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"Adult Swing" is the first full album as KCT (aka Karel Cuelenaere from Black Flower, John Ghost and Ping O.D and is immediately one that will put the trio firmly on the map.



Karel Cuelenaere, in the wake of Black Flower, John Ghost and Ping O.D. has gained numerous compliments from the international press. Louder Than War (UK) talks about his "incredible keyboard virtuosity" and OOR (NL) labels him as a "descendant of Keith Emerson". The Standaard (Belgium praises his "decisive contribution to the sound" of the aforementioned bands.
While Karel is now mainly perceived as a keyboardist within the prog-, rock- and hybrid jazz scene, with KCT - abbreviation of Karel Cuelenaere Trio - he resolutely opts for the grand piano. He is assisted by double bass and drums, respectively performed by Cyrille Obermüller and Gert-Jan Dreessen, both highly respected musicians in the Belgian jazz scene.
The trio is stylistically anchored in the Belgian jazz tradition, building on the work of Aka Moon, Octurn and Jozef Dumoulin, among others, and incorporates the atmosphere of 'saudade', a kind of melancholy that Karel got to know on a tour in Brazil and recognizes in the recordings of pianist Keith Jarrett during the 60s.

"Adult Swing" is the first full album as KCT and is immediately one that will put the trio firmly on the map.

After ‚`till things ghosts‘ Jonas Landwehr returns to Serial Sound with a club focused EP. This project is mainly based around the idea of local collaborations with two Cologne based artists. ‚Coeln Flowerz‘ consists of three tracks where as the Dembow infused, stripped down Techno tool ‚Low Tide‘ with the focus of a heavy bassline is functioning as the main track of this EP. ‚Sittin‘ Right’ was created from the same approach as ‚Low Tide’ but in collaboration with the Cologne based RnB singer ‚Bay B Hazel‘ to give this one a new perspective and house vibey like twist. 4 Sure closes this project and is a collaboration with the Cologne based MC ‚bienniap‘. This Reggaeton & Perreo infused track shows a more moody and simplified side carried through the interaction of the vocalist, deep chords and hypnotic percussions.

Time to welcome another newcomer to Freerange with a brilliant debut that has already been gaining a lot of interest from early spins. Stefano Ritteri should be a familiar name to many, having dropped several well- received releases on key labels such as Pets, Rockets & Ponies and Get Physical as well as his own monthly Rinse France radio show. A producer in the old school sense, he has the ability and desire to flip from deep, emotive and down tempo jams to the most impactful, high energy floor fillers, all with a deft touch and unique and experimental spin. The Italian producer, now relocated to London, has a studio chock full of vintage synths and hardware outboard which keep him inspired and ensure his output sounds fresher and fatter than most, as can be heard on this excellent two-tracker entitled A Different Happiness EP The title track is a spaced out, percussion-heavy jam which takes a minimal approach but wins hearts and minds with an ear-worm of a melody that gets gets you hooked in from the start. Snippets of spoken word add to the intense atmosphere making this one of those sure-fire, perennial tracks which can work in a variety of sets and still guaranteed to make an impact and stand out in the crowd. Flip over for Pocket Melody, another simple yet effective and inventive track which sees Stefano letting loose on his synths and coming up with some warped Zawinul-inspired vibes in the process. The playful melody snakes around in an improvised way whilst the dubby drums and classic analogue machine beats ensure everyone stays locked into it's hypnotic groove. Definitely a producer to watch for us and we're sure Stefano is on track to continue making some amazing music. We hope you love this as much as we do!

For the next reissue in Mr Bongo’s Cuban Classics series, we look to Raúl Gómez’s entrancing 1977 Instrumental album. Presenting a unique blend of orchestral disco and jazz-funk, with Afro-Cuban flavours and soundtrack influences, it’s rich with drum breaks, energy and evolving compositions. A record that forever keeps you guessing, powered by an exemplary orchestra at the top of their game.

Cuban composer and singer Raúl Gómez is most known for featuring in the groups Mirtha Y Raul and Los Bucaneros alongside producing the Cuban classic Los Reyes 73 album, amongst a whole host of other incredible productions over the years. Released on Cuba’s state-owned label Areito, Instrumental sees Gómez not only as an instrumentalist and author, but also as a producer and arranger.

It's an album that deftly evades pigeonholing. Floating between instrumental mood music and library/soundtrack mastery, followed by explosions of cosmic-Latin funk, psych guitar workouts and compositions that reflect the orchestrated disco coming out of the US at the time, from greats such as Love Unlimited or MFSB. Lace that together with a healthy serving of Afro-Cuban magic to underpin the tracks and it’s a recipe for a record that captivates from start to finish.

Predominantly an instrumental album as the title suggests, the record showcases the Orquesta EGREM in full flow, soaring strings and vibrant horns at every turn. Highlights include 'Mi Samba Carnaval' with its breathtaking drum break, bubbling synths and sublime arrangements and the romantic film music impressions of ‘Tema De La Sierra', that have been a sampling source for many a producer. Elsewhere, ‘6 Son’ is a mind-melding psych guitar powerhouse, with 'Dacapo', written by Gilberto Peralta, offering up a slice of atmospheric and energetic Latin shuffle. One of only a handful of tracks where scat vocals compliment the orchestral tones, a Brazilian percussion theme marries with dancefloor sensibilities for a dose of feel-good, brilliance.

A wide-ranging, multi-dimensional release, Instrumental exhibits musicianship, composition and creativity at its finest and demonstrates another key example of the rich output of music that flowed from the island of Cuba post revolution.

Chinese American Bear ist ein C-Pop-Duo, derzeit in Seattle ansässig, das eklektischen zweisprachigen (Englisch/Chinesisch) Ohrenschmaus kreiert. Das Ehepaar Bryce Barsten und Anne Tong, macht Musik, die chinesischen Mando-Pop und westlichen Indie-Pop-Kanon vermischt. Sie schreiben Songs, die zwischen Englisch und Mandarin wechseln und einen Geist der interkulturellen Freude und Sehnsucht erfasst, die oft ergreifend ist und nie den Spaß verliert. Man hat sie als eine Mischung aus The Flaming Lips, Dusty Springfield und als wenn die Beach Boys ein Baby mit Care Bear hätten beschrieben. Das Album ist voll von Komik, Groove, Schrulligkeit und Niedlichkeit mit melodisch reicher Instrumentierung, ein bisschen Psychedelik, einer Dosis Funk und einer Menge Texte über das Füllen des Bauches mit Essen.

“A huge thing for this record was to make it feel as close to our live show as possible,” says Tom Sharkett of W.H. Lung’s latest album. “We didn’t want it to sound live but we wanted to capture the excitement of the live performances.”

This is something that has become paramount to the group in recent years as they have undeniably blossomed into one of the most joyous and arresting live bands in the country. “The reason I’m in a band is to play live music,” says singer Joe Evans. “For me, music is live music. That’s what it’s for, to be played with people.”

The five-piece band, also featuring Chris Mulligan, Hannah Peace, and Alex Mercer-Main, decided to try something new on their third album after two incredibly successful collaborations with previous producer Matt Peel. In order to capture the energy, spirit and dynamism of their live shows, they relocated to Sheffield to work with Ross Orton (MIA, Arctic Monkeys, Working Men’s Club) who was able to harness this side of the band to remarkable effect. “Ross is the Sheffield Steve Albini,” says Evans. “He’s the king of not overthinking it and trusting the process of the art of recording songs. He was always there to stop us fucking around with cerebral stuff and get it down.” Sharkett echoes this too: “He was the exact producer we needed without us even realising. His productions and mixes are bombastic, lively and in your face and that’s exactly what we wanted.”

However, while this album is rooted in a sense of capturing a moment and a sparky liveness, that’s not to say it’s a raw or ragged record. It is still a meticulously composed, delicately layered and pristinely produced piece of work that, in true W.H. Lung style, runs the gauntlet from dance to pop to indie while still capturing that distinctly unique quality that is unquestionably their own. “It was a really big thing for me to realise what made us sound like us on this record,” says Sharkett. “I think the album sounds a lot more confident and self assured because of it. Some songs sound just so much like Lung and I’m really proud of that. I’m not sure we’ve done that as consistently across the other records.”

While the band have drilled deeper into finding their own singular identity, it’s not a record resting on its laurels. It’s a significant leap forward, expanding on their solid foundations while also breaking new ground. “The big difference with this record is its directness in every sense,” says Sharkett. “The songwriting is more upfront. Previously we’d focused a lot on vibe and production as opposed to just writing songs. The overall mission here was to revert to a classic songwriting structure and for the production to come afterwards.” And so what you have on this record are deeply considered and well-crafted songs, then recorded with blistering intensity in the moment, and then given a touch of experimentation afterwards. Then throw in Orton’s contributions to the band and it’s proven to be a real winning formula. “He brought a real dose of magic to the songs we’d written,” says Sharkett. “And brought an extra bit of wonk and quirkiness each time.”

The band’s ability to write more traditional and conventional songs is clearly a skill they’ve taken to with ease, at times there’s an almost Springsteen-like quality – but if he'd ever had an ecstasy period – to tracks such as ‘Thinner Wine’ and ‘Bloom and Fade’. While ‘How to Walk’ was constructed with one thing only in mind: that it would absolutely slay on stage. “I can’t wait to play this live,” says Evans. “We wanted a song to represent our live set, a new big one, and this is it.” Once again it leans towards the anthemic, with its driving, propulsive charge complete with incandescent synths and vocal melodies so irresistible you can already hear them being sung in unison by a crowd.

It’s an incredibly difficult feat to pull off a record that is more rooted in traditional songcraft while also capturing the power of a live performance, as well as pushing sonics into experimental new directions while working with a brand new collaborator. But here the band has managed to do just that. And the album’s closing song ‘I Will Set Fire To The House’ is a perfect example of such a thing. It’s a song that feels immaculately constructed but also very much alive and of the moment as its radiating synths engulf from the off, and Evans’ vocal is silky but powerful and in perfect symbiosis with Peace’s. It’s a song that captures the endless joys of music playing long into the night. “It may be a bit of a bloody bombastic way to end an album saying ‘and we’ll dance into the sunrise’,” says Evans. “But fuck it.”

MORE PRESS ON ‘VANITIES’ (MELO131)

"Vanities artily refines an exhilarating brand of up-front electro-dance" MOJO ⅘

'Idiosyncratic yet euphoric electronic pop on triumphant second LP' 9/10 Uncut

''One of the most effective alternative pop albums of the year'' 4/5 Record Collector
'Dance music for the modern age' - The Times (4*)

BLIND EGO ist zurück! Der Gitarrist der deutschen Vorzeige-Artrock-Band RPWL Kalle Wallner hat sein Versprechen wahr gemacht und ein neues Album aufgenommen. "The Hunting Party" drückt im Vergleich zu seiner Hauptband RPWL das Pedal deutlich zugunsten von Rock- und Metal-Elementen durch. Seit dem Debut aus dem Jahre 2007 ist der neue Longplayer bereits sein fünftes Studio-Album. Dazu erschien 2017 ein Live-Album und 2022 sein "beinahe-Instrumental"-Album "Voices" unter eigenem Namen. Wallner scheinen die Ideen und die Lust am Produzieren nicht auszugehen - trotz seiner Hauptband RPWL, dem eigenem Label Gentle Art Of Music, seinem Tonstudio und vielen weiteren Projekten als Produzent und Gitarrist. Dabei stand die Tour des letzten Albums 'Preaching To The Choir' unter keinem guten Stern. Für viele Fans waren diese Konzerte im Frühling 2020 die letzten unmittelbar vor dem Corona-Lockdown und für viele Monate die letzten Konzert-Erlebnisse. Zum großartigen Gesamteindruck des Albums trägt neben Wallners außergewöhnlichem und markantem Gitarrenspiel vor allem der talentierte und erstklassige Sänger Kevin Kearns bei. Kearns, der bei seiner eigenen Metalcore-Band Cyant normalerweise ganz andere Töne anschlägt, entpuppt sich als Idealbesetzung: er interpretiert die Songs auf 'The Hunting Party' ganz besonders emotional, nimmt einen durch alle leisen und lauten Passagen mit - mal schnörkellos, mal filigran, aber immer höchst ausdrucksstark und voller Energie strotzend.?Dazu gesellen sich erneut Ausnahme-Drummer Michael Christoph und Wallners langjähriger musikalischer Weggefährte Yogi Lang (RPWL), der dem Album nicht nur als Mitproduzent und Keyboarder seinen Stempel aufdrückt, sondern sich auch für den glasklaren Mix und das Mastering verantwortlich zeigt.
Kevin Kearns führt hier den Hörer atemberaubend durch alle emotionalen Höhen und Tiefen, ehe die Wogen ruhiger werden und der längste Song des Albums mit einen wunderschönen Gitarren-Solo schließt. Nicht zuletzt wegen solcher Soli fällt einem bei Wallner sehr schnell der Vergleich zur Pink Floyd-Ikone David Gilmour ein. Dieser zentrale Song umfasst sehr gut dieses emotionale und abwechslungsreiche Album.

Line-up:
Kalle Wallner - guitars, bass, keyboards, programming
Kevin Kearns - vocals
Yogi Lang - keyboards
Michael Christoph - drums

Das vierte Soloalbum von Lost Dog Street Band-Frontmann Benjamin Tod, Shooting Star, ist eine Hommage an mehrere Jahrzehnte Country-Musik
durch Tods hochgeschätztes und ehrliches Songwriting.

"Clouds In The Sky They Will Always Be There For Me", das vierte Album von Porridge Radio, wurde Anfang 2024 in Somerset vom langjährigen Big Thief- und Laura Marling-Tontechniker Dom Monks aufgenommen und ist ein Moment des Erwachsenwerdens, inspiriert von Burnout, der Musikindustrie, Herzschmerz und der zunehmenden Vertiefung der Bandleaderin Dana Margolin in ihr eigenes Handwerk als Künstlerin. Margolins rücksichtsloser, sich selbst hinterfragender Schreibstil wird auf dem gesamten Album durch die bisher ergreifendste Musik der Band ergänzt, die sich geduldig aufbaut und tragisch intensiv ist. "Alle Songs begannen als Gedichte, ich wollte mich selbst herausfordern", sagt Dana Margolin über das Werk, aus dem "Clouds In The Sky They Will Always Be There For Me" wurde. "In einem Song kann sich der Autor immer hinter den Tricks der Musik und altbekannten Techniken wie Wiederholungen verstecken. In einem Gedicht hingegen sind es nur Worte und das war's." "Vieles auf diesem Album handelt von einer frenetischen und verzweifelten Art von Liebe, es geht um den völligen Verlust meines Selbstbewusstseins in einer Beziehung und um den tiefen Rest von Unsicherheit und Schmerz, der eine neue Beziehung trübte." Lieder, die als Liebeslieder geschrieben wurden - wie "In A Dream I'm A Painting" - bekamen neue Bedeutungen, als Margolin die Lieder mit einer neuen Distanz betrachtete. "Es gab eine Menge Liebe und Verwirrung, alles durchsetzt mit Erschöpfung und Schmerz." Die Clouds-Sessions fanden in Frome statt, als der Winter zu Beginn des Jahres 2024 in den Frühling überging. "Es gab ein paar Zusammenbrüche", grinst Dana, eine faire Einschätzung der Aufnahme solch intimer und persönlicher Songs, "nach einigen Takes brach ich einfach auf dem Boden zusammen, so aufgebracht war ich." Es wurde ein Umfeld geschaffen, in dem Dana sich ausdrücken konnte und in dem sie gefördert wurde. "Wir hatten jeden Abend diese großen gemeinsamen Mahlzeiten", sagt sie, "es fühlte sich sehr eng und fürsorglich und warm und besonders an. Unser kleines Haus lag auf einem großen Hügel, ein Fluss floss hindurch, es war groß und hell und schön", erinnert sich Dana. Das Studio selbst war hell - voller strahlendem natürlichem Licht aus den großen Fenstern, ein Segen für Musiker, die an die abgeschottete Welt der meisten Aufnahmestudios gewöhnt sind, und zum ersten Mal konnten alle im selben Raum wie der Produzent aufnehmen. "Es fühlt sich an, als hätten wir zum ersten Mal etwas gemacht", erklärt sie und freut sich hörbar über das Album, "es hat etwas von unserer Freundschaft eingefangen und von der Art und Weise, wie wir gelernt haben, zusammen zu spielen. Ich liebe die Songs, ich liebe es, sie zu spielen, sie sind nicht alt geworden und es fühlt sich an, als wäre es etwas Besonderes." Eine Pause. "Es hat mich so viel gelehrt. Deinem Bauchgefühl zu folgen, auf deine Freunde und ihre Loyalität zu vertrauen, darauf zu vertrauen, dass du mit Leuten richtig kämpfen kannst. So will ich leben, so will ich Platten machen, denn Platten machen ist mein Leben, denn meine Arbeit ist mein Spiel, mein Job ist mein Leben. Alles ist in dieser Sache miteinander verbunden, und es gibt Wege darin, die mich nicht umbringen."

"Clouds In The Sky They Will Always Be There For Me", das vierte Album von Porridge Radio, wurde Anfang 2024 in Somerset vom langjährigen Big Thief- und Laura Marling-Tontechniker Dom Monks aufgenommen und ist ein Moment des Erwachsenwerdens, inspiriert von Burnout, der Musikindustrie, Herzschmerz und der zunehmenden Vertiefung der Bandleaderin Dana Margolin in ihr eigenes Handwerk als Künstlerin. Margolins rücksichtsloser, sich selbst hinterfragender Schreibstil wird auf dem gesamten Album durch die bisher ergreifendste Musik der Band ergänzt, die sich geduldig aufbaut und tragisch intensiv ist. "Alle Songs begannen als Gedichte, ich wollte mich selbst herausfordern", sagt Dana Margolin über das Werk, aus dem "Clouds In The Sky They Will Always Be There For Me" wurde. "In einem Song kann sich der Autor immer hinter den Tricks der Musik und altbekannten Techniken wie Wiederholungen verstecken. In einem Gedicht hingegen sind es nur Worte und das war's." "Vieles auf diesem Album handelt von einer frenetischen und verzweifelten Art von Liebe, es geht um den völligen Verlust meines Selbstbewusstseins in einer Beziehung und um den tiefen Rest von Unsicherheit und Schmerz, der eine neue Beziehung trübte." Lieder, die als Liebeslieder geschrieben wurden - wie "In A Dream I'm A Painting" - bekamen neue Bedeutungen, als Margolin die Lieder mit einer neuen Distanz betrachtete. "Es gab eine Menge Liebe und Verwirrung, alles durchsetzt mit Erschöpfung und Schmerz." Die Clouds-Sessions fanden in Frome statt, als der Winter zu Beginn des Jahres 2024 in den Frühling überging. "Es gab ein paar Zusammenbrüche", grinst Dana, eine faire Einschätzung der Aufnahme solch intimer und persönlicher Songs, "nach einigen Takes brach ich einfach auf dem Boden zusammen, so aufgebracht war ich." Es wurde ein Umfeld geschaffen, in dem Dana sich ausdrücken konnte und in dem sie gefördert wurde. "Wir hatten jeden Abend diese großen gemeinsamen Mahlzeiten", sagt sie, "es fühlte sich sehr eng und fürsorglich und warm und besonders an. Unser kleines Haus lag auf einem großen Hügel, ein Fluss floss hindurch, es war groß und hell und schön", erinnert sich Dana. Das Studio selbst war hell - voller strahlendem natürlichem Licht aus den großen Fenstern, ein Segen für Musiker, die an die abgeschottete Welt der meisten Aufnahmestudios gewöhnt sind, und zum ersten Mal konnten alle im selben Raum wie der Produzent aufnehmen. "Es fühlt sich an, als hätten wir zum ersten Mal etwas gemacht", erklärt sie und freut sich hörbar über das Album, "es hat etwas von unserer Freundschaft eingefangen und von der Art und Weise, wie wir gelernt haben, zusammen zu spielen. Ich liebe die Songs, ich liebe es, sie zu spielen, sie sind nicht alt geworden und es fühlt sich an, als wäre es etwas Besonderes." Eine Pause. "Es hat mich so viel gelehrt. Deinem Bauchgefühl zu folgen, auf deine Freunde und ihre Loyalität zu vertrauen, darauf zu vertrauen, dass du mit Leuten richtig kämpfen kannst. So will ich leben, so will ich Platten machen, denn Platten machen ist mein Leben, denn meine Arbeit ist mein Spiel, mein Job ist mein Leben. Alles ist in dieser Sache miteinander verbunden, und es gibt Wege darin, die mich nicht umbringen."

High Roller Records, Black Vinyl, 425gsm heavy cardboard cover, insert, poster

High Roller Records, Orange/ Black Mixed Vinyl, 425gsm heavy cardboard cover, insert, poster

Oliver Coates' Throb, shiver, arrow of time is a portal into somatic chiaroscuro, aglow with the embers of imperfect memories and smudged with the plumes of internal echoes, which augment in vast, mercurial dimensions. For his third album on RVNG Intl., the British cellist, composer and producer offers a capsule of personal resonance and remembrance, assembled over the past six years. Throb, shiver, arrow of time traces the familiar metallic anatomy and viscous string modulations of his 2020 release skins n slime, while recentering his inner compulsions following a procession of lauded score writing projects, including the films Aftersun (Charlotte Wells, 2022), The Stranger (Thomas M Wright, 2022) and Occupied City (Steve McQueen, 2023). While working on Aftersun, Wells asked Coates how music could signal that someone is going on a trawl through their memory_a question that has stayed with him ever since and fosters a heartbeat running through the record. Throb, shiver, arrow of time is "all about inaccurate transmissions from our memories, overlaid with emotions from other sources," says Coates. The release is imbued with the ache and glow of recollections mulched together, where the guttural dissonance of misremembering is shrouded by strange orbs of sentiment. At the record's inner core is "Shopping centre curfew," a swift yet cavernous track that emerged five years ago when two real world events, both occurring in South London during the pandemic lockdowns, became fused in a dream: the demolition of Elephant and Castle shopping center, and the discussion of a curfew as a real possibility for all men following a violent crime. A strange simultaneity occurred with this piece of music and Coates built the album out from there, a sense of temporal entropy refracting shimmers of lurking convulsions into lucid sonic topologies. The ten compositions of Throb, shiver, arrow of time find weightless melodies soaring across after-image gradients, magnified and compressed. Misted tones within "Please be normal" and "90" soften drone-soaked shudders of inner acoustics messing up. Vocal invocations appear from long-term collaborators Malibu and chrysanthemum bear, as well as drifting synth radiance from Faten Kanaan. Throb, shiver, arrow of time furthers Coates' reach in collapsing the digital into the analogue and vice versa, allowing serendipity to reorganize the material and push out against the confines of flatness. This sculptural approach to sound is deeply influenced by the intricate installations of artist Sarah Sze, whose permutations of visual matter with its own after-image form kaleidoscopic epitaphs for ephemera and emotion. Coates' thinking about Sze's work and processes flowed together with his own playing and editing techniques, superimposing the textural relief of a live take back into a composition, and allowing the sound to succumb to a dream of itself. As Coates expands, "The cello is a kind of melancholic instrument with a light ethereal spirit. When the sound is flattened into digital processes, with shifted frequencies and time stretching I'm trying to give it even more of those qualities. Sometimes I'm distancing myself from it, so it becomes a piece of discarded debris that has soul in it, a down-sampling. Or other times, it's trying to maximize the present tense in the act of playing, and collapse that vivid color into a burnished, photocopied kind of sound. So the music acts like weather, weathering the listener, or as flames licking at the sides of objects." As the record unfurls, the compositions swell in duration, until the granular glimmers of its finale "Make it happen" persist in almost violent delight. "There's a feeling of not wanting to let this album go, trying to defy the extinguishing sound at the end of the music, trying to push the colors beyond the confines of the structure, to defeat the silence." In the scramble to resist denouement, Coates suspends the arrow of time in its eternal flight, just for a moment, to reveal the solace of the dust settling in the afterglow. Oliver Coates' Throb, shiver, arrow of time will be released on vinyl, Japanese import CD, and digital editions on October 18, 2024. On behalf of Oliver and RVNG Intl., a portion of the proceeds from this release will benefit The Traditional Music and Song Association of Scotland, an organization fostering opportunities for people of all ages to participate in the traditional music and culture of Scotland.

Das vierte Soloalbum von Lost Dog Street Band-Frontmann Benjamin Tod, Shooting Star, ist eine Hommage an mehrere Jahrzehnte Country-Musik
durch Tods hochgeschätztes und ehrliches Songwriting.

Ricky Razu is one of Belgium's new breeds of rising house producers who come from a vast background of jazz, boogie, hip-hop and disco and through the amalgamation of these various styles, he is quickly making a name for himself.

Ricky's swing is quite unique, he has been putting his own twist and interpretation on the regular house track by joining the dots between yesterday’s golden era classics and today’s club bangers. As one of Houseum's mainstays, he has also built up a solid presence behind the decks, becoming a regular player in the Belgian and international house scene. During the past years, Ricky’s prolific output has also allowed his sounds to propagate all over the globe, which culminated in a worldwide repertoire of gigs from Europe to the US, South America and Asia. The man has also garnered support from the likes of Jeremy Underground, Bellaire and Subjoi, to name a few, and with his new projects in the pipeline, the future is looking bright for him.

Get transported to a parallel dimension with the title track of Ricky Razu’s new EP ‘Cosmic Waves’. This spacey yet club-oriented track blends floaty arpeggios with a dark rumbling bass. But what truly sets "Cosmic Waves" apart is its sharp and distinct lead melody, guaranteed to linger in your head long after the first listen. In Ricky’s known style, the arrangement sounds complete yet never over-loaded, resulting in a track that is effective and easy to love.

Ukrainian producer Yan Cook hits hard with a third follow up EP on Delsin's Inertia series. Once again a lethal pack of four to the floor techno weapons.

Coming together as Raz & Afla, Raz Olsher and Afla Sackey converge worlds through their dynamic fusion of electronic and traditional African rhythms, forging a path that is as bold as it is innovative. Rooted in their deep-seated passion for music and cultural exploration, they seamlessly blend their distinct musical backgrounds to create a unique sonic landscape that captivates audiences worldwide.

Raz Olsher is a visionary producer and composer known for his boundary-pushing electronic soundscapes, bringing his expertise in blending diverse musical elements to the duo. His meticulous attention to detail and penchant for experimentation form the foundation upon which Raz & Afla's sound thrives.

Already part of the Wah Wah 45s family with his band Afrik Bawantu, Afla Sackey is an esteemed percussionist and vocalist with roots tracing back to Ghana. He infuses the duo's music with rich traditional African rhythms and melodies. Afla's virtuosity on percussion instruments and his soulful vocals add a visceral, organic dimension to their compositions, creating a mesmerising auditory experience that transcends cultural boundaries.

Together, Raz & Afla defy genre limitations, seamlessly weaving together electronic beats, Afrobeat grooves, and intricate percussive textures. Their music resonates with a deep sense of cultural authenticity and a forward-thinking approach that pushes the boundaries of contemporary music.

Following on from their critically acclaimed full length debut The Cycle, and its subsequent remix project, their sophomore LP, Echoes Of Resistance, finds the duo remaining committed to exploring new sonic territories and creating music that speaks to the universal language of rhythm and melody. Once again, they invite listeners on a journey that celebrates the beauty of cultural exchange and the power of music to inspire and unite.

From more politically conscious cuts like the singles What's Going On? and We Taya, and On Da Phone, which deals with addiction to social media, to dealing with more personal and social issues on songs like ENo Be Me and Ano Be Mumu, Raz & Afla's music is something for the mind, body and spirit, as well as the feet.

There are moments of pure euphoria and unadulterated joy too though, as tracks like Mon Ni Fere, Voodoo Zeezee and Baby Moo inspire elated, tribal dance floor pleasure, and there's still time for a little, good old fashioned loving as Shikor Shikor conjures up the raw emotions of care and affection whilst delivering a hypnotic beat and instantly irresistible vocals from Afla Sackey.

With a growing discography that includes critically acclaimed releases and collaborations with musicians from around the globe, Raz & Afla continue to carve out their place in the international music scene. Their electrifying live performances are celebrated for their energy and the profound connection they forge with audiences, making every show a vibrant celebration of musical diversity and harmony.

Releasing in the autumn of 2024 Andy Smith's curation of the 3rd volume in his Reach Up – Disco Wonderland series brings us more carefully selected music from the Discosphere. With tracks from artists as far ranging as Buscrates, Trailer Limon and Rena Scott included in this 16 track killer compilation Andy has also included excellent edits and remixes from such stellar names as Full Intention, Yam Who and Skratch Bastid. Indeed, the CD and digital versions of the release also include a fully continuous Skratch Bastid mix of all 16 tracks. Reach Up-Disco Wonderland vol. 3 was curated during the lockdown periods of the pandemic after a series of virtual 'nights out' viewing DJs such as Skratch Bastid, The Nextmen, Chris Wheatley and others performing sets on the Twitch platform. Andy is now playing out in the real world with some of the DJs he 'met' online so now the time is right to drop this compilation on BBE Music. Andy Smith's pedigree in sourcing and mixing tracks from across eras and genres goes back to his debut compilation release The Document in 1998, he was the explorer and provider of samples and breaks for the first two Portishead albums and played as the band's international tour DJ. His compilation track record of some fifteen plus releases since 1998 has covered New Orleans Funk, Northern Soul, Reggae, the mixed genre follow ups to the The Document and, of course, the now three volumes of the Reach Up-Disco Wonderland series on BBE Music. Pressed as a triple vinyl LP, along with the aforementioned double CD and digital versions, not only is Reach Up-Disco Wonderland vol. 3 a delight for the DJ consul and the dance floor, but also an audiophile's dream on vinyl with all tracks mastered at the renowned and Grammy nominated Carvery Studios.

Amsterdam's resident by choice, Torky Tork's Seed Tape Vol.1 is a reminiscences to his love for growing plants. Having created his own personal "music for plants" project, to keep flora and fauna entertained and triggering the blooming process.
Simultaneously to the album, Torky's own OK KUSH weed-strain will be introduced to the world. The lush & laid-back stimulating sounds and baselines are beneficial for the plants and the listeners cortex equally.
Torky's sound - even across various projects can be described with the broad spectrum of influences. The restless Berlin native has never stuck to one formula. His urge for ever new input is reflected by the constant change in the centre of his life - for some years now, he has been constantly traveling back and forth between his Berlin Bunker studio and Amsterdam, his home of choice. So the influence of weed has naturally been around him for a while, yet inspiring him to dive into the album TWO BE OK.
The illustrious line-up of musical guests on the album contains Germany’s most in-demand producers, the self-taught bedroom beatmaker FloFilz, Berlin’s bunker studio affiliate S. Fidelity, wine aficionado Dexter (also mastering engineer of the album), Wandl and more. This is the perfect soundtrack for watering your favourite plants while watching them grow.

In vielen nordischen Mythen verfügen Stimmen über magische Kräfte. Unter dem Namen WHISPERING VOID erforscht und verkörpert ein Kollektiv renommierter Musiker von Norwegens Westküste auf ihrem Debütalbum "At the Sound of the Heart" diese alten Traditionen. Alle Bandmitglieder brachten einen Teil ihres musikalischen Hintergrunds in WHISPERING VOID ein: Die unverwechselbaren Stimmen von WARDRUNAs Lindy-Fay Hella und ihrem männlichen Gegenpart Kristian "Gaahl" Espedal ziehen Zuhörer mit einer enormen Bandbreite an Techniken und Tönen unwiderstehlich in ihren Bann. Gitarrist Ronny Stavestrand und ENSLAVED-Schlagzeuger Iver Sandøy kombinieren auf "At the Sound of the Heart" unter anderem Ambient, psychedelischen Prog und Rock mit Klängen aus dunklem Folk und Metal zu etwas, das im Kern nordisch klingt, aber über die vielen bereits erforschten Sounds hinausgeht. Der kreative Funke, der das Feuer von WHISPERING VOID entfachte, kam aus einer langen Zeit musikalischer Experimente von Ronny Stavestrand. Der Gitarrist hatte viele Jahre in der legendären Underground Black Metal Band TRELLDOM des herausragenden Sängers Kristian "Gaahl" Espedal verbracht. Espedal war mit GORGOROTH zu notorischem Ruhm gelangt und hat inzwischen mit GAAHLS WYRD einen weiteren eigenen Kanal für seine Kreativität etabliert. Daher lag es für Stavestrand nah, Espedal um dessen Mitwirkung bei WHISPERING VOID zu bitten. Der Sänger stimmte zu und als bei der gemeinsamen Erkundung neuer Klangdimensionen der Bedarf nach einer weiblichen Stimme aufkam, war Gaahl aufgrund seines früheren Mitwirkens bei WARDRUNA sofort bewusst, dass die charakteristische, kraftvolle Stimme von deren Frontfrau Lindy-Fay Hella, die sie auch in ihren eigenen Projekten einbrachte, perfekt zu WHISPERING VOID passen würde. Zum Glück folgte die Sängerin gerne dem Ruf des Duos. Das Quartett wurde schließlich durch Iver Sandøy als Schlagzeuger und Bassist komplettiert, der sein makelloses musikalisches Feingefühl und Timing schon vor einigen Jahren in den Dienst von ENSLAVED stellte, und sich zuvor bereits mit der progressiven Band EMMERHOFF & THE MELANCHOLY BABIES einen Namen gemacht hatte. Das Ergebnis ihrer kollektiven Studioexperimente und ihres kontinuierlichen Austauschs ist eine einzigartige Mischung aus den diversen Einflüssen, welche die Bandmitglieder repräsentieren.