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The mystery continues to deepen, as you hear whispers beckoning you out to the sea...

After refining their dark and seductive vision of alternative/gothic metal to surreal, cinematic levels with three EPs and a full-length album, The Cause of Shipwreck, behind them, the Assen-based Blackbriar continue to set their sails towards the future in 2023, signing with Nuclear Blast Records and working towards their second full-length album, again accompanied by long-time collaborator Joost van den Broek.

Formed in 2012 by Zora Cock, René Boxem, Bart Winters, and Frank Akkerman, they crafted their first single in 2014 with “Ready to Kill,” but it was 2015’s second single “Until Eternity” that truly propelled them into the scene. A sweeping track with an equally compelling and beautiful video, it continues to draw many to the act with over 18.1 million views since its debut. Taking advantage of the growing buzz surrounding the band, they independently recorded and released their first EP, Fractured Fairytales, as well as acquiring a second guitarist in Robin Koezen. This EP layed down an impressive foundation for the band’s ethereal and breathtaking sound and brought about new opportunities for the act, including tour dates in The Netherlands, Germany, Belgium, France, Switzerland, Czech Republic, Hungary, and more, where the band played alongside Epica, Halestorm, In This Moment, Delain and MaYan. To keep moving ahead with full control of their creative ideals, the band successfully crowdfunded their follow-up EP, We’d Rather Burn, and brought it to life in October 2018. This EP would be the first time the band worked alongside esteemed producer Joost van den Broek to arrange and produce the effort, and this fruitful collaboration allowed Blackbriar’s whimsical and enigmatic sound to reach new sonic heights. Released the same day as their self-made video for “I’d Rather Burn,” this EP showcased a stronger sense of dreamy atmosphere and brought listeners beautifully grim tales of witches, banshees, and sea sirens. In the time following, keyboardist Ruben Wijga (ex-Re-Vamp) took a larger role within the band and began playing shows, after being involved in the songwriting process since Fractured Fairytales.

A busy 2019 followed, the band released a haunting single in May entitled “Snow White and Rose Red.” A duet with Ulli Perhonen, their take on the Grimm’s fairytale featured striking cinematic visuals to accompany the spellbinding track. Continuing to dig deeper into fairytale realms, Blackbriar closed the year with their third EP, Our Mortal Remains. Ever-sharpening their intoxicating blend of storytelling and breathtaking musicianship, the EP brought about new live exposures for the act as well. Small, sold out tours with Epica in 2019 and 2020, as well as a sold out opening for Delain’s Apocalypse & Chill release show in Utrecht followed, with more future plans then being put on hold due to COVID-19. Championing their continued independence, which included everything from songwriting, maintaining their web presence, overseeing merch, as well as shooting and producing their own videos and photos, Blackbriar reached out to their ever-growing and loyal fanbase for assistance to make their full-length album a reality in 2020. Fans fervently heeded the call, reaching the € 25,000 goal in under 24 hours and ending with a total of € 70,000 and achieving all five stretch goals. An impressive accomplishment for an independent act, which also showcases a strong internet presence with over 214,000 YouTube subscribers and 46.1 million channel views as well as 27.6 million Spotify streams and 150,000 monthly streamers on the platform.

The Esbjörn Svensson Trio, e.s.t. for short, are still
celebrated today as one of the most important and
influential European jazz bands of the last 20
years.
 In 1999, the three Swedes achieved their
international breakthrough with ‘From Gagarin’s
Point Of View’. A star rose in the musical sky and a
unique world career followed. But sometimes stars
shine for much longer than one thinks. On ‘e.s.t.
Live 95’ there are recordings that prove that this
was also true for the Esbjörn Svensson Trio.
 The band, founded in 1993, found their very
specific sound early on but it was not initially
noticed outside its home country. In 1995, when
the trio’s namesake still wore long hair and a
headband, these recordings were made at various
locations in Sweden. And whoever hears how the
trio played back then is left breathless.
 Much of what distinguishes e.s.t. was already
strongly pronounced here: the coherence and
powerful grip of the playing; the catchy themes that
immediately jump out at the listener and yet do not
become clichéd; the fusion of the music of role
models like Thelonious Monk and Keith Jarrett into
a style of their own, always infected by the forward
thrust of rock. Magical moments were saved for
eternity by these recordings.
 Now this e.s.t. early work is available on double
vinyl.

In 1995 the self-titled full-length debut of Die Anarchistische Abendunterhaltung (DAAU) was released. The band consisted of four young, 'classically derailed' musicians who played their own compositions with acoustic instruments such as violin, cello, clarinet and accordion. Their work contained influences from Roma music, Eastern European folk, klezmer and jazz, but was performed with the energy, rebellious spirit and Sturm und Drang of a bona fide punk band. DAAU was part of the fertile Antwerp scene, which also produced dEUS, Zita Swoon and Kiss My Jazz, and soon signed an international record deal with Sony Classical.

The group's influential first record, which has been out of print for a while, is now finally being released again and is available on vinyl for the very first time.

In those early days, DAAU consisted of four young, classically trained musicians who tackled their instrumental compositions with a true punk spirit. 'If we'd had guitars, bass or drums at that time, we would probably have been just another rock band', says accordionist Roel Van Camp, who, together with his schoolmates Buni Lenski on violin, the latter's brother Simon on cello and Han Stubbe on clarinet made up the Antwerp quartet. 'With our acoustic instruments we tried to create our own version of the music we loved listening to, from sixties rock and prog to new wave.'

The quartet, which initially played in streets and cafes, appealed to a diverse audience and sometimes joked that they were a classically trained unit that had 'gone off the rails'. 'As befits teenagers, we wanted to shake things up', Stubbe remembers, 'even though we always kept cherishing our classical backgrounds.' Van Camp: 'Our education was never supposed to feel like a straitjacket. We were free-spirited enough to ignore the laws and regulations of the music academy and to create our own sound. Our compositions were open to influences from Roma music, Eastern European folk, klezmer and jazz'. 'That eclecticism was a direct result of the zeitgeist', Han Stubbe adds. 'We loved different styles and happily mixed them together'.

The monniker Die Anarchistische Abendunterhaltung was derived from Steppenwolf, a novel by German writer Hermann Hesse about a character who was outside society. 'In the book, the narrator talks of a theatre', Van Camp explains. 'And at the entrance there is a warning sign sign that says: if you go in here, you are guaranteed to lose your mind. That was an apt description of the way our music worked'.

Almost all tracks on DAAU's first album were 'Drieslagstelsels' (or 'three-course rotations'). The term referred to an agricultural method of the early Middle Ages, but also to the fact that each song of the group consisted of three major movements. Van Camp: 'The titles of those pieces referred to our method of writing. We piled up a huge bunch of ideas, because we wanted to tell more than just one story. With each composition, we took the listener for a ride'.

In 1995 the self-titled full-length debut of Die Anarchistische Abendunterhaltung (DAAU) was released. The band consisted of four young, 'classically derailed' musicians who played their own compositions with acoustic instruments such as violin, cello, clarinet and accordion. Their work contained influences from Roma music, Eastern European folk, klezmer and jazz, but was performed with the energy, rebellious spirit and Sturm und Drang of a bona fide punk band. DAAU was part of the fertile Antwerp scene, which also produced dEUS, Zita Swoon and Kiss My Jazz, and soon signed an international record deal with Sony Classical.

The group's influential first record, which has been out of print for a while, is now finally being released again and is available on vinyl for the very first time.

In those early days, DAAU consisted of four young, classically trained musicians who tackled their instrumental compositions with a true punk spirit. 'If we'd had guitars, bass or drums at that time, we would probably have been just another rock band', says accordionist Roel Van Camp, who, together with his schoolmates Buni Lenski on violin, the latter's brother Simon on cello and Han Stubbe on clarinet made up the Antwerp quartet. 'With our acoustic instruments we tried to create our own version of the music we loved listening to, from sixties rock and prog to new wave.'

The quartet, which initially played in streets and cafes, appealed to a diverse audience and sometimes joked that they were a classically trained unit that had 'gone off the rails'. 'As befits teenagers, we wanted to shake things up', Stubbe remembers, 'even though we always kept cherishing our classical backgrounds.' Van Camp: 'Our education was never supposed to feel like a straitjacket. We were free-spirited enough to ignore the laws and regulations of the music academy and to create our own sound. Our compositions were open to influences from Roma music, Eastern European folk, klezmer and jazz'. 'That eclecticism was a direct result of the zeitgeist', Han Stubbe adds. 'We loved different styles and happily mixed them together'.

The monniker Die Anarchistische Abendunterhaltung was derived from Steppenwolf, a novel by German writer Hermann Hesse about a character who was outside society. 'In the book, the narrator talks of a theatre', Van Camp explains. 'And at the entrance there is a warning sign sign that says: if you go in here, you are guaranteed to lose your mind. That was an apt description of the way our music worked'.

Almost all tracks on DAAU's first album were 'Drieslagstelsels' (or 'three-course rotations'). The term referred to an agricultural method of the early Middle Ages, but also to the fact that each song of the group consisted of three major movements. Van Camp: 'The titles of those pieces referred to our method of writing. We piled up a huge bunch of ideas, because we wanted to tell more than just one story. With each composition, we took the listener for a ride'.

Bristol's soul jazz kings The Jazz Defenders release a new vinyl 45 single this autumn as a taster for their third album, which is destined for release in spring 2024. Once again, they are bringing together their love of 1960's soul jazz and golden era 90's hip-hop, just as they did on a couple of tracks on their last album "King Phoenix" (Haggis Records 2022). This new single sees them reunited with London MC/rapper Doc Brown, who guested on the track "Perfectly Imperfect", and his flow sits so naturally over the Jazz Defenders' music and beats, you'd think he's a permanent band member.

The A-side "Rolling On A High" is a real old school boom bap style party hip-hop jam. Big beats, rolling bassline (acoustic double bass), Ramsey Lewis soul jazz piano vamps, funky Hammond organ and some punchy horn section business, all topped off with Doc Brown bouncing bars back and forth with that laid back vibe he always brings to the mic. A guaranteed dance-floor bomb, whether you're a breaker, a jazz dancer or simply a Saturday night disco shuffler. The B-side "Looking Back" takes the tempo right down. An 'end of the night' number when the lights in the club are low, the last drinks are being drained and you're thinking and reminiscing about times gone by. The good times and bad, successes and mistakes. And made even more poignant and reflective halfway through when the mellow strings come into the song (once again excellently arranged by pianist/bandleader George Cooper). If "Rolling On A High" is the fire then "Looking Back" is definitely the ice. Proof that the Jazz Defenders can rock the party and grab the dancers but also dig deep with emotive tunes that draw in the discerning listener.

The Jazz Defenders, led by keyboard maestro George Cooper from The Haggis Horns, have been building a reputation as a great musical unit since their debut Blue Note/hard bop-inspired album "Scheming" appeared on Haggis Records back in 2019, which received a huge amount of praise from critics, and subsequently went on to spend 5 weeks in the top ten of the American jazz charts In 2021, their double A-side vinyl single "The Big Man/Love's Vestige" got them the breakthrough they deserved. It garnered heavy support on radio from top folks like Craig Charles (BBC6 Music), Helen Mayhew (Jazz FM), Jamie Cullum (BBC Radio 2), and Worldwide FM resident DJ's Ashley Beedle and Colin Curtis. They further enhanced their reputation as a rocking band with album number two "King Phoenix" and by electrifying audiences at sold out live shows across the UK, including the legendary Ronnie Scott's Jazz Club in London.

Album number three is well on its way but for now, check out this tasty limited edition 45 single on Haggis Records. The JDs and Doc Brown...the perfect combination, still keeping that sweet jazz/hip-hop love affair alive today.

Dreams are made and displaced on Mark Fell & Rian Treanor’s oneiric electro-acoustic inception 'Last Exit', borne from long days in the family garden, and assembled into a mesmerising masterpiece of minimalist modal rhythm and atmospheric exploration, into rapt smallsound detailing in breathtaking form. It’s a bit like listening to Virginia Astley’s ‘From Gardens Where We Feel Secure’, with washes of Autechre seeping into the mix from outside.

‘Last Exit…’ originally appeared in a different form as a cassette release for our Documenting Sound series in 2021, and was edited this year by Mark and Rian for this new expanded and altered edition, mastered by Rashad Becker. It renders a painterly,psychedelic, and diaristic depiction of sublime atmospheric tension, occasionally ruptured by their typical, asymmetric rhythm impulses in a form that rudely transcends their respective aesthetics. Across four parts, they kern, juxtapose and diffract synthesised percussion and field recordings into polymetric arrangements riddled with timbral nuance of a highly unpredictable nature.

While patently inflected with nods to Indonesian gamelan, Ugandan folk, Indian Carnatic classical, Morton Feldman-esque minimalism, free jazz improvisation and a sort of rhythmic cubism that speaks to their mutual, voracious listening habits and tastes, the results are arguably without direct compare. Attentive listeners will recognise, however, that ‘Last Exit’ effortlessly transcends their respective styles, achieving a new high watermark of imaginary future-hyperfolk expressed in a sort of personalised but highly relatable meta-musical language.

Seriously, they’re working beyond known conventions here; opening to a sublime frisson of Feldman-esque keys, birdsong and distant car engines, and closing to a combo of just-intoned drone and wafts of distant ballroom music. The 80 minutes in between feel like returning to a dream, with flashes of FM strings dabbed to sloshing rhythms and domestic detritus, tilting into a nervously tentative tension ruptured with abstract dance dynamism and angular free jazz ballistics.

The rejigged recordings also reflect the fidelity of memory recall, expressing an altered perspective on their time spent in the multigenerational family’s Rotherham garden during spring/summer 2020, replete with their mum/grandmother on piano and overheard singing and in convo, but now fraught with a more melancholic, distempered quality that makes for a genuinely unforgettable listening experience. A long-form isolationist fantasy, consider it crucial listening if yr into Robert Ashley's 'Automatic Writing', Graham Lambkin, Autechre or Nuno Canavarro.

His jaw- dropping, natural sounding, and unschooled skill on acoustic guitar, matched with an authentic 'Belfast Blues' voice, drew comparisons to John Martyn and Rory Gallagher, with nods to Van Morrison and Foy Vance. In addition to being an acoustic guitar star, Dom is equally adept on electric guitar, showcasing his talents with his power trio.

Dom has won a handful of European and UK Blues Music Awards. His sophomore studio album, 'A Savage Life' received rave reviews with Rock and Blues Muse declaring, "Dom Martin is the next rising star in the global roots scene.

Jump aboard now before he passes you by." Blues in Britain declared that Dom was "A rare talent of such sheer genius," and Classic Rock effused, "The Belfast guitarist is a sprawling talent."

His latest effort,' Buried in the Hail 'was co- produced by Grammy nominated producers Chris O'Brien & Graham Murphy. The album takes the listener on a very personal journey. "Unhinged" is all anger and fury, sparks and smoke and flames, from screaming amps. Taking a positive turn is "Daylight I Will Find", a song about life's challenges and how through self- love, one can find the answers. The sole cover on the album is a broken down, heartbroken version of "Crazy".

GAF are back!!! This time under their Estrella de la Muerte configuration and with a gateway musical behemoth double album into the cosmic unknown.
The prolific project, helmed by local Canarian anchorman Mladen Kurajica, dwells deep into esoteric rock genres and this time, they waste no time in plunging the listener into their brave new type of cosmic rock with a deeply influenced krautrock voyage of 70’s jamming and psychonautic exploration.
Recorded over three days in the cultural space of El Tanque, Santa Cruz de Tenerife, at the height of the covid pandemic of 2020 and during one of the hottest summers to date, the band entered the space with no plan in mind deciding instead to approach the recording sessions without any preconceived ideas or pre-composed songs. Clean out of external influences and ready to experiment they loaded in all their available gear, including an array of modular synths, in order to create a new approach to song writing and flesh out some ideas for a future album in situ. The very process of that search, through pure improvisation and jamming, became the album we’re presenting here.
No overdubs or subsequent edits were done, except for cutting some songs so that they could fit on the album. Almost 5 hours of recordings in total, finally reaching a 7 track, 69-minute double LP. All the reverb heard on the record is the natural reverb of El Tanque, a 16 second tail natural reverb recorded with several room mics at different locations in the venue. Eventually this became the first fully instrumental album by the Estrella de la Muerte configuration, with a line up of 7 musicians (Gaf y Estrella de la Muerte are normally a sextet).
Enter then, this inspired selection of psychedelically damaged tunes, 70’s space rock, psychoacoustics and Kosmishe inspired jamming. This is healing music for your mind altering journeys. The titled Pyramids here serving not only as a gateway to the cosmic unknown but also as an exploratory symbol of the bands willingness to freely embrace their subconscious inner flows into a cosmic collective. Ecstatic music for our times!

“La Settima Donna” (1978), also known as “The Last House On The Beach”, is a disturbing thriller directed by Franco Prosperi and set in a secluded cottage overlooking the Tyrrhenian sea, starring Florinda Bolkan, in the role of Sister Cristina, governess of five female students on a short vacation, rehearsing their Shakesperean end-of-year play. The unfortunate inhabitants of the house became soon hostages of three vicious criminals looking for a hiding place after a bank robbery, but the psychological and sexual violence ends when the nun abandons her vows. And the victims decide to get justice. Roberto Pregadio's brilliant music is not surprisingly, functional and almost disconnected from the bloody images: there is no overwhelming sense of disturbance for the listener.

The soundtrack of “La Settima Donna” was published only once, in cd format, attached to the rare dvd of the film, gaining new life on vinyl thanks to Musica Per Immagini. Some of the eleven tracks of the score are characterised by an easy listening mood and united by a psychedelic feel, in harmony with the progressive atmospheres found in albums such as “A Saucerful Of Secrets” (1968) and “Meddle” (1971) by Pink Floyd. However, the English band is not the only reference for the jazz pianist, who quotes a piece by Bryan Ferry, entrusting it to the voice of Ray Lovelock, one of the three kidnappers. After that, the Sicilian composer remodels an international hit by Donna Summer, background of the sequence in which the nun is forced to strip naked in front of her tormentors.

Raz started working on the album Tyrants in 2017 and
mixed the finished version in 2021. The writing process
began with listening to sketches and sound-files he
had collected throughout the past years, which he had
not yet given up on. The album is thus a natural
continuation of his previous works and showcases
Raz’s unique sound design coherently. His increased
focus into composition and arrangement is highlighted
even further in this release.


In the oblivious environment surrounding his hideaway
lake cabin he produced an album that is rich and
diverse in its sonic palette, ranging from harshly
distorted synth-peaks, cinematic soundscapes, all the
way to avant-garde contemporary classical, and jazz
music. It is an album that invites the listener to explore
and discover not just the intimate self: it is also a very
personal, intuitive observation and reflection on the
world that we are living in today.


Certain instruments are very prominent. An old piano
that was left in Raz’ apartment by a friend that he
found joy in playing.

One can hear a certain curiosity in
the performance of this newly found, dust layered
treasure (Bardot). Sonically the album is an attempt to
blend acoustic sound recordings with synthesized
sounds, and to blend musical genres into one. It is an
acoustic expression of the transformative times we are
living in, a realm of mankind being mastered by
technology.

The gap of this transformational process is
a glitchy moment of time. It is portrayed on the front
cover image of the album, by glitch artist Azamat
Akhmadbaev.

Morning Glory

Every twenty four hours is a chance to begin again and it is a renewed commitment to be involved in the cycle of nature - to play by rules set forth by something greater than ourselves that constantly resonates in the ears of those who are at peace. At the edge of each one of these beginnings, there is a brief moment that belongs to only "it". A special portion of time that directly connects to the circular motion of Space and Time. It is truth before reality. Realness before rationality. Self before consciousness.

We can feel it when we first see light and the recognize an indication that the new day has begun. It is honoring what makes all this possible.


Axis Expressionist Series.

A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project as well as new unreleased works.

Vernacular creations that fall off from the "other side" of the Electronic Music tree, this project is designed for the experienced Techno music listener, and its goal is to reflect upon the pure artistry of the craft of storytelling. A realization between music and life.

Whereas "dancing" is the goal of Dance Music, the goal of this music is about "reflecting on the complexity and simplification of life". Soundtracks for people in their evolutionary process.

It was almost inevitable that growing up with a love for trance would eventually result in Trance Wax releasing his own interpretations of the sound. Following on from the release of his eponymous album in 2020, Trance Wax now shifts into a fresh artistic chapter with his sophomore album, ‘Open Up The Night’.

A sixteen-track journey through nostalgia-infused modern trance, ‘Open Up The Night’ symbolizes Trance Wax’s evolution from his early days of adapting trance classics for the modern dance floor. Now homing in on his own interpretation of the genre with an increase in tempo, the Belfast-born DJ and producer created an expansive sonic palette through original productions (‘Adeya’, ‘Aslan’) as well as sample-powered productions (‘Open Up The Night’, ‘Rhythm Of The Night’) that show he means business in this increasingly popular genre.

“Listeners can expect a switch-up in BPM compared with the last album,” says Garry McCartney (Trance Wax). “It’s a reflection of what I love listening to, be it trance or other genres. There’s some drum and bass influences woven in as well as a bit of breakbeat, which adds a new dimension to the whole thing. It’s the product of a good few years of experimentation that resulted in something really fast and exciting.”

Yoke Lore’s first full length album, Toward A Never Ending New Beginning is set to solidify Adrian Galvin as an indie pioneer, transcending beyond the genre with his unparalleled talent for captivating listeners with his distinct artistic vision and introspective lyricism. The 14-track album chronicles his journey of turning strengths into weaknesses, personal growth, and discovering who Yoke Lore truly is. It’s an album full of reflection and raw, unfiltered honesty that will most definitely connect with listeners on a deeper level. Combining electronic beats with subtle instrumentation, each song on Toward A Never Ending New Beginning is sonically diverse and thoughtfully crafted, taking listeners on a journey of self-discovery along with Galvin. Galvin views his debut record Toward a Never Ending New Beginning, as being guided by the principles of the I-Ching; an ancient Chinese divination text that maps out 64 transitions that you could possibly be going through at any time, reflected in the form of hexagrams. It is a meditation on all of the little changes he has gone through in his life: from celebrations to moments of sadness to moments of stillness. All of it is connected, all of it is related.

The Machine is back! Following the 2022 release of the wildly successful, God Don't Make Mistakes, Conway the Machine returns with his next studio album, WON'T HE DO IT. Aptly titled for touching on the various obstacles he's been faced with and overcome to be in the position he's in today, Conway hopes to inspire listeneres to imagine the possibilities they themselves can achieve by breaking through the walls that have been put up and relentlessly pursuing their goals to turn their dreams into reality. The 14 track album sees appearances by longtime collaborators Westside Gunn & Benny the Butcher, as well as Jae Skeese, Sauce Walka, Juicy J, Fabolous, Dave East, GooseByTheWay, 7xvethegenius, Jozzy, Ransom & Drea D'Nur. Production is handled by heavyweight producers such as J.U.S.T.I.C.E. League, Khrysis, Daringer, Juicy J & more.

The extraordinary trio creates a fascinating, atmospheric fusion of electronic sounds, piano, violin, percussion, field recordings, and mystical Ladino texts and chants with "Metamorfosa." Metamorfosa is a new band project founded by Marlene Schuen (Italy), Dimitri Andreas (Belgium), and Marc Romboy (Germany).

The arrangements, co-compositions, and production come from Marc Romboy and Dimitri Andreas (Music Man, Systematic). Marc Romboy has been releasing electronic music since 1991 and has performed worldwide in legendary clubs like Berghain, Rex Paris, Fabric London, and Womb Tokyo. Marlene Schuen's lyrics for Metamorfosa revolve around nature and stories of mythical creatures in the mountain world of South Tyrol, taking the listener into the world of her homeland.

Her impressive voice and singing style deeply touched and fascinated
Marc and Andreas from the very beginning, ultimately inspiring them to create this fusion of electronic sounds, atmospheric piano parts, violin, field recordings, percussion, and Ladino singing.

Colleen thrives on reinvention. For over two decades under the name, French artist Cécile Schott has continuously pushed her compositional practice into new directions. Her creative approaches have included complex samples and loops, instrumental processing and even dub production techniques applied to the baroque viola da gamba. Each album immerses the listener in a wholly unique world while remaining unmistakably a work by Colleen. Schott"s compositions glow with carefully considered textures that move in captivating revolutions while subtly evolving. A connective thread of Schott"s work is the exploration of the intricacies of emotion while reveling in the act of contorting pop and classical forms into new shapes. Colleen"s Le jour et la nuit du réel is a voyage deep into the world of synthesis, a dense thicket populated by drifting echoes and pulsating arpeggios. More than just a creative approach, sound synthesis here becomes a means to interrogate complex concepts, from the self and perception to shifting notions of what is "reality".

**AVAILABLE ON BLACK VINYL AND INDIE EXCLUSIVE OPAQUE PINK** Elvin Jones, one of the true great drummers in jazz, recorded this album in 1971 after having led his own band for several years following his immortal work with the John Coltrane Quartet. This unique recording has a spacious feel with plenty of room for the players to work out the melodic compositions created by the members of the group. At times the recording creates an almost cinematic space, yet always propelling forward into unexpected territory. No pandering to contemporary tastes at this date or following the trends of the time, this is simply a great example of mature musicians given the freedom to create their own vision and place in time. Saxophonists Frank Foster and Dave Liebman instruments intertwine in a spellbinding way with opportunities to showcase Jones’ incredible virtuosity as a drummer. An album that reveals itself to the listener slowly with new delights every time it’s removed from the jacket.

Finland’s Hexvessel return with their sixth album, Polar Veil, a cold, metallic hymn to the Sub Arctic North. Haunted by primal forest spirits, Mat “Kvohst” McNerney summons the ghosts of his past in a jaw-dropping, unheard-of rebirth of style and sound. At once unmistakably Hexvessel, Polar Veil is also steeped in the nocturnal atmosphere of McNerney’s past, churned in the cauldron of Black Metal, Ritual Folk Psychedelia and Doom Rock, and echoing with shivering Gothic undertones. From their inception in 2009, Hexvessel, created by Mat McNerney as what he described to Decibel Magazine as “a free spiritual journey and a musical odyssey with no boundaries”, have captivated audiences and listeners with their evolution. Holed up in a home-made studio in his log cabin during the winter of 2022, McNerney drew on all the fundamental elements of his music career as a shamanic shapeshifter, with only the isolation of nature’s solitude as inspiration. Painting an aura with Polar Veil which resonates with solitary reflection and themes of personal spiritual transcendence, Hexvessel’s new album is a bold statement from an artist who continues to reinvent and explore nature mysticism through music.

Finland’s Hexvessel return with their sixth album, Polar Veil, a cold, metallic hymn to the Sub Arctic North. Haunted by primal forest spirits, Mat “Kvohst” McNerney summons the ghosts of his past in a jaw-dropping, unheard-of rebirth of style and sound. At once unmistakably Hexvessel, Polar Veil is also steeped in the nocturnal atmosphere of McNerney’s past, churned in the cauldron of Black Metal, Ritual Folk Psychedelia and Doom Rock, and echoing with shivering Gothic undertones. From their inception in 2009, Hexvessel, created by Mat McNerney as what he described to Decibel Magazine as “a free spiritual journey and a musical odyssey with no boundaries”, have captivated audiences and listeners with their evolution. Holed up in a home-made studio in his log cabin during the winter of 2022, McNerney drew on all the fundamental elements of his music career as a shamanic shapeshifter, with only the isolation of nature’s solitude as inspiration. Painting an aura with Polar Veil which resonates with solitary reflection and themes of personal spiritual transcendence, Hexvessel’s new album is a bold statement from an artist who continues to reinvent and explore nature mysticism through music.

FINAL GASP unleash their debut album Mourning Moon! A harrowing journey through all things Hardcore, Metal, and Goth, Mourning Moon drags the listener through the dark in 12 thrilling tracks, and drives a stake right into the heart of 2023's most compelling releases. Opener "Climax Infinity" sets the tone for what's to come: the undeniable hardcore swagger of the Boston-based band is immediate as drums and guitars stomp and riff against one another, while FINAL GASP vocalist Jake Murphy howls - "watch as the way it falls, your loss of control, from whispered incantations, burnt down for your invocation!" Mourning Moon showcases expert songwriting and lyrical crafting, snarling and barking through the harsher, heavier punked out moments in "Blood and Sulfur" and "Frozen Glare" while flexing arena chops on the tremendous "Temptation" and utterly despairing "The Vanishing". Elsewhere, the hook-laden title track explodes out of the underground and aims straight for the moon. Lead single "Mourning Moon'' is downright catchy and showcases FINAL GASP's knack for excellent songwriting. A song professing eternal love through a lens clad in black and morbid as ever, "Mourning Moon" proves to be one of the most inventive journeys this side of the genre in recent times, recalling a prime period for luminaries Killing Joke and Danzig. With Mourning Moon, FINAL GASP emerge from the shadows, and step into the forefront of extreme music's new guard.

He has curated an intimate, thoughtful collection of songs that deal with cherished loved ones, love denied, the power of faith, and a simpler, less encumbered way of life.The album features a healthy mix of country classics and contemporary bluegrass songs: Sparks revives warhorses from the repertoires of Lefty Frizzell, George Jones, and Hank Williams, complementing them with material from present-day writers including Wyatt McCubbin and Daniel Crabtree.

An evocative, heart-felt singer with few peers, younger bluegrass musicians are inspired by and study the subtle nuances of Sparks' vocal style. But Sparks, however, is a double threat, being equally revered for his innovative guitar playing.

Countless guitarists have tried to emulate his singular flatpicking style, but few - if any - have truly mastered it.

For some years, fans of the Bluegrass icon have requested that he do a project of this nature. At long last, that wait is over. Listeners get pure Larry Sparks.

Recorded at his newly built home studio, it's just him, his signature 1954 D-28 and his son Larry "D" Sparks providing subtle backing rhythm on bass. The warmth and intimacy of this album affords his admirers the opportunity to pull up a chair, relax, and listen to a true bluegrass master do what he does best - playing and singing from his heart to theirs.

Texas Parks & Wildlife Foundation, in partnership with Rambler Sparkling Water, introduce ‘Texas Wild’, a standout album featuring Texas musicians as they pay tribute to classic Texas tunes showcasing that untamed spirit found only in Texas music.

Produced by Texas singer songwriter Walker Lukens (The Song Confessional, Golden Dawn Arkestra, Darkbird, Coco Zandi), ‘Texas Wild’ is a standout album that blends the sounds of traditional Texas genres like blues, cumbia, and country with modern sounds like hip-hop, R&B and electronica, sure to please old school country fans
and new listeners alike.

Block print album art created by Texas artist, Mishka Westell.

Featuring covers of classic Texas songs by Texas musicians including Toadies, Fat Tony, Shaky Graves and Sir Woman.

Sales from the album will benefit Texas Parks & Wildlife Foundation.

Colours collects ParyNextDoor's 2014 EP Colours 1 - long heralded as a contemporary classic - with his critically acclaimed Colours 2. Both rank among the most memorable works in PND’s stellar catalog. The first volume showcases emotionally raw, true-to-life narratives and the range of his arresting vocals. Whether it's songs like "Girl From Oakland" or the Travis Scott-assisted "Jus Know," PND proves himself one of this generationís most gifted songwriters. He confirms as much with each subsequent record, including slow jams like "Freak In You" from Colours 2. Now that both EPs are side by side, listeners can trace PND’s artistic growth by revisiting these early classics, and for the very first time, fans can listen to this joint project on limited edition white vinyl!

SPLIT's debut vinyl EP is a tour de force of German Dubstep, featuring masterfully crafted original tracks and expertly executed remixes from Jafu, Zecher, and Schulzone.

From the opening track, the listener is taken on a journey through a soundscape of deep, driving basslines and mesmerizing melodies that are sure to leave a lasting impression. SPLIT's unique style is evident throughout the EP, blending elements of traditional Dubstep with a fresh,
contemporary twist. The remixes from Jafu, Zecher, and Schulzone add an exciting new dimension to the EP, showcasing their own unique perspectives on SPLIT's original tracks.

Overall, this is a must-have release for any Dubstep fan and a strong indication of the bright future ahead for SPLIT.
Highly recommended.

After many years of dedication, devotion and hard work behind the scenes we are happy to share the first album ever released on vinyl by the Wedding Acid Group.

This musical odyssey consists of 8 meticulously crafted tracks, created between 2010 and 2021, representing over a decade of evolution and growth. Each song showcases a unique facet of the trio’s musical prowess, with tempos ranging from 100 to 150 bpm.

Disc 1 serves as a testament to the signature sounds of WAG, kicking off with the iconic and mesmerizing dark break journey “Toy Story” at 150 bpm. The energy continues to soar with the pulsating beats of “Colombo Acid” and “Low Moisture Acid,” both guaranteed to ignite dancefloors worldwide. The first disc comes to a close with “Lost Memory FM,” a true sonic adventure that starts in the abstract, gradually building up to the trademark dancefloor groove that the trio is renowned for.

Disc 2 delves into the introspective and emotive side of WAG’s production process. “Optimistic Acid,” the sole 4/4 track on the second record, enchants listeners with its rhythmic grooves and dreamy melodies, setting the stage for a captivating journey. “Sunday Circles” takes a detour into deeper realms with its evocative and playful melodies. The final side of the album delves even deeper into emotional territory with “Dog Park Memories,” culminating in the breathtaking closing track, “City Gate Funk.”

We are humbled and honoured to present this remarkable work by our dear friends, the Wedding Acid Group. As the second album to grace the shelves of Undersound Recordings.

Rising up from the dark depths of the underworld, Toni Moralez presents his latest project, Echoes From The Grave, via Mutual Pleasure Records.

A four-track serving of truly devilish sounds, Echoes From The Grave brings the listener deep into the world of Toni Moralez; a world of high-flying dance floor deviousness. Within the EP, the Frankfurt based producer coordinates a masterful balance between sinister and groovy, with daring blends of funk-infused basslines, pulsating drum patterns and synths, resulting in an unmistakably mischievous sound.

From the infectiously old-skool nature of DON’T B SHY (TURN AROUND), to the equally infectious hypnosis of I WANNA SUCK UR DICK (LONG N HARD), to the bassline mastery of TAKE OFF UR CLOTHES, which is then propelled into total misbehaviour with (Partiboi69’s Cheek Spreading Rework), which features a contagiously brazen verse from YBM.

Exceeding and succeeding in utmost rebellion, Toni Moralez’s Echoes From The Grave EP is a uniquely daring project, full of devilish personality and character, and one that sees its creator reach newfound heights with his sound; a sound that continues to evolve and develop rapidly.

Repress!

LA producer Blake Robin aka LUXXURY’s new full-length album finds the bassline obsessed disco addict experimenting with funk, synthpop and even (gasp!) pure instrumentals. ‘Increasingly in my most recent singles I’ve been treating vocals like instruments’ says Robin, ‘backgrounding and balancing them as sonic elements instead of centerpieces, so the listener gets lost in the groove.’ And indeed the star of these 11 songs is undoubtedly the 11 stellar basslines that ground the swirling synths and melodies as vocal fragments coolly dip in and out of the mix along.

Highlights include: KCRW fave ‘What Are We Gonna Do?’; the slap bass workout ‘Somebody Tonight’; the contemplative ‘…At Any Moment’ (playlisted by Purple Disco Machine) and its sister track, the title track ‘Alright’; while playful disco-house burner ‘Let’s Stay Together’ blends house and jazz funk rhythms with his trademark dusty basslines.

The album was 100% created by Robin, who wrote, performed, recorded and mixed all 11 songs, and even created the artwork. The 11 songs on LUXXURY’s album are all infectiously rhythmically-oriented while exploring new disco direction

Making their debut appearance on Steel City Dance Discs, Clouds, an irrefutable powerhouse of sound consisting of Liam Robertson and Calum Macleod, exercise their intensely unapologetic musical personality with their latest venture with Mass Hysteria, for SCDD040.

The Scottish duo have become recognised for their heavenly balance of euphoric soundscapes, ladened with break-neck percussion, ecstasy-induced melodies and rupturing drum patterns. All of these highly characteristic elements are found in Mass Hysteria; an EP that highlights the hard-edged nature of Clouds’ ever-evolving style.

Mass Hysteria is a five-piece project that is nothing short of atomic. Typically energy-fuelled, the duo coordinate a masterful blend of hard-hitting, four-to-the-floor basslines: a seemingly perfect marriage for an EP that sets the listener deep into a cosmic whirlwind of electronic emotions.

BOTANICA is the newly established Japanese label created by DJ/ Producer, Iori Wakasa. It was formed for him to utilize it as a foundation for the realization of his own unique, artistic expression.
And now, he has the pleasure to announce his label’s inaugural title with the release of his own BOTANICA EP.

Born in 1988 in a rural Japanese city surrounded by mountains and the sea with a mild climate, Iori grew up playing RPGs with a father who was a devoted game aficionado. And he was introduced to electronic music through game music from an early age and formed his musical sensibilities through playing the classical piano around the same time.

Influenced by the spirituality and idiosyncrasies of punk rock and ethnic and indigenous music in his youth, also gradually influenced by the Tokyo club scene and the music, it didn't take him long before
he made the choice to start DJing at the age of 17 and soon afterwards, started exploring the path of music production as a form of self-expression.

Iori set up Botanica to convey 2 main concepts of 'presenting music that provides each listener with their own viewpoint' and ‘to construct a fusion between 'nature' and 'man-made objects and human
activity’. Through the experience of traveling around Japan, Europe and Asia and connecting with people of different languages and cultures, he became to appreciate that music transcends all languages and grooves, and the framework in which he would like to shape his perspective and embody it as his way of life is what he envisions as the vital expression for BOTANICA, The two tracks and the artwork included in this first EP are the first steps towards hopefully chronicling the story of the vortex that he resides in now and the new forest that he plans to weave in the future with his label.

'The Pure Land' means in Japanese 'Gokuraku-Jodo (= a space where you can live in bliss)', but in English it is closer to 'utopia' or 'paradise'. However, 'The Pure Land' is a musical work that evokes a
hypnotic and pleasant euphoria through the gradual layering of multiple rhythms and soft particles of spatial sound design. It is also shaped with the aim of liberating the listener and guiding them towards their primal self.

In contrast, 'Lunar Down' expresses the changes that occur in the human state of mind during the extended period from moonrise to moonset especially when the moon sets from its zenith and is completed with a focus on maximum dance floor impact via an inner voice that resonates in the brain that echoes throughout a well-textured bass line and rhythm track.

The artwork for the front cover of this EP was created by SHINOZAKI HILOSHI, an illustrator who has been traveling and painting to express his true way of life that he learnt in the 10+ years of commuting between Tokyo (the end) and the Hawaii Islands (the beginning), and the graphic designer hiro, who stands by Iori`s side as his life partner and as the person who understands him the best. Iori`s first steps are complemented by the label design and art direction by graphic designer hiro, who stands by his side as his life partner and most understanding partner, and the proof is the physical cut, which is presented as the foundation for the future.

On Rock Island, their second LP, Palm produces evidence of a distinct musical language, developed over time, in isolation, and out of necessity. On the island, melodies are struck on what might be shells or spines. Rhythms are scratched out, swept over, scratched again. Individual instruments, and sometimes entire sections, skip and stutter. There is the sense of a music box with wonky tension or a warped transmission in which all the noise is taken for signal.

Like other groups so acclaimed for their compulsive live show, Palm has been burdened by the constant comparison between their recorded material and their touring set. On Rock Island, they render this tired discussion moot, using the album form to present that which could never be completely live, reserving for performance that which could never be completely reproduced.

Despite appearing behind the instruments typical of rock music, Palm trades in sounds of their own making. On these songs, one of the guitars and the drum kit are used as MIDI triggers, producing an index that can be combed through later and replaced with new information. The percussion is sometimes augmented so as to suggest a multiplication of limbs. The strings are manipulated to choke, crack, and hum like other instruments, or other bodies, might.

Working again with engineer Matt Labozza, the band spent the better part of a month in a rented farmhouse in Upstate New York. With the benefits of time and space, Palm recorded the various elements piecemeal, only rarely playing together in groups larger than two or three. While some members tracked, others holed up in the next room, experimenting with quantization, beat replacement, and other methods borrowed from electronic music. Even accounting for the many labors that brought them to be, these materials seem produced by an organic logic. Their complex friction forms a habit of thought, scores a network of grooves on the floor of the mind.

This is music with dimensionality. Sonic objects are deployed, developed, and dissected in various states of mutation. The listener flits about between the field and the lab. The tone is warm in a way only the sun could make, the pace as forceful and as variable as a gale. Whether one locates Rock Island in a sea or in a refinished attic (as in Greg Burak's album cover), whether one escapes to there or is banished, its psychic environs are charted clearly enough. Only at this remove from the mainland can we sense the conditions necessary for such a strange species of sound.

Its been five years since Belgium's WeMe Records lovingly selected the first ever collection of Heinrich Mueller's (Drexciya/Doppleffekt) best remixes/remodels for a new generation of listeners that won't have to pay collector prices to have them on vinyl. Volume 2 of False Vacuum is now with us and still has riches to choose from.

These 13 rare and hard to find tracks (3 of which make their vinyl debut) all deliver in different ways as he systematically reinvents each one.

Beginning with his raw and now classic remix of Ultradyne's 'Clones', the hard-edged dance-floor friendly 'Woman's Scent' by Cisco Ferreira (The Advent), the more laidback and futuristic sounding 'Bohrium 274' by Jauzas the Shining and Victoria Lukas, the slow and mysterious and first time on vinyl 'Somehow' by Rough Days For Diamond Trade, reinventing the darkest of dance-floors on 'Rytumtraks 0002' by Albert van Abbe, the moody masterpiece and first time on vinyl 'Now We Continue' by White Car, Duplex's 'Autoslug' sounding like its been rearranged inside a black-hole, a balancing act between the light and darkness on Fasenuova 'Cachito Turulo', an insistent rise and falling workout for As One's 'Where Did He Go and Why', a tightly wound and almost meditative 'The Truth' by The Exaltics, an angular stomping march of the robots 'Longwang' by 6D22, a jumpy fidgety groove for first time on vinyl 'Forty Eight Hours' by Yan Wagner and perhaps one of his most sublime pieces is kept for last with 'So Long For A Small Storm' by Dollska.

Black Truffle is pleased to announce its first release from celebrated London-based Canadian composer Cassandra Miller. Though her body of mature work stretches back almost twenty years, many listeners were introduced to Miller through the success of her astonishing 2015 Duet for Cello and Orchestra, which sets an imperturbable two-note cello part against a series of increasingly dense orchestrations of an Italian folk melody; in 2019, it was selected by The Guardian as one of the ‘best classical music works of the 21st century’. Traveller Song / Thanksong, the first release of her music on vinyl, presents a pair of compositions for voice and ensemble that exemplify Miller’s gently absurd, strikingly beautiful, and utterly unique work.

Like many of Miller’s compositions, these pieces originate in existing music. Traveller Song (2016/2018) begins from a 1950s song of an anonymous Sicilian cart driver recorded by Alan Lomax and Diego Carpitella, which Miller recorded herself singing along to, going on to then record herself singing to her own layered voices. Miller’s untutored voice is an unsteady, wavering wail that has, in her words, ‘more in common with a quasi-shamanistic keening than anything Sicilian’. Heard sometimes alone, sometimes layered, her pre-recorded voice is accompanied by a chamber sextet drawn from London’s Plus-Minus Ensemble. In the first section, Miller’s exposed warble is set to a spare piano accompaniment, somehow both faintly preposterous and magisterial. Following the voice note for note, the piano part often makes use of almost mechanical sequences of parallel chords, reminiscent both of Satie’s Rosicrucian period and the abrupt harmonic movements of a chord organ. The orchestration then opens up to guitar, clarinet, and sliding strings, a delicate environment for Miller’s voice, which, especially when it begins to be layered, generates a powerful sense of intimacy. In its concluding minutes, the folk roots of the original melody return in the form of a glorious full ensemble setting dominated by accordion, clarinet, and strummed guitar. Thanksong begins from recordings of Miller singing along to the third movement of Beethoven’s late quartet in A minor (Op. 132), the ‘holy song of thanks’ the composer wrote to express his gratitude for (temporarily) recovering from illness. Recording herself singing along repeatedly to each of the individual parts of the quartet, Miller created an aural score where each member of the string quartet listens to their own part on headphones, playing by ear. Performed on this recording by Montreal's Quatuor Bozzini, with whom Miller has a decades-long relationship, they are joined by the British soprano Juliet Fraser, who sings material from the Beethoven quartet ‘as slowly and quietly as possible’. The atmosphere of the opening of Beethoven’s Dankgesang, of hushed reawakening and thoughtful reflection, is sustained throughout the fourteen minutes of Miller’s piece, building at points almost to sentimentality before the five individual parts again fall back into a gentle burble of unsynchronised melodic gestures. Like Traveller Song, here the use of the voice is a long way from the mannered performance of much contemporary music, reaching for a human and bodily presence more connected to the reality of the everyday, albeit suffused with wonder. Presented in a stylish sleeve adorned with photography by Lasse Marhaug and liner notes by Cassandra Miller, this is a key release from a major contemporary composer whose work challenges and dazzles in equal measure. .

ORKA is a duo comprising Francine Perry from London and Jens L. Thomsen from the Faroe Islands. They crossed paths in the vibrant club scene of London, an immersive world that had a profound impact on their creative journey. ORKA's music draws inspiration from the Hardcore Continuum and UK sound system culture, blending it with elements of minimal techno, progressive electro, and ambient music, resulting in a diverse range of stylistic influences. Now ORKA emerges with their long-awaited new album. Once again, they greet us with their distinct blend of earthy tones and a bold, adventurous spirit, taking us to a realm bursting with neon-lit hues, pulsating club beats, and an abundance of sensory stimulation. Aptly named "All At Once," the album title provides a clue to the auditory and sensory experience that awaits the listener in this immersive record. ORKA has continuously evolved as a project over many years and iterations, embracing fluidity and a relentless quest for fresh sonic amalgamations. Their journey has been marked by a gradual refinement, stripping away layers to reach the core essentials. This transformative process has unfolded over the years, reaching from their site-specific, cowshed sampling and band-based expedition in "Livandi oyða" (2007) to the bold, innovative exploration of minimalist techno in "Vað" (2016). However, their latest release, "All At Once," signifies yet another remarkable leap forward in their artistic evolution. The seeds of this artistic progression were already planted in previous releases like the <13 EP (2017) and the hard-hitting techno single "Juno" (2018). However, it is with the arrival of the album "All At Once" that ORKA's vision fully blossoms, unveiling a vivid and expansive sonic landscape. This latest offering presents a glorious and vibrant tapestry, showcasing a maximalist approach to techno that pulsates with energy coupled with their signature meticulous attention to sound design, reflecting a deep awareness and intentionality in their creative process. If this album was to be thought of as a place, it would be a shimmering, futuristic, buzzing kind of city with vibrating night-time drizzle from above and endless glowing lights in the distance. Several of the tracks are built around cut-up vocal samples that are divided from their semiotic meanings and reconfigured as loops, and thus mined for their timbral and percussive qualities. Recurring collaborators South London duo LV (Hyperdub, Keysound, Brownswood) are featured on a handful of these tracks, mixing in their complex cocktail of grime and bliss. The result is a sort of queer erotic dance-floor mysticism, and the closest to a full-blown dance record that ORKA have ever made. There must be a club in that shimmering futurist city of the night.. and it is a collective, inclusive and alluring place. There is no need to fear any dancefloor exhaustion by listening to this album though, as there are also moments of floating cyber beauty and pure enveloping warmth to be found among its tracks. As always, following the artistic journey of ORKA is a joyous experience, filled with unexpected twists and turns that keep us captivated.

'Ascending to the apex of an eight-year grind, the band reached critical mass on 2018’s DISPOSE. The standout “FEEL NOTHING” exploded with 31.4 million Spotify streams, while the project eclipsed 60.7 million streams on the platform. Billboard raved, “DISPOSE is the band’s most polished and cohesive work to date,” and Alternative Press noted, “DISPOSE makes it clear that TPIY challenge both the listeners and themselves more and more with each release.” Grading the album “9.0-out-of-10,” Rock Sound predicted it “should finally – and deservedly – make The Plot In You a name that everyone knows.” They supported the record by hitting the road with Underoath, The Amity Affliction, Like Moths To Flames, Sum 41, and more. The album racked up over 100 million streams and received praise from Billboard, Rock Sound, Alternative Press, and more.

This new project is directed by Miho in collaboration with Robert Drewek, the owner of respected label RAWAX.
It is a special edition 'RAWAX - AIRA EP vinyl series".

Concept and mission will always be, to connect and invite great musicians who produce and create "essence of the real music',
not following the trend but let the music speak itself with groove, melody, vibe, energy and soul....

Roland has made evolution in dance music all over the world in 80's, Music needed those machines, and machines needed those creators of music.

AIRA are not rehashing of the legendary original TR or TB, But respecting those great machines from the past, AIRA continues to evolve toward into the future simultaneously, newly developed, new generations tools to keep the music alive and to bring more possibilities for the future.

We seeks out this exciting movement of dance music history, as the music lover who has actual experience the flow of this evolution, and connections between musicians and machines to make their musical pieces on this project to inspire listeners and to challenge the genres they represent by each series.

A true surprise success for Paharas Musica, originally written during the end of the pandemic, 'White Isle Memories' captured the loss of not being able to visit the white isle of Ibiza and combines the producer talents of Ridney & Inner Spirit (aka Richard Earnshaw).

A production aimed at the beach bar culture of the island the production duo are joined by multiinstrumentalist, vocalist and loop pedal extraordinaire Michael Sebastian. In it’s original guise the track has racked up well over 1.3 million streams and in that gained the attention of German producer SOMMA (1.7 million monthly listeners), who was keen to grab the stems and deliver a special 2023 remix.

Adding to the package Ridney’s sunset reprise from his Café Mambo Ibiza DJ sets and Inner Sprits own incredible 2023 remix.

DJ Support:

Mark Knight (support on Kiss FM), Purple Disco Machine, Mousse T, Ken Fan (Café Del Mar), Ryan McDermott (Café Mambo Resident), Hector Romero, Des Mitchell (Radio One Mallorca), Mr V, Lenny Fontana, Loeca, Jazzy M, Dario D’Attis, Danny Rampling, Chad Jackson, Brandon Block, Booker T, Black Legend, David Dunne, Graham Sahara, Lizzie Curious, Martyn the Hat.5

After the A/V performance at Up To Date Festival back in 2022, Claudio PRC’s “Unda” project is going to be released as LP on vinyl and digital next September 2023.

Claudio PRC’s upcoming ambient album is a sonic journey through ethereal landscapes and intimate atmospheres. Drawing inspiration from the waves and their movement, “Unda” (in Sardinian native tongue “wave”) evokes a sense of calmness and introspection. Throughout the whole piece, Claudio PRC creates a blend of meticulously crafted organic and synthetic elements that seamlessly integrates together, showcasing his versatility as an artist and his commitment to exploring all facets of electronic music. With its textured layers, this work offers a soothing and reflective musical experience, inviting the listener to escape into a world of contemplation and meditation.

As a band, Taryn and Austin’s journey happened both unexpectedly and fortuitously. At the start of the COVID pandemic, Austin and his wife moved back into his parents’ house, where Taryn was also living at the time. Faced with nothing but time, he got back to songwriting, regularly asking Taryn for input — or as the two playfully put it, “Gen Z quality control.” The immediate result of their musical partnership was the pop-punk/alternative anthem “Who’s Laughing Now,” which leads with wry, tongue-in-cheek lyrics about the futility of young adulthood in 2023. After posting an unfinished version of “Who’s Laughing Now” on TikTok, it swiftly took off, galvanizing thousands of viewers who shared their coming-of-age frustrations. Clearly, the song’s sentiments - which land somewhere between a shrug and a clenched fist - resonated with millions of listeners, and today Durry have recorded a fully fleshed-out version of “Who’s Laughing Now,” which is set to appear on their riveting, perfectly sardonic debut LP, Suburban Legend. Whether Suburban Legend is tackling romantic love, late-stage capitalism, mental health woes, or teen nostalgia, the thread tying it all together is its utter relatability. Regardless of where you are in life — city or suburbs, school or work, or pursuing a creative dream of your own — Durry will meet you there with a wink and a high five.

Ole Kirkeng is finally ready to drop his highly anticipated debut album. On Still Not Lost, the listener is treated to an artist bursting with talent and creativity. The young singer-songwriter impressed on the 2021 EP Rocking Chair – a release that landed him a deserved Spellemann award (the Norwegian “Grammy”) on his first try. So, this time around, the expectations are high. Not only for the songs that make up Kirkeng’s first album, but also for the artist he is becoming. Looking back at the searching musician who arrived back in Norway after years abroad, we now see an entirely different artist unfolding. The confidence he exudes on stage, the wittiness and wordings of his lyrics, and – last but definitely not least – the songs! If he isn’t already a star, he is fast becoming one. Still Not Lost was recorded and produced along with Norwegian guitar legend and studio wizard Geir Sundstøl, and the result is just top class craftsmanship in all areas. Ole Kirkeng is a songwriter of the old school, who can stand comparisons to names such as Nick Lowe, Randy Newman, Jackson Brown and Father John Misty. He puts a lot of time and effort into the songwriting trade, and that’s obvious when listening to this collection of tunes. From the immediately catchy “Stupid Questions” via the cute and humorous “I Fell in Love WIth You (at IKEA)” to the epic Dylanesque title track, Still Not Lost contains eight songs, flowing freely between americana, folk and indie – all killer, no filler. Still Not Lost is Ole Kirkeng’s debut album and is released on Die With Your Boots On Records on September 8, 2023. After touring both US and Eu with the likes of Courtney Marie Andrews and Molly Tuttle, he has a lot of experience as a touring musician, but as a solo artist this is still a new life for Ole Kirkeng. «Still Not Lost» is Ole's debut album, and will be released on September 8th. It's a beautiful collection of songs, which makes a perfect follow up to his first EP, «Rocking Chair».

2023 Repress

Taking the basics from the past we seed our future. Apparently the songs hosted in this 12" are just techno tracks but the man behind them knows what he is doing.

Expect the unexpected: trap breaks, Chicago swinged rhythms, epic breaks and a lot of cowbell. All out of the ordinary to surprise the crowd, the listener and your neighbor if you play it loud enough during lockdown. All written and produced by one of those underrated genius who has studied and mastered the history and culture of rave music.

Dj Plant Texture is a sublime vinyl DJ, he owns a record store in the south of Italy and his prolific producer catalog along genres speaks for itself. Honored to have him in this second edition of Música Techno para Discoteca Presenting his new alias A.662

Disruptive techno music for believers, disc-jockeys and collectors. Play under your own risk.