk and Latin American music, all linked through Afro roots. Originally released in 1970 on Music Hall in Argentina, it has become an elusive and sought-after record over the years, at the top of many collectors wants list due to its amazing dance floor energy. First time 7” reissue. TRACKLIST Side A EL DOMBE Side B DOMBE BARILO

Ltd Double Silver Vinyl, Monochrome edition artwork, DL card. Originally released in 1990, Royal Trux’s ‘Twin Infinitives’ is being re-issued in all its (yet to be translated) alien glory, by Fire Records. A dismantled overture that sprawls out over two records, an avant-garde masterpiece that was the spark for Drag City Records and generations of new sound seeking musicians. Hailed in the same immortal breath as Beefheart’s ‘Trout Mask Replica’, the Velvets’ at their frenzied peak and Ornette Coleman at his most avant-garde, the duo of Pussy Galore’s Neil "Michael" Hagerty and Jennifer Herrema recorded ‘Twin Infinitives’ while imbibing all kinds of mind-altering substances to create an inadvertent blueprint for what the duo was building with Moogs, guitars and melodicas to name a few ingredients. It is the legendary second album from the masters of the genre mashup - long before “genre mashups” even existed. Arguably, the term “mashup” was coined to describe what Trux, as they subconsciously scrolled through the radio stations of their lives. The album’s chaotic sound and offbeat construction laid the foundations for a string of Royal Trux albums that spiralled between genres, tunings, and noise. Through the 90s they would re-invent the rock ‘n’ roll ethic, straddle alien surf music, re-align boogie rock, not to mention 80s hair metal, and confound critics by their wildly meandering and courageous rites of passage. Remastered as part of a career spanning catalogue deal with Fire Records. The infamous and influential duo of Jennifer Herrema and Neil Hagerty will be delving into the archive with a comprehensive reissue series, unearthing the vaults and revisiting what made them such a compelling benchmark for their contemporaries and imitators. Reawakening their prolific output within a new monochrome vinyl series covering 1988-1993, they begin with their seminal deconstructed rock masterpiece Twin Infinitives. “Sounding like a subway ride inside a television inside an earthquake inside the end of the world and a pounding death rhythm of apocalyptic now.” Pitchfork. Track List: Disc One: A1 Solid Gold Tooth A2 Ice Cream A3 Jet Pet A4 RTX-USA A5 Kool Down Wheels B1 Chances Are The Comets In Our Future B2 Yin Jim Versus The Vomit Creature B3 Osiris Disc Two. C1 (Edge Of The) Ape Oven D1 Florida Avenue Theme D2 Lick My Boots D3 Glitterbust D4 Funky Son D5 Ratcreeps D6 New York Avenue Bridge

Originally released in 1959, this is Blue Mitchell's third release as a leader. The brilliant trumpeter is joined by an all-star lineup that includes Wynton Kelly on piano, Philly Joe Jones on drums, Sam Jones on bass, Curtis Fuller on trombone, and Jimmy Heath on tenor sax. A great piece of forgotten late '50s hard-bop, it is truly a treasure of an album finally resurrected by Wax Love. This is one of the most precious jazz recordings of a year that would soon give sway to the Blue Note sound, and is in many real and important ways as much of a prelude as any other statement. It's a must-have for all serious mainstream jazz fans.

Deejay-turned-produced Jah Thomas’ Midnight Rock helped shift roots reggae to dancehall in the late 1970s and Thomas continued producing in the new millennium, sometimes revamping Roots Radics tracks from Channel One, and alternately cutting fresh work at King Jammy’s, Black Scorpio, and Mixing Lab. Secret Tapes has stellar guests like roots messenger Luciano, dancehall don Super Cat, supreme crooner Courtney Melody, Jah Thomas himself, and a collab between Pinchers and Josie Wales; Tony Curtis, Ghost and Mitch are courtesy of a Buju Banton co-production. Special request to all dancehall fans!

‘Lead You To Water’ marks a new chapter for Quinn Oulton, built around the foundations of 90s and 2000s RnB, whilst carving room for his unconventional production techniques and distinctive songwriting voice. Sitting somewhere in between Sampha, Mk.gee and Nick Hakim, a central thread to his approach on the project is simplicity – rather than relying overtly on production elements to embellish the sound of the songs, Quinn instead sought to create spacious pieces that stand on their own, stripping the core of his creativity down to voice and acoustic guitar.

Over the past year, the prolific multi-instrumentalist and songwriter has been refining his sound and production style. Collaborating with artists including Linden Jay, Reuben James and Col3trane, and relocating from his London base to LA and Berlin, he’s been on a creative drive, pushing his forward-thinking RnB to new places and amassing millions of streams in the process.

The South London-born and bred multi-instrumentalist, vocalist & producer has always been a musical explorer. With a foundation deeply rooted in jazz, he possesses a profound understanding of complex musical concepts which he translates seamlessly into the more mainstream genres of contemporary RnB and alt-pop. With Quinn’s music, you can expect to hear beautifully constructed, classic-sounding tracks with hidden layers for appreciators of depth and detail.


a A1 - When You're Near [ft. Rich]

"Building off of their debut album last year, legendary musicians and 577 mainstays reunite for a second volume. As in the first, saxophonist and multi-instrumentalist Daniel Carter, pianist Leo Genovese, bassist William Parker (also playing Gralla and Shakuhachi on this album), and drummer and vocalist Francisco Mela, unite for another cosmic album. This project again draw from classic jazz arrangements, juxtaposed with a modern experimentalism and a huge range of instrumentation. Shine Hear, Vol. 2, their newest avant-garde album is testament to their mastery and ease. The album and tracks titles are inspired by another poem Carter wrote about the transience and motion of modern life. On these improvisations Francisco Mela sings themes inspired by the Cuban traditional repertoire."

Daniel Carter - Saxophones, trumpet, flute.
Leo Genovese - Piano.
William Parker - Bass, shakuhachi.
Francisco Mela - Drums, voice.

Recorded on July 16, 2021 by Jeremy Loucas at Sear Sound, New York City.
Mixed and mastered by Jeremy Loucas.
Illustration by Robert Mirolo.
Graphic design by Mark Smith.

The Blues’ was B.B. King’s second Crown LP drawn from his RPM singles recorded between 1951-1958.

This album traces his early development into a world class artist. ‘The Blues’ used a single hit tune (in this case “When My Heart Beats Like a Hammer,” a Top Ten R&B chart entry in 1954)

to help sell a package of lesser-known material, but thankfully the label also picked some great tunes that hardly sound like filler, even if they didn’t make the charts.

King’s songwriting was already stellar, with “I Want to Get Married,” “Don’t You Want a Man Like Me,” and

“Ruby Lee” demonstrating his way with a melody and a lyrical conceit. ‘ The Blues’ demonstrates he was already near the top of his class.

The LP is extended with 2 bonus tracks.

Tim Tucker and Bachflora team up for this brilliantly boogie-infused new collection of cosmic disco sounds and future house delights. It's a collection that shows off their considerable songwriting skills as well as production chops as the tunes blend a far-sighted sense of futurism with a hint of melodic nostalgia. Some are part starters like the playful 'Star Key' while some are more laid back and funky sounds like 'Cosmic Dreaming, Now We Jamming!' All in all, they make for an adventurous and cinematic journey that takes mind, body and soul up and away amongst the stars.

Stockholm repper Patrik Eriksson is a proponent for deep and loopy techno, under his Dold moniker the DJ/producer delivers all manner of introverted compositions, moments designed for home and club that resonate with an evocative and redoubtable simplicity. His catalogue of releases on co-run label Arsenik are an ongoing dialogue with live partner Kuf and a selection of well-known peers, stripped down techno that conveys a cogent message with its straight talking approach.

The Revival Recordings (BAS 014) is another vinyl feather in Dold's cap, a five track release that takes the relay from his developing opus and sprints assuredly on. A1 Work Me pairs mercurial hi-hats with subaquatic squeaks, while its successor keeps tempo and switches its leitmotif for hollow, metallic repetitions. The temperature rises with Solid Solitude, the A3 banger that's likely to make its way into many a closing set towards the end of summer. The B side takes a darker turn with Insight (B1), a slower, more philosophical entry suggestive of breezy Scandinavian nights. B2 points its arrow in another direction still, more urban, more clubfloor, shuffling acid beats that tie the record and Dold's many-faceted influences together in a neat package. There's a bit of everything here, and a hint at both Dold's capacity as a producer and what might be yet to come. A promise of compelling techno from the north that's sure to put his star on the rise.

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Absolute Überforderung, die einfach nur nervt. Am liebsten alles hinschmeißen und verkriechen. Doch SURALIN haben es geschafft, dem allgemeinen Fatigue-Syndrom zu entkommen. Sie haben mit "Nothing is the News" ein Album geschaffen, dass tief berührt, fesselt und gleichzeitig befreit. Der fünfte Longplayer des Chemnitzer Quartetts baut zunächst auf dem Sound seiner Vorgänger auf: ein feingesponnenes Netz aus diversen Indie- und Post-Whatever-Einflüssen, das trotz aller Komplexität ganz einfach und organisch wirkt. Die "Reduktion auf das Wesentliche", wie Bassist Matthias sagt, ist diesmal noch konsequenter ausgefallen. Live im Studio eingespielt und ohne instrumentale Overdubs oder zusätzliche Effekte beim Mix. "Das ist der pure Klang der Instrumente, unserer Pedals und des Aufnahmeraums." Im Ergebnis klingen SURALIN noch dringlicher als sonst, mit bewegender Tiefe. Auf dem treibenden Teppich von Schlagzeug und Bass können die beiden Gitarren ihr Mit- und Gegenspiel zwischen Melodie und Dissonanz entfalten. Die neun Songs beinhalten dabei erstaunlich viele arabeske Figuren sowie motorische Wiederholungen, die erhebliche Sogwirkung entfalten. Darin eingebettet ist der oft fragile Gesang von Alex, der den Zustand seiner Umwelt kommentiert. Laut Sänger Alex vereint der Albumtitel "Nothing is the News" die Gedanken, dass sich die Welt zwar ständig verändert, die Technologie weiterentwickelt und der Mensch sich drastisch vermehrt. Aber der Mensch als solches gleich bleibt. Macht, Unterwerfung, Ausgrenzung, Neid, Missgunst und Egoismus sind die vorherrschenden Themen." Trotz dieser Schwere wird in den Texten immer wieder deutlich, dass durch das eigene Verhalten Veränderungen möglich sind und der Wille zum Besseren überwiegt. Positive Verzweiflung. Außerdem sei der Titel auch eine Anspielung auf SURALIN selbst, die konsequent an der Leidenschaft zum Musik machen festhalten, so Alex.

"In partnership with Milan Records, Waxwork Records is proud to release KINDS OF KINDNESS (ORIGINAL MOTION PICTURE SOUNDTRACK) with music by multi-instrumentalist, producer, and Oscar®-nominated composer JERSKIN FENDRIX. The album reunites Fendrix with director Yorgos Lanthimos following the breakout success of Poor Things, which earned the first-time composer an Oscar® nomination and marked Lanthimos’ first-ever collaboration with a composer. For Kinds of Kindness, Fendrix has crafted a soundscape rooted in solo piano and choral music, peppering the 22-track collection with hymnals throughout. Rounding out the soundtrack album are pop tracks like Cobrah’s “Brand New Bitch” and Eurythmics’ “Sweet Dreams (Are Made of This),” both of which were featured in the film’s trailers, plus a cover of “How Deep Is Your Love” by film star Margaret Qualley as well as a demo from Fendrix’s personal discography. Searchlight Pictures’ Kinds of Kindness is available in theaters now.

Similar to Poor Things, Fendrix began working on Kinds of Kindness with relatively few materials, utilizing only the film’s script, black and white photographs from set, and conversations with Lanthimos as a guide. This time around, however, Lanthimos provided Fendrix with specific guidance on instrumentation, instructing the composer to craft a soundscape rooted in piano and choral music.

“I love working with Jerskin, and I guess he’s the reason why I am now working with a composer – I’ve found someone that works for me,” says director Yorgos Lanthimos, continuing, “Jerskin worked on this in the same way he worked on Poor Things, which is before even seeing a frame of the film. I gave him the script and started sending him black and white pictures that I shot on set. Our agreement in the beginning was, ‘This time, I want to use piano and choir, and go down that direction,’ which was very different to Poor Things. When I went into the edit, he had this library of music that he created to work with, and it turned out great.”

Also helpful to Fendrix at the start of the project was a conversation with Kinds of Kindness star Jesse Plemons, who helped the composer wrap his mind around the complexity of Lanthimos’ triptych story.

“I was very lucky to go on set at the very beginning of filming, and I asked Jesse about the emotions because I was struggling to understand where so many of these characters were coming from,” composer Jerskin Fendrix confesses. “He spoke to me about his interpretation, and how he planned to embody his characters, which was great. I ended up thinking about the abstract space between the emotions and whether that space was empty or noisy. From there, I utilized the piano and choir to explore those spaces.”

Waxwork Records is thrilled to release KINDS OF KINDNESS as a picture disc featuring artwork and design by Vasilis Marmatakis housed in a crystal clear poly-bag.

ABOUT KINDS OF KINDNESS

KINDS OF KINDNESS is a triptych fable, following a man without choice who tries to take control of his own life; a policeman who is alarmed that his wife who was missing-at-sea has returned and seems a different person; and a woman determined to find a specific someone with a special ability, who is destined to become a prodigious spiritual leader."

On October 4, 2024, Vel will make a splash with the release of her debut LP, MTY-011 «There is Always a Solution», through Anetha’s label, Mama Told Ya. After 3 exciting EPs and the recent rise of her Live performance, Vel made waves last year with the track «Velds1» on MTY-AIR «Mille Attaques, Les Vents Contrèrent» in collaboration with LDS. She is now ready to unveil her first full-length album.
«There is Always a Solution» flows with two slippery vinyl records and 10 immersive tracks. Nine tracks are produced solely by Vel, while one is co-produced by Vel and Anetha. Once again, Mama Told Ya returns with a valuable lesson: no matter the challenge, you will flow a way.

Vel is back with a mesmerizing new album featuring 10 tracks that draw you in with her captivating energy. Are you ready to heed the call? The High Priestess of Drums plunges us into a world of vibrant Techno and brisk Tribal rhythms, while her Ambient passages offer a calming retreat and her Mental influences are bound to stir your emotions. Rest assured, “there is always a solution.” Renowned for her expertise in rhythmic innovation and spatial soundscapes, Vel presents a revitalizing and dynamic release. MTY-011 promises to cleanse and rejuvenate—let yourself be immersed.
With a hint of irony, The Babe (A1) playfully teases, “Do you love me? Do you love my music?” But Vel’s real question is more reflective: you’re in deep water. Dive into the sound bath of Humans in Cafe (A2), close your eyes, and let the drums, the kicks, the bangs, and the buzz wash over you. One Xanax Introspection (A3) later, Vel is inviting us to explore the full spectrum of frequencies—a galloping race of deep bass and high treble in this ambient choreography.
« Don’t let the relentless BPM Anxiety (B1) drown you. Its tortured synth may try to hold you back, but you’re free. You’re in your Pop Tribe (B2), and nothing can stop you—DRUM BIG. »
Darling it's better down where it's wetter: joining Vel for a jam session « under the sea », it’s Anetha! Driving percussions are combining with a pulsating psytrance bassline, pure magic: « Ain’t We Mermaids (C1), dear? » Vel, ever the master of the salty beats, slows it down just enough to say, «I Don’t Care (C2),» as she deconstructs. A few moments later… She’s at it again—just when the BPMs are peaking, she draws us into a state of floating lethargy. That’s the absorbing power of Ambient Core (C3).
The current is strong with this one—prepare for a challenge. Deep Tracks Don’t Sell (D1) will drift you away in a swirl of intertwining undulations and dripping drums. It’s time to return to the surface: with a bubbly twist of whimsy, Oh La La (D2) pops in, full of new-wave energy. Vel gently swims us back to shore.
For this new LP, the artwork was crafted in-house under Vel’s artistic direction. The design was skillfully executed by Diplomatie Studio, while mastering was entrusted to In Aeternam Vale, Vel’s close friend and mentor.

Most of the writing of Naima Bock's second album, Below A Massive Dark Land, was a solitary affair. It may not sound like it - it's made up of strong, purposeful arrangements with a huge host of musicians, filled with cradling space and warm light. This will also come as a surprise to anyone who has seen Naima perform in the time since the release of her 2022 debut Giant Palm, which was undoubtedly a communal experience. But there's power in the solitary, too. Giant Palm was arranged with collaborator Joel Burton, but going this one alone in search of something that was truly hers, Naima found she was capable of more. "After me and Joel stopped working together", she remembers, "it was an impossibility to even fathom doing arrangements myself but then I started learning violin and it was possible". Finding that she could go it alone was incredibly powerful for Naima: "I think I needed it, to be able to feel proud of something". Beyond the writing process, however, the record is not a stark, stripped back affair. Below_ still has the majesty that made Giant Palm so remarkable. Having tugged the first record down from the skies and spreading it across the earth, Naima finds a newfound vocal power and confidence born from hundreds of hours on stage, and the music sounds fuller, more tangible, and no less enveloping. This can be heard on the album's lead singles: "Kaley" feels fresh and surprising in its rug-pull choppiness but is distinctly Naima in its swinging, jubilant choruses. The accompanying "Further Away" takes a different tack, drawing you in with its simplicity. Finally, the hazy, luxurious beauty of "Feed My Release" draws on the sepia-toned traditions of The Roches, John Prine and Loudon Wainwright III and imbues them with the kind of stark confessional songwriting of Mount Eerie. These are ambitious, rich arrangements that reach deeper and darker lyrically than Giant Palm. Below a Massive Dark Land was predominantly produced by Jack Osborne (Bingo Fury) and Joe Jones, and recorded at The Crypt in north London, with additional production and arrangement by Oliver Hamilton (caroline, Shovel Dance Collective) and Naima herself. Six of the tracks on Below_ were mixed by Jason Agel, with the remainder done by Osborne and Jones. The album was mastered by Kevin Tuffy.

While Chicha Libre's second album, Canibalismo was inspired by the Peruvian Chicha explosion of the 70's, it also looked back to the cultural Cannibalism dear to Os Mutantes and other Brazilian tropicalists, as well as the production values of late 1960’s rock bands.

The group still pays homage to amazonian legends Los Wembler's de Iquitos, Los Mirlos and Manzanita, but mixes it up even more by combining mellotron and vintage synths with West African guitars, treated percussion, fuzztone and some R.D Burman-inspired arrangements. Originally released in 2012, this the first european re-release on vinyl.

Chicha Libre' first release in 10 years is an EP recorded in Mexico City and Bogotá with special guests Mexican sensation Son Rompe Pera and Colombian retro-futurist tropical band La Sonora Mazuren. The EP include covers of the classic Tequila! and Caminito de mi Tierra, first recorded by Ecuadorian cult composer Polibio Mayorga The B side consists of remixes of both those tunes in Rebajada and Rustico mode. The title of the release refers to Mexico’s Colombia’s national drinks. Both songs were remixed by Olivier Conan with Bryce Goggin.

Flashback - Frankfurt am Main in the 1990s: Matthias Vogt writes record reviews for Groove magazine, works as a DJ in various clubs and studies jazz piano. His first releases as a producer are already on the street. When one of his favourite labels, for which he had written numerous reviews, Force Inc, opened a house sub-label (Force Inc US), Matthias submitted two of his own tracks to the label. The "DJ Matt" EP entitled "Die Tiefe / Augen zu" is released. The two completely analogue-produced tracks mark the beginning of Matthias' journey into the realms of deep house music.
A few months later, Matthias Vogt's career takes off, with a move within the same Frankfurt corridor, from Force Inc. to INFRACom! and the launch of his projects re:jazz, Motorcitysoul and Matthias Vogt Trio. Cut. Today: A social media post drew the attention of Berlin DJ, producer and label maker Johannes Albert to the story surrounding the 1999 release. Now, 25 years later, "Augen zu/Die Tiefe" is being completely remastered from the original DAT tape by Gyso Hilger (Nektarium Darmstadt) and reissued - looking and sounding great - as a 10" on Frank Music.

Holly Macve's third album, Wonderland, is a stunning testament to her evolving artistry and a bold declaration of independence. Released under her own Loving Memory Records, this album is her most luxurious and cinematic work to date. Co-produced with Dan Rothman of London Grammar, it features string arrangements by David Saunders and a notable collaboration with Lana Del Rey, who has lauded Macve's voice as one of the world's most beautiful. Reflecting a period of profound personal transformation, Wonderland captures Macve's journey through moments of intense highs and lows. The album's first single, 'San Fran Honey,' explores the theme of unattainable love, blending nostalgia with self-awareness. Macve's evocative, dreamy style resonates with the cinematic quality of Lana Del Rey's work, drawing comparisons between their approaches to music. Wonderland is an exciting exploration of Macve's growth and a showcase of her unique, atmospheric sound.

For Dutch artist Stefan Vincent, the feeling of melancholy also offers the opportunity for beauty to be found. “Decay and loneliness can serve a purpose. Depression can teach you things. To feel deep sadness also means the ability to feel profound
emotions.” he says. With this in mind, his debut album on MUSAR Recordings, “Post- Melancholy”, unpacks the twists and turns of grappling with this emotion, drawing from breaks, electro and IDM to make his most intricate work to date, after previous releases on Token, Dynamic Reflection, Symbolism, and Non-Series. Throughout “Post-Melancholy” Vincent traces the wave of melancholy and how it moves through the body, which allows for lighter moments alongside darker moods. Perhaps the lightest track on the album is its acidic-breaks opener, “Eyes Unclouded”, with its soaring acid lines and dazzling synths, which acts as a false pretense for the rest of the album. Tracks like “Poise”, “Arpeggino” and the meditative “Yonghegong Lama Temple Exit F” also break up the intensity. However, nestled between the more pacey, bass-weighted tracks on the album, these lighter openings still feel like tear-jerkers.

The more common associations of melancholy show up on tracks like “Another Skin To Wear” and “You Know This Isn’t Going To End Well”, which all create a more ominous feel via IDM and the polyrhythmic structures of drum’n’bass. Particularly on “Another Skin To Wear”, which borrows its name from a Radiohead lyric, the track's swooping motion feels realistic to melancholy’s chaotic and often unpredictable path. But, like all great storytellers, Vincent leaves the most poignant moment of the album for last with the rolling “8AM on the Train… (For Maarten)” devoted to his dear friend, Maarten, who sadly passed away at the young age of 36. This LP is dedicated to Maarten de Vries (1986-2022)

Sciahri and his label Sublunar are thrilled to present "VEIL OF ECHOES," a new project that brings together both emerging and established talents from the label.

This release showcases
a fresh dimension of techno and electronic music, celebratingf originality by combining timeless cuts from the past with cutting edge sounds of the present and future. The journey begins with "IIum" by Temudo, an entrancing track with hypnotic synths that seamlessly transitions into Troys Awakening, featuring an irresistible and cerebral groove. Neel takes over with Follow Me, pushing the boundaries with intricate sound design crafted to move your body, followed by Marcal's Ancient Swing, renowned for its unique sound and processed vocals. Kameliia's Insolitam then transports you to another dimension with its deeply immersive and mental vibes.

Kaiser kicks off the next phase with Fearless Attitude, a powerful yet refined track, while Roll Dann continues the momentum with "Area 24," offering a softer yet penetrating synth line.

On side D, Cirkle's "Mooree" showcases his talent for
creating minimalistic yet razor-sharp tracks, leading into Juri Heidemann's "Reger," a mysterious piece with a groove designed to carry you to another realm. The project culminates with Kerrie's Jump The Gun, featuring intricate synths and a mind-bending bassline.
With "VEIL OF ECHOES," Sublunar aims to share a visionary collection that encapsulates the essence of techno and electronic music, bridging past influences with future innovations.