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Elsa Hewitt is a London-based music producer and writer hailing from Sussex, via Yorkshire. Beginning as a young singer-songwriter producing demos on a four-track, she progressed through fronting post-punk bands and solo electronic songwriting, all the while developing a passion for album-making which would ultimately lead her to electronic production, establishing her name producing avant-garde, experimental & ambient, leftfield dance, and lo-fi, psychedelia. Since her 2017 official debut ‘Cameras From Mars’, stepping onto the scene as a Future Bubbler and Lynsey de Paul Prize winner, Hewitt has amassed a series of distinct yet interlinked philosophical worlds; each one holding its own tones of joyful beauty and abstract darkness. With a boundless approach to merging elements of dance & ambient, Hewitt’s adventurous approach remains pinned by her earthy voice, idiosyncratic songwriting style and sharply poetic lyricism.

The Acclaimed Arab-Levantine Contemporary Music & Art Project Returns With Its First New Album Since 2018. Led By Lebanese-Canadian Producer Radwan Ghazi Moumneh, Whose Many Credits Include Matana Roberts, Big | Brave, Sarah Davachi, Suuns. Featuring A Different Guest Collaboration On Each Track, Including Tim Hecker, Moor Mother, Beirut, Lucrecia Dalt, Greg Fox. Europe & Canada Tour In November 2021 With Experimental 16mm Analog Films By New Duo Member Erin Weisgerber.

One of the most renowned and uncompromising entities working in 21st century avant-garde Arab-Levantine art and music, Jerusalem In My Heart presents a new album of vital and haunting electronics and electroacoustics, framed by founder and producer Radwan Ghazi Moumneh’s spoken and sungArabic, buzuk-playing and sound design. Qalaq is the most distilled, variegated and finely wrought Jerusalem In My Heart album to date – featuring a different guest/collaborator on every track, yet as cohesive, emotionally resonant, sonically adventurous and narratively powerful as any release in JIMH’s celebrated discography. Guests across the album's 13 tracks include Moor Mother, Tim Hecker, Lucrecia Dalt, Greg Fox, Beirut, Alanis Obomsawin, Rabih Beaini and many more. “Qalaq” is an Arabic word with many shades of meaning but Moumneh particularly intends it as “deep worry” – on various obvious global levels, but also specifically with respect to Lebanon: its collapsing domestic politics, economy and infrastructure; the tragedy and aftermath of the 2020 Beirut port explosion; the intractable geography and geopolitics that continue to condemn the country to corruption, disruption, destabilization and violence. Moumneh writes: “The Side Two tracks are all named ‘Qalaq’ and then numbered, representing the degrees of layered and complex violence that Lebanon and the Levant have reached in the last couple of years, from the complete and utter failure of the Lebanese sectarian state that has driven the economy to a grinding halt, to its disastrous handling of the migrant influx from neighbouring failed states, to the endemic corruption that led to the August 2020 port explosion, to the latest chapter of Palestinian erasure and yet another brutally asymmetrical and disproportionate bombing campaign on Gaza.” Qalaq is shaped by a "dismantled orchestra" ofmusical collaborations, forged through long-distance file exchange during lockdown winter 2020-21 (and the inverted companion to JIMH's previous 2018full-length Daqa'iqTudaiq, which featured a 15-piece orchestra recorded live in Beirut). Moumneh initially through composed Qalaq in purposely stark and skeletal form, then gave each guest artist a section to decompose, edit, re-interpret and recompose as they desired, working their stems back into his own mixes for each piece/section and moulding newfound coherences in the overall work. The result is The album artwork with a front cover colour photograph by Myriam Boulous capturing a scene during the Beirut October Revolution of 2019.











k 11 Qalaq 6 (w/ VÍZ Réka Csiszér)

* Jonny L is widely and rightly regarded as one of the most talented and influential artists working in the scene today. His style is hard to define as he rarely repeats an idea or theme in any track, and this can be easily felt in this eclectic but essential selection of previously unreleased work. Each track here was made in the early years of rave, and yet each maintains the standard high quality and accomplished sound you would expect from Jonny L. This is a rare opportunity to grab hold of some of his formative work, and as an EP, it is simply outstanding and unmissable..

Stefàn Dubs is part of the Folklore crew operating out of Toulouse, and is also the producer behind the excellent Maquis Son Sistem records. Stefàn Dubs and Folklore have been pushing their own style of contemporary, dub influenced dance music spanning Garage, Techno, House and Jungle. The Spring Tones EP is a perfect fit for Trule, drawing on these influences to create something new while remaining focused on dance floor functionality.

Griffé is back in 2021 with a fresh release from the young and talented producer Vafa. For his very first solo EP on vinyl, this young producer from Marseille demonstrates his ability to produce tracks tailored for the dancefloor while creating a singular atmosphere. With a singular and precise rhythmic programming coupled with an intelligent use of samples and chords, he delivers 4 tracks with diverse atmospheres all having in common an unparalleled efficiency.

Melt is the debut full-length album by Blank Gloss, the Sacramento duo of Patrick Hills and Morgan Fox. Attentive listeners will recall their lovely contribution to Kompakt’s Pop Ambient 2021, “Of A Vessel”, which reappears here; others might know their 2020 mini-album, January, released on the stylish Miami label Night Young. With Melt, Blank Gloss make a heavy contribution to Kompakt’s ongoing explorations of the hundreds of hues of Pop Ambience. A lush dream of an album, it’s a remarkable index of the gilded eternities that you can magic from a reduced tonal palette: glistening guitars, ruminative piano, warps and weaves of subtle drone and hum.

The two members of Blank Gloss met through their shared involvement in punk and experimental music. Fox’s band had recorded at Hills’ Earthtone studio a number of times; they hit it off and made the decision to explore making music together. Their initial explorations resulted in their mini-album, January; for Melt, they aimed for something more minimal and improvised. “We tried to go into it without many preconceived notions,” Fox recalls. “We tried not to overthink what was happening or spend too much time hyper-focused on any one thing. We found it more enjoyable to make and to listen to when we just let whatever was happening happen.” This process freed Fox and Hills to make music that’s guided by intuition, inhabiting the moment and reaching for the next surprising possibility.

The long reels of e-bow guitar that wind through opener “Those Who Plant” ease the listener into an album that says plenty by doing less: witness the dream scripts that play out through pieces like “Hollowed Out” and “Of A Vessel”, the gentle weightlessness of “Almost Home”, or the clusters of guitar, expressive yet restrained, that sculpt “Rags” into being. It’s an album that feels sui generis, somehow, much as it clearly sits within a number of fields – pop ambient, touches of new age and drone music. Some provisional clues, though, for music that echoes Melt’s loveliness: the humble ambience of the artists on Cold Blue Music; the eventless horizon of Bark Psychosis’ “Pendulum Man”; the emotive pointillism of Labradford; some of the snippets of song that drift through Pieter Nooten & Michael Brook’s Sleeps With The Fishes.

Like all of this music, Melt embraces a radical ambiguity, one that allows the listener to enter the frame and inhabit the corners of the duo’s music. There’s pleasure and joy here too, of course – you can hear it in the ease of the playing and the beauty of the melodies that Blank Gloss carefully dapple across the tonal field. Reflecting on the sessions for Melt, Fox sums it up perfectly: “Being able to sit together in the little room and document the process of experimentation and bouncing ideas back and forth was really fun and rewarding. I hope that comes through on the album.”

* Limited edition transparent vinyl repress of the very first Formation Records release from 1991 – DJ SS – The Pyscho EP. This EP kicks off a series of retrospective releases as the label celebrates it’s 30th Anniversary this year.

* Bringing it back to where it all began in 1991, this 6 track EP is a melting pot of all the genre, styles and cultures that collided to give birth to the Rave scene.
* Newly remastered from the original DATS this seminal EP has never sounded so good!
* DJ SS is a powerhouse in British Breakbeat music, having been one of the originators of the Rave scene, and his legendary imprint Formation Records is still going strong to this day releasing cutting edge Drum & Bass and giving a platform to new and established artists alike.

Fuga Ronto's second release Greatest Treasure is a musical journey exploring different kinds of territories by blending elements of synth funk, dub, fusion, new wave and ambient with household noises, reverb vocals and quotes from movies to adventure games. Out of playful recording sessions the Zurich duo Schweizer and Shiller created songs with track names that read like movie titles. The treasure quest begins with a tongue-in-cheek intro before the title track kicks in. It’s all about exotic boogie with adventurous lyrics and voodoo magic. The rhythm guitar, percussion and multilingual chanting driven single „Falling Star“, lures even unathletic feet onto the dancefloor. "Columbo De Domingo“, a rolling instrumental based on a four chord sequence creates an illusional staircase moment. The tracks on the B-side guide towards slower and dreamier attempts. "Mirror To Water" builds on swaying synth pads that lead up to a laid-back song with breathy male and female vocals over a shuffling drum beat. It’s epilogue "Wobble In The Pool" sticks to the mood and takes the sounds further into dubby lands. The closing chapter "Mystery Of Zambio" is a delightful two- parter. Nostalgic melodies take the lead at first to be replaced by chords and a choir in the second part, until they dance away into the fade-out. Maybe a hint for a continuation of the story? One would hope so.

"The beauty of all this, as well as its sorrowful brutality, is even more powerful and stupefying since Ghédalia's sudden departure. Because retrospectively, not only is this recording the trace of a rare moment in a Parisian garden, it also summons a ghost, that of a loved one that is gone, and of his voice, which is fully alive here."

Tazartes and Chatham had met once in 1977 at CBGC's and had not seen each other since then when they were asked by their mutual agent to play a private show in Paris. This happened in September 2018 in a house with a garden where sax player Steve Lacy had lived back in the 1990s. This album presents the recording of this show plus another show at La semaine du bizarre festival in Montreuil, France a year later, mixed with a couple of studio sessions. This was probably the last music Tazartès, who died in February 2021, recorded. His unique singing blends perfectly with Chatham's loops on electric guitar, trumpet and flute.

Rhys Chatham is a composer, guitarist, trumpet player and flutist from Manhattan, currently living in Paris, who altered the DNA of rock and created a new type of urban music by fusing the overtone-drenched minimalism of the early 60s with the relentless, elemental fury of the Ramones — the textural intricacies of the avant-garde colliding with the visceral punch of electric guitar-slinging punk rock. Starting with Guitar Trio in the 1970s and culminating with A Crimson Grail for 200 electric guitars in 2009, Chatham has been working for over 30 years to make use of armies of electric guitars in special tunings to merge the extended-time music of the sixties and seventies with serious hard rock. Parallel with his rock-influenced pieces, Chatham has been working with various brass configurations since 1982, and recently has developed a completely new approach to collaborations, improvised and compositional pieces involving trumpet through performances and recordings that started in 2009. Chatham’s trumpet work deploys extended playing techniques inherited from the glory days of the early New York minimalist and 70s loft jazz period. Starting in 2014, Rhys has been touring a solo program featuring an electric guitar in a Pythagorean tuning, Bb trumpet, and bass, alto and C flutes. Rhys was introduced to electronic music and composition by Morton Subotnick in the late 60s, and in the early seventies he studied composition with La Monte Young and played in Tony Conrad’s early group. These composers are, along with Terry Riley, the founders of American minimalism and were a profound influence on Chatham’s work. Chatham’s instrumentation ranges from the seminal composition composed in 1977 entitled Guitar Trio for 3 electric guitars, electric bass and drums, to the epoch evening-length work for 100 electric guitars, An Angel Moves Too Fast to See, composed in 1989… all the way to Chatham’s recent composition for 200 electric guitars, Crimson Grail, which was commissioned by the City of Paris for La Nuit Blanche Festival in 2005. A completely new version of the piece was commissioned by the Lincoln Center Outdoor Summer Festival in 2009. What does a composer do after mounting many performances with forces of 100-200 electric guitars? The composer gets back to basics, at least that’s what Rhys does! Along with the G100 and G3 programs, Chatham is currently offering a solo program, an evening length work with the composer performing himself on electric guitar, trumpets and bass alto and C flutes.

French cult artist Ghedalia Tazartes is an uncompromising character who defied categorization. He recorded alone more than 20 albums, calling his Art “Impromuz” for lack of a better term. Before the years 2000s, his public appearances remained exceptional events. Ghédalia Tazartès’ music has always been a mystery. It switches from musique concrète to – existing or invented – ethnic music, from poetry to noise, or from loops and collages to sad and extremely beautiful tunes in a second, but it constantly is in flux and coherent. In 2004, Ghedalia finally decided to do live performances again. He first worked with other musicians (Les Reines d’Angleterre, David Fenech & Jac Berrocal, Norscq & Black Sifichi, Nicolas Lelièvre) then went solo for ten years. Since then Tazartes has played many shows across Europe including a show in the Patti Smith exhibition at Fondation Cartier in Paris and a cinemix to the “Haxan” silent movie in 2008. In 2018 Ghedalia decided to stop playing solo and to collaborate with other musicians again: Maya Dunietz, Rhys Chatham, Chris Corsano and Dennis Tyfus, Quentin Rollet and Jérôme Lorichon. Ghedalia died at his home in Paris on 9th February 2021.

ZamZam 84 marks the return of J.Sparrow, one of the true stalwarts of UK sound system music. Producing dubstep & bass masterpieces for over 15 years, and running Navy Cut, with seminal releases on labels including Deep Medi & Tectonic, it would be difficult to overstate Ryan Wild's place in this culture. His second ZamZam carves out a new sonic world of dubwise power and beauty alongside close friend & sparring partner, the Microphone Controller called Sun of Selah.

I could count my visits to nightclubs on the fingers of one hand. I therefore have few memories of them, if any. Though I can’t account for the idea, I imagine that Mike’s music could be emanating from one of these clubs where I’ve not been; one that would have been deserted hours before. There, the music would have lingered on in slow-motion, repetitively. And there I would have woken up, crazed and unable to remember any recent events.

The creator of a treacherous music, somewhat akin to mist with its deeply immersive beauty, Mike Majkowski develops repetitive structures in constant mutation; addictive and layered. In this new album soberly entitled Four Pieces, Majkowski further probes spectral qualities of resonance, duration, auditory perceptions, and relationships between pulse and stillness. The slowly evolving motifs he unfolds create a progressive and long-lasting addiction.

Mike Majkowski is a double bassist and composer from Sydney, based in Berlin. Active across a wide spectrum of contemporary music since the early 2000s, he has released music with numerous projects, including the group Lotto. Four Pieces is his eleventh solo recording.

All tracks recorded, written & produced by Mike Majkowski. Mastered by Marta Salogni. Artwork by Morgan Cuinet. Layout by Romain Barbot.

The LuLúxpo founded Paradise Children Records label in 2017. Considered as the most glamorous / trash DJ couple of the European club scene for almost 20 years, Loulou and Pollux aka the LuLúxpo named the label as a tribute to Prévert and Carné. It was a big accomplishment for both of them. The Argentinian diva and the crooner from Paris felt the need to give substance to their musical and aesthetic vision, which they built throughout the years through their productions, sets, parties and radio show ('Let's Dance' on Couleur 3, then on Radio Meuh). Stilettos and a perfecto jacket, pink hair and black glasses, an electro background, one foot in rock' n' roll and the other in disco but most of all, what a night should be: groovy, loving, crazy and fun. The shady couple was based in Geneva for a long time until they moved permanently to Barcelona, where they built this naive and uncompromising utopia. Love,pleasure and honesty are the pillars of this utopia, but they also wanted to meet people through their label and this EP is a perfect example as it celebrates the young Swiss scene vs very experienced European remixers.

Edition of 300, w/ two colour screenprint design by Studio Tape-Echo.

Mastered & cut by Lewis at Stardelta, pressed at Optimal.

February 2021. During a stay in an isolated house in the Alpes-de-Haute-Provence, I returned to four compositions Renaud Bajeux had sent me a few months prior. I had listened intently and enjoyed them very much, but in this new setting, at this very moment, they took on another dimension. For several days, I went on long walks in the surrounding nature and this album, all in half-light, became an obsession. In sync with the perfection of this moment, with this place, it began to haunt me from dawn till long past dusk. At times calming and meditative, at times wild, rugged, and maybe even dangerous, the music seemed to mirror the mountain landscape encircling me. It became evident that Seeking a Vision would be released on Fragments.

Seeking a Vision follows Renaud Bajeux’s first album, Magnetic Voices from the Unseen (Nahal Recordings, 2019), an exploration of electromagnetic fields. In this second opus, Bajeux works with the sound palette of a Serge synthesizer, combining its polymorphic sounds with field recordings of nature. The album’s four parts can be seen as a continuous mental journey through multiple layers of consciousness. Carried by whispering winds and the cracklings of a campfire, they proceed toward meditative states and obscure inner landscapes.

Seeking a Vision was recorded during an INA GRM residency. Elevation was commissioned by the INA GRM.

Renaud Bajeux is a French composer and film sound designer. His work his primarily based on field recordings and modular synthesizers. It can be located at the crossroads of electroacoustic music, noise, and ambient. Renaud Bajeux’s most recent release is a duet with Antoine Gilloire titled Underwater Soil (Superpang, 2021).

All tracks performed and composed by Renaud Bajeux. Mastered by Stephan Mathieu. Artwork by Morgan Cuinet. Layout by Romain Barbot.

feat Cardopusher & Hrdvsion remixes

Classic Electro featuring brilliant vocalists Paris The Black Fu and Foremost Poets. And if that’s not enough the package comes with 2 hard hitting remixes by Cardopusher and Hrdvsion!

"Circuit" is a recorded document of improvised music and the inaugural release on Pattern Dissection — an independent record label, radio show and concert organiser from Berlin. Dag Magnus’s down-tuned drum set builds the ground for relentless legwork and hectic wrestling, shaking the floor when confronted with Farida’s high string slaps on the bass guitar, which they occasionally swap for droning vibrations and scorching fingerpicking, neither shying away from a heavy riff nor stripped back momentum. Liz’s synth is an idiosyncratic creature of its own, birthing sounds rarely graspable but utterly fascinating, swift in taking turns and always one step ahead of any expectation.

Recorded on July 28th 2020 in Berlin at their second meeting as a band, that was initiated by a live gig six months earlier. All music was improvised and performed in a room with six microphones.

Mixed by Christoph Berg & mastered by Stephan Mathieu. Lacquer cut by Mike Grinser. Pressed at Pallas on 140g vinyl, wrapped in a 350g reverse-printed cardboard sleeve with A6 photo-card inside, including a download code. Artwork by Talita Santos & design by Espacioblanco. Photography by Stefan Lingg.

After several releases on tapes and 7 inches records, Lyon based label Big Science take an interesting turn with a nu-jazz and ambient release by Leo James. From Berceuse Héroïque, Neubau, Versatile or Patience, Melbourne producer is back with Féth Fíada album, features saxophonist composer Cayn Borthwick.

With Companion, Otto A Totland completes his album trilogy of personal, sparse piano compositions, following in the footsteps of 2014's Pinô and 2017's The Lost.

As a self-taught pianist, Otto further determines himself as a timeless composer who follows nothing but his own gut and heart. The outcome is something so pure it’s hard to not be affected. The development of his pieces over the years has grown into something so himself that it's almost immediately recognisable. With Companion he has matured in his own craft, and the various pieces here feel confident and absolutely beautiful in a way that sees the end of the trilogy as a warm, empathic document for the times.

As with the previous two albums, Companion was again recorded at Nils Frahm's Berlin studio for optimal warmth and space, Pinô and The Lost at his previous Durton Studio while Companion at the historic Studio 3 at Funkhaus. All three records are released by Sonic Pieces in hand-crafted limited edition covers as a statement showing that craftmanship and humanity still exists in this world constantly moving towards the exact opposite.

This quote by Norwegian philosopher Guttorm Fløistad seems an appropriate connection to both Otto's music and the way we are all heading : “The only thing for certain is that everything changes. The rate of change increases. If you want to hang on you better speed up. That is the message of today … In order to master changes, we have to recover slowness, reflection and togetherness. There we will find real renewal.” With this in mind, Companion is exactly what it's title sets out to be. A friend that can follow and comfort in both good or bad times.

LP version comes with free download card.

Radio support from Benji B & B Traits (BBC Radio 1), Nemone (BBC 6 Music), . DJ support from Ben UFO, Joy Orbison, Caribou, Tessela, Mosca, Kowton, Ron Morelli, Bok Bok

Print features confirmed in Groove, Beat Mag, Faze (DE), Tsugi (FR), DJ Mag (IT), Volkskrant (NL), The Gap (Austria)

Print reviews confirmed in Mixmag, The Wire, Crack, DJ Mag, Uncut (UK), Blow Up, Rumore, Rockerilla (IT), Irish Times (IE), Musikexpress, Doppelpunkt, Westzeit (DE), Exclaim (CA)

Online features / premieres: The Fader, NPR, XLR8r (USA), The Quietus, Dummy (UK), Wasabeat (JP),

Hessle Audio are excited to announce the release of the self-titled debut album by Pearson Sound, aka label co-head David Kennedy. Characteristically minimalist in approach, its nine tracks use a handful of elements to craft mesmerising, self-contained worlds, alive with motion and near-subliminal detail: from vast and inky landscapes, to electrifying rhythm tracks, where layers of percussion and bass tumble over one another like rocks in a landslide. Recorded between 2013-4, Pearson Sound documents a distinct phase of Kennedy's studio explorations. "I had a signal chain set up that I was really happy with, and I started sending my machines through the same processes" he says. Expanding upon the techniques underpinning his recent REM and Starburst 12"s, its tracks emerged swiftly through improvised jam sessions, some were captured in a minimum of takes, while others later took shape through extensive sculpting and post-processing. "A lot of it was made by feeding the the same sounds between two different pieces of equipment and they'd end up feeding back between each other and snowballing. On some tracks it's about harnessing that and taking it to the brink before it disintegrates, and some of them are about just letting it go full-blown out of control." The result is a record of striking contrasts: bold, stark and visceral, yet also subtle, harmonically complex and deceptively playful. While Pearson Sound's livewire percussive energy remains inextricably rooted in the club, this exploratory studio process has created Kennedy's most wide-ranging yet coherent body of work to date: a suite of thrillingly impulsive, expressive and open-ended music, untethered from restrictions of form.

Young Bristol based artist Rise delivers an outstanding two track 12” for the Liondub International | Uproar Audio sub-label showcasing technical drums, refined sound design, deep bass lines, and a pinch of jungle flavor. ‘Analysis’ & ‘Feline’ are already getting wide raging support, and will be lasting additions to your coveted vinyl collection. We know you will love this!

"The Best Driving Music in the World Ever" was written and recorded during a 48 hour lock-in session, having never left the studio until completion. The artist stated, "This all came together due to a bout of loneliness and depression that swept over me one Friday evening. Being lonely sometimes can render positive results, something I am learning. I decided to go and make a guitar-based record and not leave the house until it was done. I succeeded and this is what was made." The tracks were then sent over to be mastered by Rafael Anton Irisarri at his incredible studio, Black Knoll in New York, US.

"The Best Driving Music in the World Ever" was written and recorded during a 48 hour lock-in session, having never left the studio until completion. The artist stated, "This all came together due to a bout of loneliness and depression that swept over me one Friday evening. Being lonely sometimes can render positive results, something I am learning. I decided to go and make a guitar-based record and not leave the house until it was done. I succeeded and this is what was made." The tracks were then sent over to be mastered by Rafael Anton Irisarri at his incredible studio, Black Knoll in New York, US.

Klasse Wrecks' 'Junglish Massive' sub-label started years ago in 2017 as way to release Junglistic music that was ever so slightly left of center, music that employed the usual Jungle tropes but was not strictly traditional. Four years later and the label is back with its second release and its safe to say its been worth the wait. MASSIVE2 is a pan-Asian affair, taking in tracks from Mogwaa (Seoul, South Korea), Mr. Ho (Hong Kong) and Sumo Jungle (Tokyo, Japan). Proving that Jungle is now a truly international medium, the music here represents the outer-sphere of the universe and provides an insight into each artist's interpretations. Originally released in 1996 on Far East Recording label, 'Grand Senshuraku' is an example of the classy perfection of the original 'Sumo Jungle' album. Now long out of stock and highly sought after, this re-issue serves as a little taste of what might be yet to come from the relationship of Sumo Jungle and Klasse Wrecks. Mr. Ho's 'Championsound' sounds as authentic and bonafide as you can get, with perfect chord changes and depth-charge Amen breakbombs. Rounding up the EP Mogwaa supplies a futurist and relentless track in 'Been So Long', its rigid and frantic drum programming accompanying a backing that sounds equally at place on an early 2000's computer game as it does on vinyl.

Birds of a feather flock together. Christian Coiffure and Comic Sans Records is a long story made out of plenty questionnable jokes, third rate movies on Netflix and "Aperobass". Musically speaking, we’ve followed the same path, interested in absolutely anything, serious on the substance but never on the form. This common culture quickly gave us the willing to work together, but it’s paradoxically the first time - except two tracks on our infamous compilations - that this idea comes to fruition, ‘cause we gotta say we share a common point, that of being stricklers for details, to the point of never being satisfied.

This EP, instead of not being subjected to the rule, is perhaps the most striking example. Even though the skeleton of those tracks have been composed in barely a day, the final versions are the results of several months of torture that turned into a quest to the holy grrrraaaiil (s/o Tim the Enchanter) through which Christian aimed to reach flawlessness without ever succeeding. But old Italian wise men once said "Perfect is the enemy of good", and people coming from a country that invented pasta alla carbonara must have a relevant opinion on the subject. Therefore it’s time to rely on this latin wisdom and to release those Left Undone tracks, which without necessarily being perfect still sound as good as a record would deserve.

The idea behind those 3 tracks was to build a bridge between Mr. Coiffure’s previous releases and the UK Club Culture by portraying emblematic elements of British electronic music in more mental and industrial frames. Syncopated Techno rhythms of "Sketches", stretched vocals from "Mere Karma Patters" and the 2-Step drums on "Bassbenderz Theme" are arranged around a particular sound design which can be found in old appearances of our boy, especially on Worst Records.

As a whole, the EP is to be apprehend as an exploratory work more than the outcome of reflective period. Nevertheless, the result sounds fresh as hell, and original as f***,so it proudly takes its place in our Comic Sans Catalog.

Coco Bryce dons his DJ Y alias for his debut on Unknown To The Unknown’s Dance Trax series - 3 tracks of "off the wall” breakbeat-electronix taking in everything from gabber, jungle & tekno.

Brooklyn based drummer/producer Jason Nazary (of Anteloper) makes his We Jazz Records debut with "Spring Collection", released on 25 June. The album sees Nazary crafting some deliciously sparkly solo cuts plus working long disctance with choice collaborators Jaimie Branch, David Leon, Ramon Landolt, Matt Mitchell, Grey McMurray and Michael Coleman. This is essentially a collection of home recordings and the whole operation has an infectious feeling of immediacy to it. The result is improv adjacent electronic music, with modern production aesthetics transposed over spontaneous compositions.

Jason writes:

"With Spring Collection, my aim was to capture the spirit of spontaneity & collaboration lost in the absence of live music. Like most everyone else last spring, I suddenly had a lot of time on my hands and with all my work cancelled, and with an indefinite lockdown in effect, it became immediately apparent that most of my time – save a walk or two a day around the neighborhood – would be spent in the tiny one bedroom apartment I share with my wife and two cats.

What kind of music does one make during lockdown? I would begin my days with a cup of coffee and all the cables of my modest little modular set up in my lap, slowly discovering new sound worlds as I connected one cable after another – these became the beginnings for the pieces in Spring Collection. With these unformed sketches, I would record an improvisation, an exploration of sonics: a small kit of bells, shakers, pans, pots; their resonance captured in fine detail with ultra sensitive microphones. These became, in effect, a conversation first with myself, but later one I knew I had to open up, make social. In the desire not to diminish my collaborative impulses, I felt compelled to involve some of my favorite musicians in the process alongside me."

"Spring Collection" is released by We Jazz Records on 25 June on vinyl (neon orange & black vinyl editions), tape and digital formats. The vinyl edition comes with a booklet including original artwork and poetry by Todd Colby.

Dedicated to the city dwellers who live with the rats and crows in the gaps of the city where the giant capital tries to control everything.

With love.

Mars89

In this compelling debut release, NETSH takes the listener on a one-way trip to his world with his own unique take on acid, braindance, electro, jungle and even a dash of hardcore. Frenzied breakbeats, thick and melodic 303 sequences, ass-shaking drum programming along with deep and lush pads are the constant on this record, coherent and diverse a the same time, which tells a lot about the young producer's musical maturity.

This is the fourth of the Legends Vs Legends series. These very limited 10" Legends Vs Legends series aim to pit the finest in old skool artists against other old skool artists to see who is the best ever...haha, no. There is no best. But these little 10"s have BIG tunes by BIG artists and as we have some absolute shockers lined up. This time in the orange corned is Dj Ham, aka Hamilton, and in the blue corner old skool master New Decade. Both bring their A game to these remixes of classic tracks…unmissable…

Earlier in the year, we heaped tons of praise on the booming, breakbeat-driven first EP from Pilot, which showcased a quartet of killer cuts from Johannes Kolter. He returns to action on this EP, taking control of the B-side to offer-up the funky, sample-heavy electro/breaks fusion of 'B2R' (think Layo & Bushwacka's classic material and you're close) and the more spacey, electro-focused bubbliness of 'Systematic'. While they're both very good, we'd argue that North Phase's A-side tracks are even better. Choose between the dubby and hypnotic breakbeat-house roll of 'Feel It', and 'Escape From Planet X', a deeper, more bass-heavy chunk of breakbeat pleasure that comes complete with fizzing electronic noises, deep bass and some suitably trippy synth sounds.

Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore / Goth ASMR Hardcore /

The first release on Jugaar Records is from Karachi boy Rudoh and brings together five slabs of electro-breaks architecture primed equally for the dance-floor and headphones - including a remix from Australia-based, Salt Mines Records honcho, Shedbug. Enjoy!

Visual Art and Music have historically shared an important, entwined relationship; often posing questions of which provoked which in a project? What about when the imagery is a medieval surrealist, hyper coloured XTC wonderland? Genre-blurred and stirred, daring and dynamic dance music for the twistedly imaginative minds and bodies! The Tapestry of Sound is an audio tribute to the liquid lockdown Tapestry of 2020, a wall-size mixed media art piece originally intended for a live-stream backdrop; despite not being completed in time, it became the epicentre of communal creative junction & release - no limits or logical sense. The result, a sonic terrarium cultivated by longtime partners in crime D. Tiffany and Roza Terenzi; with the help of friends, weaving their sapphic magic into something wicked and new for STEP02, Tapestry of Sound.

A maypole is a tall wooden pole often erected as part of late 19th century European Midsummer folk festivals, around which a dance often takes place; coinciding with Summer Solstice, or in Corona-era... Scrollstice. The A-side presents two contrasting offerings of the Maypole Theme, opening with the Surrealist Piano Roll Mix; an effortless euphoria gliding and twirling amidst a rolling 2-step garage routine, playfully anticipating melodic ecstasy via black and white keys. A complementary contrast offered by the Looming Giant Mix; sleek and deep. A hot-femme fiasco, driving and deviating between 4/4 and a freaky broken plot-twist; evoking imagery of the night, skipping fiercely round the pole; which was often considered a symbol of the union between masculine and feminine energy.

Wasp Of A Woman initiates the B side blowout, stripped back and sensual, but don’t be fooled; this is a straight-up b0mb. Low end throbbing underneath ferociously swung drums, topped by microphone assassin Kaylin with the fire lyrical content, a true upcycle of genres to set the mood for a flammable dancefloor. Cooling off, only slightly for a cigarette break, is Inhale, Exhale the final track from the EP. The tempo finally settling down but bumping up the groove with thumping toms guiding a playful party-starter, rhythmic and melodically inspired; infectiously cheeky with subliminal naughty memos teasing their way in through the backdoor.

Let your mind run wild with this effortless collaboration, two minds sharing the same obscurely forward-thinking visionary, the Tapestry Of Sound; a Meta Musical Time Capsule.

Gonzen, uminari or retumbos. Perhaps you've heard these sounds? They're known to occur all over the world and, as one might expect, humans have strained to offer various explanations for these unsettling emissions that materialise unbidden from the sky.

We like to say that we've understood what's happening so that we can move on. Tidy up the loose ends and don't scare the horses. Nothing wrong with that in good measure, but there's something to be said for the Haudenosaunee peoples' explanation. They pointed out that the Great Spirit hasn't finished their work of shaping the earth and is making a fair bit of noise while they're at it.

If you accept that many questions never truly get answered, in fact can or should never truly be answered, you may be able to tune your mind to this collection of lingering sonic detonations. If you accept that the work is ongoing, our labours seldom done, that there's not much point talking about the end of anything, you may be ready to join us. It's not our task to finish it, nor are we free to desist.

We welcome back the sub frequency specialists from Brussels for their second LP on Samurai Music. Peppered with a sizzling selection of like-minded collaborators, Grassroots continues the enhanced exploration into dub infused, stripped back Drum and Bass, deftly splashing breakbeat shards over their rolling grooves.

Presenting ‘Migi EP’ from Los Angeles-based producer Tsuruda. We are very excited to welcome his first standalone release on the label showcasing his avant-garde electronics in this 4 track EP.