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- the Picture You See Is No Portrait Of Me (true Faith 1989) With innere Tueren', Ergin Erteber Publishes His Artistic Approach To Sound And Vision. It Is A Journey In Which Sound And Images
Unite Compellingly And Form Multidimensional Spaces.
After A 5-year Period Of Experimentation, innere Tueren' Is His Decampment And, At The Same Time, His Liberation From The Dogma Of The Often Functionality-reduced Claim In Electronic Music. With Him Sound Formations Arise Exclusively Through Images, Already In Existence. He Sets These Images To Music And Fills Them With An Emotionality That Was Hardly Heard Before.
Born And Raised In Heidelberg, Ergin Erteber Has Always Been A Prisoner Of His Very Own World Of Images, Which Later Led To His Intense Involvement In Design And Photography. Constant Companion In These Times Was The Music With The Result That He Had To Merge Both Worlds For Himself.
In The Course Of This His Way Led Him To Darmstadt Where He Discovered Music-production In Addition To His Studies. At The Same Time, He Was Both Creatively And Musically Involved In The Art And Club Project galerie Kuzweil'. In This Environment, He Was Able To Gain Many Experiences That Were Certainly Also Formative For His Approach To Music.
His Previous Projects Such As things From The Basement' Also Show Stages Of This Development. In This Particular Collaboration With Steffen Neuert (bergheim 34) It Was Already Apparent That He Was Less Concerned With Functionality, But Rather With Aesthetics And Charisma - In A Figurative Sense, A Rapprochement With The concept Of Beauty' By Umberto Ecos, Whereby Here Rather The Ear As The Eye Is The Center Of Perception. This Approach Is Now Even More Delicate In innere Tueren'.
With The Help Of Jan Barich (map.ache) Ergin Erteber Has Now Been Able To Translate His Own Fragile-poignant Soul Language Into Wonderful Music. The Album, Which By The Way Was Mastered By Josh Bonati In New York, Appears On March 22nd In 2019 On Kann. On 21.03.2019 An Exhibition For The Album Will Take Place In The Gallery Ortloff In Leipzig.

New Zealand native and master of bass, Headland returns to System Music with another slice of production wizardry built and ready to shut down dancefloors and sound systems across the world.

On the A side sits Garbo, a monster of a track which rips through the speakers with aggression and bounce. It’s as intimidating as it is funky and as experimental as it is absolutely heavyweight. Bound to shut down every rave in which it graces its presence.

The B side homes Grits. A skippy stepper of a track with a densely dark atmosphere drenched in digital yet glacial sounds and nuances, easily translatable from the dance to the headphones.

kniteforce head honcho and all round oddball Luna-C drops an eclectic remix EP, featuring tracks spanning his entire 3 decade career. Shoreman takes “Bomb Da Bassline” and makes it as mad as you might expect from the mastermind behind “On The Edge”. Success’n’Mistreat meanwhile is remixed back to the early 90’s sound of MARRS and that sample heavy era. The Wislov remix of “Edge Of Madness” is perhaps the standout, being a classic anthem remixed into an even more formidable style, and the EP is rounded off by KF newcomer Dj Beeno, who takes the obscure “Hurricane” and blows it away…

Coco Bryce - 'nuff said.

Alright, maybe he does warrant a bit more than that. Myor boss Coco Bryce returns to his self- proclaimed "second home" at 7th Storey Projects with two new bangers, something of a natural sequel to the much-loved Gunna released on 7th Storey in the form of a cheeky little 10" in 2019.

On the A side you'll find 'My Girl' - a roughneck breakbeat ride but with sweet and soulful vocals and Summery synth-lines smoothing out a bit of the roughness - a typical Coco workout, and that is by no means a bad thing!

On the B is U Can C In There, a gorgeous roller - just listen, the music speaks for itself! Mastered & cut by Beau Thomas, pressed at Record Industry and presented on Coke Bottle Green vinyl - fancy

Three years after the release of Adrift, Ebauche (aka Alex Leonard) returns with a beautiful new ambient LP. It is inspired by a strange disconnected dream during a long cross-country journey through Poland in the depths of winter in 2014. Mutable reflects the rhythms of that journey and the ethereal dreamscape which enveloped him.

Each track on Mutable pulsates and wraps around itself, gradually evolving its soundscape and encasing the listener in a deep and rewarding world. There is careful exploration of polyrhythmic variations within juxtaposed morphing drones bubbling out from stacks of synthesizers. The pieces are densely layered with fine detail, often only revealed on repeated listens, and are subtly backed by field recordings from locations around Poland.

Chwiać opens the album with scintillating polyrhythms and pulsating bass tones; continuously folding in on itself teasing elements in and out of our awareness. Zmienny evolves gently over its 11 minutes, voices skittering in the background whilst synths, horns and strings grow, waver, and vacillate. Rozwijać is a lovingly constructed soundscape full of warmth and gentle tones which lull the listener to serenity as the album closes.

Each piece on the album is accompanied by a unique painting created by Polish artist Adrianna Snochowska. The paintings are 50 x 35 cm mixed media (texture & oil paint) on canvas. Adrianna spent many hours listening to the draft mixes whilst creating these paintings and moulded the texture effects to the sounds on each track.

Additionally, long-time producer Arovane has provided a remix of Chwiać which is included on the release. The remix picks up on Chwiać's pulsing polyrhythms and wraps them in layers of gritty distortion and subtle melodic nuances, underpinned by driving beats.

Currently based in Berlin, Germany, Alex Leonard's last release as Ebauche was in 2015, titled Adrift, was listed in Ambient Music Guide's best albums of 2015 and received a glowing review from Hypnagogue.

'I Lost My Poncho In Istanbul' presents to you a fresh selection of bomb tracks from Ecuadorian mastermind 'Nicola Cruz' and the Brazilian label 'Honcho Pigmalião'. The new release 'ILPI003' exposes new identities from both artists and a pursuit of representing some of their South American references comprised by either local indigenous expressions mixed with afro rhythms exploited in a more obscure, avant-garde and electronic intended soundscapes.

PAROV STELAR – VOODOO SONIC THE TRILOGY PART 1/3

PAROV STELAR GOES VOODOO!

Concerts by successful musicians often have an air of church-mass: Fans pay homage to their idols, hailing them, giving the impression of following them blindly. Parov Stelar, a globally successful musician from Austria, is one such artist. Is this art of seduction a kind of Voodoo, Black Magic even? Who can tell? It makes no difference whatsoever, as to his fans Parov Stelar easily passes as a High-Priest of grooves, perfectly able to offset their frenzy.

In Voodoo, Bondieu, a higher being communicates to the masses through priests called Loas. Parov Stelar manages to do so with his music. The seed for „Voodoo Sonic“ had been sown. At the same time the idea to replace the conventional album with several EPs emerged as well, allowing greater musical freedom and the possibility to explore the many sonic landscapes of „Voodoo Sonic“.

„Go Wake Up“ is the first track coming from the Parov Stelar Voodoo-universe. The song is a close collaboration with Lilja Bloom who has been more than Parov Stelar’s muse for a long time. And in true Voodoo fashion the song’s groove grabs you immediately, never letting go again.

„Voodoo Sonic“, the EP’s title track, with its compelling samples is pure Parov Stelar, driving and danceable whereas Q-Tip (of A Tribe Called Quest fame) emerges as quite some Voodoo-seducer in „Number One MC“. With „The Fall“ the EP comes full circle as it is another collaboration with Lilja Bloom. It’s a cinemascope-like sound that truly marks the song as something special. Voodoo Sonic – The Trilogy Part 1/3 – now available as 12”.

At bleedin' last, The Boats' gorgeous debut album Songs By The Sea (2004) turns up on vinyl! Along with first-ever vinyl issues of We Made It For You (2005) and Tomorrow Time (2006), plus a very special side of unreleased, unheard outtakes, Static Clings (2017) - which are all collected in the The Boats Archive boxset, you should snap these limited runs while you can as they're unlikely to appear on wax again.

Scrolling thru the mists of time to 2004, a very different world indeed, and The Boats formed as an outlet for Kraftwerk-addicted composer Andrew Hargreaves and his pal, Craig Tattersall, fresh from a decade spent with cult post-rock group Hood and as half of The Remote Viewer, to pursue the ideas of post-rock, modern classical and lo-fi electronica along more intimate, personalised ginnels of folk and ambient music, with the cherry on their home-baked treats provided by vocals from another close friend, Elaine Reynolds.

Songs By The Sea was their wistful and charmingly humble introduction to the world; ten tracks balancing exquisitely pop-wise songwriting with gently pulsing, elusive electronics and a patina of crackle that became a real signature of their sound long before everyone else cottoned on and starting putting out pale imitations.

At the time, it received heavy rotation in our record shop, Pelicanneck, and was something of a shared secret between fans from Manchester to Japan via their home-town of Burnley, and still owns a certain section of our memory banks to this day that's often triggered by the smell of coffee, waffles and toasted rye bread in the morning just as much as smudged Hulme sunsets in summertime.

We don't want to gush about it too much but, listening to it now, and on a format the album always quietly yearned for, it's just chokingly nostalgic in its own, low-key and endearing style and leaves little doubt in our minds that Songs By The Sea is one of the finest ambient-pop records to emerge from this region.

What new can be said about this incredible band? They have played the most danceable electronic death disco on the planet since 2012…or was it 2112? The past and the future melts together, trying to draw their timeline but anyways, right now their new 7” ”Stonerdisco”/”Superstandard” is out on Höga Nord Rekords.

Exorcist have embraced hard rock more obvious than before, especially on the A-side, which is a boogie nightmare with fuzz bass and totally freed from guitar solos. The rhythm section with Osynlige Mann on bass and Tentakel on drums, plows in usual manner down space and time while Vesslans synthesizers shoots gamma rays through Exo-universe. The B-side is haunting, unsentimental dystopic disco.

The Exorcist prove that they still hold the powers of making supersonic dance music!

First release in a series of four compilations, which includes international artists of the slow-industrial, tribal and experimental scene.

"Lyon based new label Kump presents a stunning debut with a 5 tracks vinyl compilation.

Opening with new project 'Ricco' by label boss himself Markus Gibb and french producer Jutix aka HLM38, 'Gilbert & George' would be the perfect soundtrack of an immersive nightmare in slow motion. Distorted hats and ghosty voices from the graves surronding by detuned guitar and discreet acid cuts.

Followed by a Middle East psychedelia inspired, Pletnev's 'Thinder' fit in the perfect definition of a dusty weapon. Mystic melodies and mesmerizing bass for suave basement parties.

Turn over, Ju-Ju83 is flirting with depression and nihilism. Untimely End takes you to an obscure journey in the 80s with this new-wave-ish banger. Where drum machines hangs out with rock bass and dying voice.

'Nirvana' by lithuanian producer Roe Deers is a subby minimalist down tempo triplet drive by weird-melodic' synths.

Killing the codes, this is truly musical rollercoaster for insensible souls.

Last breath with Markus Gibb, his 'Dernier Souffle' is a shamanic ambient and subliminal Eno-ish track.

Ethereal grace synths and smoky reverberations, this is the track to cross the nevada desert, psychotropes loaded

Danny Clay is a composer / general noise maker from Ohio, now living in San Francisco. Chamber music, open forms, found objects, analog media, digital errata, toy instruments, and everything in between are his artistic guidance.

Whose work is deeply rooted in curiosity, collaboration, and the sheer joy of making things with people of all ages and levels of artistic experience. He builds worlds of inquiry, play, and perpetual discovery that integrate elements of sound, movement, theater, and visual design. Children's games, speculative systems, cognitive puzzles, invented notation, found objects, imaginary archives, repurposed media, micro-improvisations, and happy accidents all make frequent appearances in his projects.

Recent collaborators include Kronos Quartet, Eighth Blackbird, Third Coast Percussion, Volti, the San Francisco Girls Chorus, Wu Man, Sarah Cahill, Phyllis Chen, and printmaker Jon Fischer. His work has been performed by the International Contemporary Ensemble (ICE), the San Francisco Contemporary Music Players (SFCMP), Ensemble Dal Niente, and has been presented in a bunch of various Museums, Foundations and Art Centers. throughout US.

After 2 years since his last solo release he comes back with "Ocean Park", a masterpiece evolving between ambient, chamber music and contemporary music.

Since 2009 Johannes Scheblers has began mapping out his surreal sonic topography.

Shortly after releasing his first experimental compositions on the homegrown DIY SicSic-Label together with Daniel Voigt, his albums began circulating on labels all over Europe as well as in the USA and Japan. He grew up in a small Bavarian village, where his family had moved to for his fathers work as a pastoral officer. Here they lived in the rectory attached to the church where the loud resonance of the bells, lush organ sounds and chorales of singing churchgoers where constantly present in Johannes childhood. The alluring atmospheres enticed him and he spent several years serving as a altar boy. These early spiritual experiences are a foundation for Baldruin’s sound. In his teenage years, he was exposed to transcendental and dreamlike visions in surreal and avant-garde films which he obsessed over. The unique artistic styles of Švankmajer, Buñuel, Jodorowsky, Cronenberg and Lynch have heavily informed his sonic palette.

Schebler’s compositions offer reinterpretations of dark and mystic mythologies, a chance meeting with strange beings from unknown depths conjured in his imagination where he gives free rein to the fantastic and surreal. Besides his Baldruin project he collaborates with Jani Hirvonen (Uton) on the project Grykë Pyje and is joined by Brannten Schnüre together as Diamantener Oberhof.

Mojuba sub label a.r.t.less is very pleased to welcome DJ Ion for Portal Kvest EP. Although this is his debut DJ Ion is no stranger to the scene, being active in the community of art and electronic music in Berlin in recent years and probably best known for the party series KRACH together with his friend ADLAS of Answer Code Request, this very promising talent is bringing the heat with this fresh stepping four tracker. Being emotionally inspired by 90s Techno originating in Detroit and the UK and combing these influences with undeniable captivating musical currents like Drum n Bass, IDM, Dub and Breaks is DJ Ion's trade. He is creating a unique melange of sounds that feels right at home on modern dance floors while carrying enough creative weight and relevance to keep you entertained in your living room equally. As always let the music do the talking!

Raw rocking Jitt tracks with that amazing intense bassline also used in some Direct Beat releases and Electronic Warfare. Great Electro techno! UR back in top shape.

Italy, Germany, and France come together for Ombra INTL 009. Wishing you well in the 6th dimension ocean we call life. Parisian darkwave duo ORDER89 join Berlin's Local Suicide and Curses and Psychedelic guitar trip of Italy's Amarcord and Parma's Dark disco champion Dog.ma.

Two years on from their move to Berlin, British Brothers Alex & Digby return with a 10 track, triple LP album to their home imprint Flash As a Rat on the 19 June. The album is said to show the duos full commitment to sound and experimentation after being Written during a very personal time to them both. The Album title "For My Process' echoes this. Coming form a engineering background as well as being know for their modular Wizardry and band based upbringing, expect band Psychedelia with dance sensibility.

All sounds recorded at various locations in Europe, South America and at EMS, Stockholm using the Buchla 200 modular synthesizer.

soar, all sounds recorded with Klara Lewis in Montreal 2018


Mastered by Russell Haswell. January 2020

Cut at Schnittstelle, Berlin by Andreas Kauffelt, January 2020


Image : Mark Hogben

Layout: Nik Void

The last two years have seen me maintaining an association with an unusual bedfellow, death. The loss of Mika Vainio, as well as three members of my own family, has had a profound effect on me and spurred a lengthy reflection on life, death, and everything in between.

Parallelly, while studying the philosophy of science, I came across shadow photons:


"Tangible photons are the ones we can see or detect with instruments whereas shadow photons are intangible (invisible) detectable only indirectly through the interference effects on the tangible photons.

There is no intrinsic difference between tangible and shadow photons: each photon is tangible in one universe and intangible in all the other parallel universes.

They travel at the speed of light, bounce off mirrors, are refracted by lenses, and are stopped by opaque barriers or filters of the wrong colour. Yet, they do not trigger even the most sensitive detectors. The only thing in the universe that a shadow photon can be observed to affect is the tangible photon that it accompanies. This is the phenomenon of interference.

Shadow photons would go entirely unnoticed, were it not for this phenomenon and the strange pattern of shadows by which we observe it.

Thus the existence of a seething, prodigiously complicated hidden world of shadow photons has been inferred."*


I have drawn a parallel between shadow photons and death. The interference phenomena, parallel universes, and how shadow photons affect tangible photons they accompany, offer, in my opinion, similarities, an unknown universe which is death and how we, remaining tangible human beings, are affected. This quest has led me to be more willing to accept chaos in my life and to conclude that Death is perfection, everything else is relative.

Sixth release on Danish label Petrola 80 is the blissful debut album by ambient/experimental artist Merdh Laleh. Featuring saxophones, choir, drums and much more, Merdh Laleh explores ambient emotions through a Lynchian dreamscape packed with emotion on a total of 10 tracks, showcasing his characteristic playfulness and experimentation in sound. Emotional electro-acoustic music anno 2019.

Sludge machine music slapped through the infinite mixing desk by SRS - the combined mind of Sunun and Robin Stewart. At any pointData Fossil'sgiddy industrial riddims could collapse under their own weight. There are Sunun inputs and there are Robin Stewart inputs - but everything is offered up to their machines gladly for an output of nu-human-beat. Voices drift through the mix in hushed Italian and Robin's gruff roboticized drawl, floating dub chords left hanging for cavernous subs and rattled bones, distant harps and arps, a sudden blast of trills. 'Spit Fossil' itself is a clipped noise-pop wonder - the aural equivalent of a lights-on Avon dancefloor with only the weirdest left standing.



Recorded on the rooftop of a housing project called Camelot in 2018, the two Bristol locals debuted the live / unplanned collaboration in an inflatable arena called 'Toldo' in the Brunswick Club ballroom (RIP). Then again at Young Echo at the Cube Microplex - a night where it's said anything is possible (Sunun even dubbed Guest's live human heartbeat there recently….). IfData Fossilis hard to describe - it's just the sound of the musical freedom of a city that will never run dry.



It's a high Bokeh honour to welcome Sunun back after we helped release her 2018 debut,Ooid EP. Her live show continues to be the most inspiring re-use of dub principles we've witnessed (again and again). Time only grows her music outwards causing the Young Echo collective to demand she join them. SinceOoid,she's released a 12" of MPC wonders with close Bristol pals Cold Light.


Recently bearing his dub-side to all that didn't know on Trilogy Tapes'Time Travel EP, Robin Stewart is half of world conquering techno-cult Giant Swan. Also a veteran of Rwdfwd stable of imprints (Fuckpunk and NoCorner) - his music DNA is equal parts shoegaze and steppas. In 2020 he was officially recognised for having the largest collection of Bokeh t shirts.

Since their climatic signing in 2014, Teddy Killerz have been working on these slabs of tectonic bass with the upmost precision. Wanting a release which reflected their inclination for hard-hitting, depth defying basslines and foreboding percussion loops, this next one from the eastern European trio is formidably huge.

It is clear to see why they were quickly picked up by Skrillex's label, OWSLA, through a crowd baying competition during a remix contest. This lead to a few of their most prominent releases to date, including the remix of the certified dancefloor detonator 'Ragga Bomb' for the label owner, which Teddy Killerz switched up the tempo for.

And following this colossal feat is first track 'Teddynator'. They're unintimidated when following in the steps of their last few releases; this record is baying for blood with sharpened hooks and a drop which rolls out furiously. Pounding subs underpin a heavily imposing composition and there's no denying its power in enveloping every aural synapse pulsating with the track's bassline. For those of you unaware of who Teddy Killerz are, this is a cataclysmic introduction.

Up next, 'Endlessly' doesn't allow you to pause for breath. A trait well-known within Teddy Killerz creeping production style breaks out in between waves of a powerful riddim. A dark tinkling which breaks out like a beacon against its backdrop, the tell-tale arpeggio adds to its ominous atmospherics. Lending a complexity which is both weighty and intricately fierce.

So proceed with caution. Littered with the kind of no holds barred stylistic features which made the producers infamous and lead to their Ram Records signing, this is only a precursor for what's to come.

THE FISRT AUDIOTRIX ALBUM !!!!

10 Tracks by Ixindamix in multiple styles featuring Sim Simmer on The ones that left, Scallywag on Boom Boom Boom and Wotcha Braincells and Roberta Carrieri on Yodelix.
2 X 180G Vinyl in a beautifully designed full-colour picture sleeve with free download code inside.

What Ixindamix says !

"I’m extremely proud to present my new album “The Underground Tree” the first for over 10 years is out on 23rd May !

The title comes from a line in “Reserve the Right” – “We are family, I’ve got my possee and me, we’re fruit from the underground tree” the last track on the album, a rambling rap covering many subjects from climate change to data collection all written under the influence of a heavy hangover, where I foolishly decided it would be a good idea to get back on the mic. You can read more about that here …..

Also featuring on the album are Sim Simmer, Scallywag and Roberta Carrieri on vocals. From Bass House to Drum & Bass with a twist of Acid, Breakbeat, Ghetto, Garage and Swing, these 10 tracks are to be released on a double vinyl album available at the end of May. You can hear the megamix below.

Family is one of the most important things to us, whether it be blood or our larger sound system families, tribes or crews. They are the people that mean the most to us and make our everyday lives the best they can be. This album is dedicated to them all friends and fans the world over xxxx.

Chinese industrial/dark techno producer XIAO QUAN “Righteous Invasion” title track from upcoming cassette EP on Hangman Satellite

Definitely the producer of the week with two EP, one together with DJ , Chineseelectronic experimentalist XIAO QUAN, not new to this playlist, is finally receiving the attention he deserves with his industrial-charged energized, hypnotic and erratic techno sound

A digital stimulus for the analog age.
Termina presents slowed-down mystery funk and
sub-bass excursions for open-minded dancefloors. Impressive!

Personnel: Yosa Peit, Nauker, and Glenn Astro

* This is Detroit's Filthiest second appearance on Defrostatica Records after his joint with Sinistarr "Yo Speakerz" which received praise by legends DJ Shadow and Jon1st in 2017. The Baghdad-born, Detroit-made musician and ghettotech innovator returns to the label with three no-frills banging 160 BPM tracks. Honor Among Thieves EP bristles with content of an artist and dj who knows a thing about making you move. The release is topped off with a glowing remix by BSN Posse from Malaga, Spain: smokey halftempo hangout melting into an amen break explosion. Artwork courtesy of infamous Leipzig collective Doppeldenk.

One of the hottest upcoming artists in the 140 spectrum, Fiend debuts on Infernal Sounds with the beautifully mesmerising Emeralds EP. The Bristol-based producer has previously released on the likes of J. Sparrow's Navy Cut and most recently on Chord Marauders, displaying his versatility and ease to produce tracks of various styles and soundscapes. This release is no different, acutely bending between the lighter textures with 'Emeralds', to the more heavy and soundsystem kicking 'Solar', whilst finding the perfect balance of light and dark in the B2 track, 'Omen'. To top it all off, Infernal Sounds have called on their cavalry and one of their elite in dub-master Bukkha has given the title track, 'Emeralds' his own spin to add another tier of depth to this already, magical EP.

The aesthetic of the release is once again polished to perfection, with Emily Dayson Illustration returning to give the plate an extra special touch on the artwork centre labels.

Over the past year, the release has received heavy support from the likes of Truth, J:Kenzo, Sicaria Sound, Taiko and Quasar, among many others. It's one to add to your collection, so you can blast it at home, take it for a spin on the dance floor or even frame on your wall - a really special release from top to bottom, inside and out.

(Please note these are handpaintesd sleeves that have been handled and aren't always perfect - part of their charm - but please be aware)

One of 2020’s most distinctive new dance and electronic soul LPs, ‘Não Fales Nela Que A Mentes’ sees Kuduro auteur Nídia come into her own with a strikingly fresh, deep and original showcase of Afro-Portuguese dance music.
Five years on from Nídia’s debut 12”, and notable recent production and remix work for Fever Ray, Kelela and Yaeji, the Lisbon/Bordeaux-based wunderkind’s 2nd album lays out a supremely supple and crisply defined sound placing a critical, dare-to-be-different spin on elements of the African Zouk, Kuduro, Tarraxho and US R&B sounds she grew up with. Now after becoming something of a cult one-to-watch, and still only barely in her 20’s, Nídia’s sound has patently matured in terms of its emotional levity and pacing, but at no expense to the thrilling, rude angularity of her early 12” and 2017 debut LP ‘Nídia É Má, Nídia É Fudida’. Nídia’s music is now just cooler, concentrated and on-point stylish in a remarkable way that uncannily matches the mood of the times.
Showing off sharply honed melodic sensibilities and nudging her drums into singular syncopations, Ndia’s subtle but radical alteration to her sound now calls to mind beats by Timbaland, Lenky, The Neptunes or Equiknoxx (even LL Cool J) as much as her label mates on Príncipe. By stripping her sound down to its essence, rather than cluttering with FX or bait sounds, she’s arrived at a raw dancefloor blueprint that’s tough playing but sensitive, unafraid to go slow, heavy and heads-down in the club while also packing combustible peaks of excitement.
With effortless suss, Nídia shifts from an ‘Intro’ of experimental rave minimalism comparable to Rian Treanor,
to a mix of Arabic wind motifs and clipped Deep South bounce recalling Virginia Beach’s best on ‘Popo’, while a trio of ‘Rap’ instrumentals tilt the game from mutant drill to 3-step sickness and a super strong nod to LL Cool J’s ‘I Need Love’. Zipped in with the a bubbling 8-bit slow banger ’Tarraxo do Guetto’ and grimy shockout eruption of ‘Capacidades’, Nídia’s cool hand on the pressure gauge keeps interest rapt until the finalé fanfare of ‘Emotions’, which surely matches the likes of Lex Luger or The Dream’s brassy mini-symphonies for emotive grip, but in a less muscular, more sensitively ambiguous way that Nídia coolly owns.

Exceptional, humid tarraxho beatdown pressure from Lisbon/Bordeaux-based wunderkind Nídia, accompanying her killer 2nd album.
Spinning off from the slower highlights of her album, ‘Não Fales Nela Que A Mentes’, Nídia’s 7” perfectly displays the subtly radical advances in her productions style on two achingly squashed and rude swivels that set her sound head and shoulders apart from the crowd.
Initially soft and tentative, but ultimately hard and freaky, ’Tarraxoz Academy’ plays out a heavy, druggy tension between its burning, biting point electro-leads, wavey organ refrain and dragging drums that recalls a screwed take on an imaginary DJ Stingray & Nkisi joint.
The modern rare groove of ’Cheirinho’ on the other hand comes marks a leap forward, or even sideways, from what you may expect from her early work, draping velvet chords on a natty swing beat like Omar-S gone broken beat or Dego doing Angolan R&B.

*Plain Sleeve Repress*

Premiere on Fill-Lex Records of the Russian-Greek producer based in Seville Maxim Gkikaev aka Rise Black, in which he presents us with themes composed from 2016-2019, the first release in its volume 1, volume 2 will be published at the end of the year.
With an electro heart, these songs take us through his last years, a mixture of various types within the genre, more aggressive, or with sweetness, in sad and melodic moments or more experimental and raw, with a continuity as few know how to do. Broken bases and broken rhythms with melodies that will stay in your mind in direct trip to the brain.

Rise Black and with his other aka Oscitin has released on labels like Moustache Records, Retrowave Records, Underground Music Experience or his recent publication in Tripalium Records Corporation in his sublabel Digital Mutant Series.
Apart from his facet as an artist he combines it with editing as co-owner of labels such as UME, NYY Records and Another Perspective, and he is the host of the Electronic Wave parties in the Prisma room in Seville.

An album with 11 tracks that will not leave you indifferent, come in and enjoy

First Release From S36 On The New Fresh Label Sumo Smash Records Based In Lyon(fr). 5 Tracks From Trip Hop,idm To Electro And Breakbeat Influences.