Hip-Hop Vinyl New Releases - News

Vanishing Twin is songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, synth/guitar player Phil MFU and visual artist/film maker Elliott Arndt on flute and percussion; and on this album they have made their first artistic statement for the ages.

Some of its great power comes from liberation. The album was produced by Lucas in a number of non-standard, non-studio settings. 'KRK (At Home In Strange Places)' summons up the spirit of Sun Ra's Lanquidity and Broadcast And The Focus Group Investigate Witch Cults Of The Radio was simply recorded on an iPhone during a live set which crackled with psychic connectivity on the Croatian island of Krk.
The magical Morricone-esque lounge of 'You Are Not an Island', the blissed-out Jean-Claude Vannier style arrangement of 'Invisible World' and burbling sci fi funk ode to a 1972 cult French animation, 'Plane`te Sauvage', were all recorded in nighttime sessions in an abandoned mill in Sudbury. The only two outsiders to work on the recording were '6th member' and engineer Syd Kemp and trusted friend Malcolm Catto, band leader of the spiritual jazz/future funk outfit The Heliocentrics, who mixed seven of the tracks (with Lucas taking care of the other three).

Vanishing Twin formed in 2015 - their first LP, Choose Your Own Adventure, which came out on Soundway in 2016; followed by the darker, more abstract, mostly instrumental Dream By Numbers EP in 2017. The band explored their more experimental tendencies on the Magic And Machines tape released by Blank Editions in 2018, an improvised session recorded in the dead of night, offering a glimpse into their practice of deep listening, near band telepathy, and ritually improvised sound making. These sessions formed the basis of The Age Of Immunology.

TCB aka Chris Beißwenger, our boy on Jah bless road, goes a little something like: 1977, born cross-eyed, parents like Boney M; 1984, suburbia USA, DSNY, still cross-eyed; 1988, 98.7 Kiss FM New York on the school bus radio; 1989, Frankfurt Am Main, hyperactive, outsider, got lazered; 1991, drums and piano in cheesy school band; 1993, kicked out of Omen, kicked out of school band; 1994, kicked out of Omen again, got his own band; 1995, kicked out of band, finally in at Omen, The Box, Wild Pitch Club; 1996, got first car, Fasttracker, EMU ESI-32; 1999, no more car, no more Omen, Robert Johnson instead; 2002, first release, High Tide; 2003, Ableton 0.1 Beta, less MIDI, more gefrickel; 2004, exchange High Tide for CB Funk, kicked out of Cocoon; 2005, a silly move to Düsseldorf, Burkina Faso, more synthesizers; 2006, again silly in Düsseldorf, Brontosaurus, disco-house, love; 2007, Cologne and Frankfurt, back to piano, more love, still no car; 2008, with love to Frankfurt, Arto Mwambe on the road, storyteller; 2009, Mwambe still on the road, bored of work; 2010, Live At Robert Johnson, four-day week (thank God), four bike accidents; 2011, Europe, bored of piano, invention of The Citizen’s Band; 2012, modular cookery, thoughts of moving; 2013, Burkinian's death, Delphi's rise, almost made it, 2014, broke out of seven-year cycle too complicate

Carl Gari is a group of three from Munich: Jonas Yamer, Till Funke and Jonas Friedlich. They released their well received and idiosyncratic debut (NPR mentioned it as one of the 50 best albums in 2016) on The Trilogy Tapes, for which they collaborated with Egyptian singer and spoken word artist Abdullah Miniawy. For the second release on Permanent Vacation they perfected their unique blend of psychedelic ingredients, dubbed out drums, drony sounds and a general hazyness. The mystic chants of Abdullah, who is also featured on two tracks, weave themselves into the band's lively sound texture. Apart from that Carl Gari showcase the diversity of their analogue driven and melodic approach to electronic music through four beautifully detailed tracks.

Celebrating the 50th release on the Nonplus label, Instra:mental return with their sophomore album Timelines. A long awaited record that finally uncovers the unreleased gems of the legendary Autonomic Podcast series. This eleven track album features five, previously vinyl only cuts, with another six unreleased tracks from the vault. This is an album that will feel nostalgic to some but new to others. Classics like Photograph and Pacific Heights transport the listener back to a time where Instra:mental started to blur the boundaries in a pool of multiple genres, allowing artists to dip their toes with creative freedom. This release is mainly rooted in 170bpm (with the exception of “More Than”) but effortlessly feels like its spanning multiple tempos. With the techno infused Encke Gap to the slow pulsings of Deep Night. Timelines represents the embodiment of the Autonomic “Drum & Bass” movement, a slice of time that sounds modern despite being more than a decade in existence. Timelines is a collectors piece that will sit happily in your physical or digital collection, an essential record that highlights the golden era of Instra:mental’s illustrious career.

Four modern, textural, slow-burning instrumental hip hop soundscapes set a distinct mood on this new EP by the venerable Chris DeLuca. Heavy-hitting basslines and slightly ominous hat patterns dominate, leaving these cuts verging on the territory of dark, minimal electro destruction... with a subtle dose of that funky boom bap. Perfectly applicable to both basement dancefloor experiments and gangster dealings alike.

One half of Berlin's Funkstörung, alongside partner Michael Fakesch, De Luca is more than well-versed in the genre, having done a few remixes for high-profile hip hop and experimental acts such as Wu Tang Clan and Bjork. They've released an uncountable amount of records on labels !K7, Compost Records, Music aus Strom and Acid Planet, to name but a few. This is his first release for Detroit Underground.

Includes two fire remixes, one by fellow DU resident producer Valance Drakes, and the second by none other than Chris DeLuca's son, Lenny DeLuca.

Rooted in the São Paulo contemporary art scene, Laima Leyton’s credentials in the world of music are firmly established as one-half of Mixhell alongside her husband Iggor Cavalera (Sepultura, Cavalera Conspiracy) and for her work with Soulwax.
Now the producer, musician, activist, artist, mother and teacher unites her multifaceted talents with her ambitious double-vinyl debut album ‘Home’. It will be pressed and distributed by The Vinyl Factory and released by Deewee on November 8th. Featuring two records that are designed to be played simultaneously: Laima’s vocal and synth tracks on the ‘TONAL’ disc alongside Iggor’s beats on the ‘RHYTHMICAL’ record. Syncing two records offers an unconventional way to experience the music.
Rather than passively hearing the music, the listener’s need to ritualistically sync both records makes for an immersive experience. There are two key elements that make ‘Home’ such a distinctive project. Thematically it explores how the two core contrasts that inform Laima’s life can coexist. On one hand it’s about domesticity – her love for her family and her frustration with domestic routine. Yet on the other, it’s about her creativity – her desire to express herself artistically while still tending to her role as a mother and a housewife. “It’s almost like a family photo album in another format,” says Laima. “I needed to find the balance in this dichotomy, to feel good with myself in both roles, and be aware of things that really mattered to me. To be a woman, a mum and a female producer: all of these feelings were in the music.”

Shot in Iceland, the video “Forever Love“ was directed by her best friend, visual artist Ragnar Kjartansson and the director, Allan Sigurðsson.

“The music I’d been writing over the years was a very personal affair, something I did for emotional and spiritual survival,” says Kristín Anna. As for the album title, “It just came to me, and then I went about my business, being an imperfect human being, my own centre, within this divine order we call the universe.”

Kristín Anna is a founding member of the band múm. In 2006, began performing her piano songs along with more experimental electronic music under the alias Kría Brekkan. Living and working in her native country Iceland since 2010, her creative outlet took the shape of performance and visual art, where she collaborated with Shoplifter and Guy Maddin, performing and composing for their installations. In 2012, she performed in Ragnar Kjartansson´s acclaimed video installation The Visitors, and has since worked on many of his pieces, variably composing, performing or acting. Most recently, they wrote the song “On Death” for Sophie Calle’s LP and art project Souris Calle. In 2015, Kristín Anna released HOWL, an improvised vocal ambient album and art work created in Mojave desert.

Ragnar Kjartansson, founder of Bel-Air Glamour adds, “Kristín Anna is an artist like no other. Kristín roams the earth weaving a thread of her life, her loves, her dreams into this confessional gem of an album. The music is a reflection of life lived away from the norms banging old pianos and celebrating a conflicted lust for life. I Must Be The Devil is a cycle of songs written in the last 15 years and recorded in the last four years. This is a big record full of deep truths, suffering, irony and beauty. Unique songs by a unique artist. Yes this is real, this is good old mysterious talent. The record was produced and financed by her friends in the music and visual art scene. She is an artist’s artist.”

Von Brüchen und Kämpfen: Das Berliner Electro/Pop-Duo Yeah But No kündigt sein zweites Langspielalbum "Demons" an.
Yeah But No sind Douglas Greed und Fabian Kuss. Elektronische Musik mit klassischen Songstrukturen zu einem klugen und mitreißenden Hörgenuss verschmelzen, ist schon immer das Anliegen der beiden. Die Stücke des neuen Albums "Demons" kreisen um innere und äußere Konflikte und Gegensätze und zeigen die Band von einer dunkleren und detailreicher ausgearbeiteten Seite als auf ihren vorherigen Veröffentlichungen, und erweitern das breite Spektrum der Band von elegantem Deep House über friemelige Electronica bis hin zu hypnotischem Techno und großartiger Popmusik.
- LP: schwarzes Vinyl, Gatefold-Cover, 4c-Innersleeve mit Lyrics, Downlode-Code liegt bei

Emotional Rescue turn their attention to Rare Silk and their sublime cult classic "Storm". It's one of those rare tracks with a wonderful otherworldly quality that manages to be smooth and accessible, and somehow not like anything you've ever heard before. It must be somewhere in the mix, between the dreamy harmonized vocals, lush instrumentation and curious sense of space. The original on the A side is a treat enough, but then throw in a mercurial dubbed out version by Arp on the flip and you've got yourself a 12 inch portal to a most delightful dimension.

Collecting orders for repress, new Cover Artwork

The year is off to a good start! The highly anticipated new Rising Sun album is going to be released any day now. We are very proud to press this incredible record on vinyl. 'The Lamentations Of Rising Sun' leaves nothing to be desired and is full of surprises. It defies categorization and shows influences of the past while taking us into the future. The bass and groove have a special energy and will inspire you to listen to this record religiously. It goes directly into the heart and soul. Vinyl tastes better!

Ground is an Osaka native, but his soul is truly that of a nomad, traversing the planet, befriending kindred spirits found in humans, animals and plants. He is exceptionally receptive to the beauty in everything that surrounds him—the incidental music of a city street, the orchestral chaos of a scrambling radio, the syncopated grace of migrating birds, the simplicity of an isolated hand clap—and as his roadmap continuously unfolds, he accumulates a vast catalogue of visceral tools to musically recount his experiences. 'Sunizm' is a cross section of the artist’s process—an array of complex microcosms overlapping to comprise a thematic whole—gathering field recordings, found instruments, jagged electronics, synthesized chanting, and weaving all into a dense narrative that appears obsessively constructed yet divinely improvised. 'Follow Me', the second of two singles surrounding the album, is complimented with a pseudo drum’n’bass treatment by enigmatic Greek artist Jay Glass Dubs, as well as a massively triumphant b-side entitled 'Ozone House', which is exclusive to this single release. Attention all humans, animals and plants, Ground and the ESP Institute present, 'Sunizm'.

Intoxicating and scorching electro-space rock by Mystic Jungle and Rico Milord. Limited reissue edition on 12" with an additional special extended version.

SATL has already carved himself into the repertoire of drum & bass, something which can be seen through a succession of releases which have helped push him as a part of its more soulful trenches. SATL is a frequent traveler and performer at SUNANDBASS in Sardinia, also taking pride of place within our SUNANDBASS Recordings tour parties, enabling him to debut his music across a wide-ranging fan base. For him to release an EP on the SUNANDBASS imprint comes as little surprise, with the producer already deeply involved with the SUNANDBASS family.

The 'Braveheart' EP is an intricate look into the sounds which build SATL’s musicality – from its title track featuring Dan Stezo, through to digital bonus 'Maj', it pedestals the direction which has enabled SATL to receive such worldwide recognition. The winding pads of ‘Bravehearts’ and the gloomy lyricism of Dan Stezo gives a darker edge to the opening track, whilst 'Acid Trip' is an immersive experience, one with an urgency that catapults you into its first breakdown. 'Low End Theory' shakes through to its core with a stocky heaviness, then 'Maj' (digital only) takes you down a lighter route, one underpinned by its swatches of tinkling percussion.

From beginning to end, SATL takes you on a journey and it’s one with the mechanics that he’s becoming renowned for. Joining SUNANDBASS Recordings once again, it’ll be a welcome addition for any DJ and fan looking to add to another gem to their catalogue.

Montreal’s earnest-kitsch-explorer CFCF (aka Mike Silver) has been honing gentle revisions and updates on the outmoded luxuries of pop and new age music for years now. Now he returns with a ‘spiritual sequel’ to his much-loved 2015 ambient opus ’The Colours of Life’, refitted with an eye towards the bygone future: oxygen lounges, chillout rooms, luminescent spas, and breakbeats. Told in 15 movements, ‘Liquid Colours’ is a 42-minute new age jungle odyssey, perfect for a journey into a dreamworld of pure consumerism. Like all of CFCF’s work, it’s as sincerely and painstakingly composed as it is gently sardonic. In Silver’s own words:
“Liquid Colours started just like The Colours of Life, as a simple challenge to myself to see if I could follow through on a continuous 40 minute suite in one style. Much like COL, it was a break in working on another more involved, complicated album. I was interested in ‘corporatized’ pop jungle — totally inauthentic to the genre’s roots. The jungle tracks on ‘Ray of Light’, Everything But The Girl, Towa Tei, Bahamadia, each member of YMO has respectively released some solo work exploring the genre. Bill Laswell plowing his fucking bass over a DJ Spooky remix of the Jon Spencer Blues Explosion or something. TV interstitials, ads. At its most oversaturated, jungle and d’n’b was briefly the sound of capitalism. In fact once while I was in the middle of working on the album I had to make a call to some customer service line or other, my bank or something, and the on-hold music sounded exactly like this record I was making! I really knew I was onto something then.
Like The Colours Of Life, I’m being very sincere with the musical approach by focusing on song-craft, but there’s a lot of tongue-in-cheek, slightly satirical thinking in there too. I know I’m doing it wrong, I know it’s stupid, I just think it’s more honest when I do it this way. I’m paying homage and teasing at the same time. One track is kind of a piss-take on Boards of Canada, it’s like ouroboros’d nostalgia loop - the 60’s viewed from the 80’s viewed from the 00’s viewed from 2019. I was also thinking about Roni Size’s New Forms; it won the Mercury Prize, it was viewed as this groundbreaking, futuristic work. It’s a really great record, but it’s fascinating to think now about the status it had compared to now. You can picture some young New Labour minister spinning it on his Discman between policy meetings. Just totally failed optimism.
I love all these things. I get excited to take influence from things in a sincere way while also acknowledging why they are slightly ridiculous. I love the cast-off Spooky/Laswell JSBX remix sitting on a CD-single somewhere (it doesn’t exist). My friends give me weird looks because we’ll be record shopping and I’m blowing $2 on a Fantastic Plastic Machine single. There’s a risk of coming off like an ironic-hipster-trash-peddler, but I have genuine affection for this stuff because it is dripping with undeniable life and sincerity.
I tried to make the record feel like a covetable object. It’s super commercial. If it were a place, it would be a mall designed by Marc Newson and Karim Rashid. It’s MUJI background music. You could buy a bucket hat to this album, but like, a fashion bucket hat.”

Celebrating the 50th release on the Nonplus label, Instra:mental return with their sophomore album Timelines. A long awaited record that finally uncovers the unreleased gems of the legendary Autonomic Podcast series. This eleven track album features five, previously vinyl only cuts, with another six unreleased tracks from the vault. This is an album that will feel nostalgic to some but new to others. Classics like Photograph and Pacific Heights transport the listener back to a time where Instra:mental started to blur the boundaries in a pool of multiple genres, allowing artists to dip their toes with creative freedom. This release is mainly rooted in 170bpm (with the exception of “More Than”) but effortlessly feels like its spanning multiple tempos. With the techno infused Encke Gap to the slow pulsings of Deep Night. Timelines represents the embodiment of the Autonomic “Drum & Bass” movement, a slice of time that sounds modern despite being more than a decade in existence.

Timelines is a collectors piece that will sit happily in your physical or digital collection, an essential record that highlights the golden era of Instra:mental’s illustrious career.

Repress dressed with a new colored button for "tip top" looking. Very limited amount of copies.

Notte Brigante founder and buttons specialist HLM38 is back in versatile style. Kump's label boss Gil.Barte and polyrythmic genius Harmonious Thelonious take care of the remix with two exotica versions in slow motion style. Limited to 200 copies

Over the years, Phil Mison has become the go-to selector for those looking for Ibiza-themed compilations. None of his previous collections, though, have been quite as personal as Out Of The Blue, a compilation inspired by his first spell behind the decks at the Café Del Mar in 1993 - and the remarkable chain of events leading up to it.

Mison made his first trip to Ibiza in the summer of 1991 and quickly fell in love with the magical music being played by Café Del Mar resident DJ, Jose Padilla. On his return to the UK, Mison began to cultivate his own take on the laidback, open-minded style, recording mix-tapes of Ibiza style chill out' tunes to give to friends.

In November 1992, Mison was hanging out in Tag Records, Soho, when Padilla walked in. He plucked up the courage to speak to the Spaniard because earlier that summer Mison had given one of his friends some tapes to take out to Jose in Ibiza so he wanted to see if he had got them. During the conversation Mison invited him down to his next DJ set at Nicky Holloway's club, the Milk Bar and less than three months later, and clearly impressed by what he'd heard on the tapes, Padilla invited Mison to fill in for him at the Café Del Mar, beginning in April '93.

It's that first trip to DJ in Ibiza - a crazy six-weeks spent dividing his time between spinning records at Café Del Mar, hanging out in Jose Padilla's house in the hills, and meeting some particularly eccentric White Isle residents - that proved the inspiration for Out Of The Blue.

The compilation contains a mixture of records that Mison played in his earliest Ibiza sets, those that remind him of that period, and recent discoveries that boast a similarly warm, loved-up vibe. Mison is at pains to point out that it's not a track-for-track representation of his first sets, but rather a collection inspired by this most momentous of experiences.

As you'd expect from a selector of Phil Mison's standing, Out Of The Blue is an outstanding collection. Some will no doubt hear the influence of his mentor - the man he credits with effectively turning his DJing career around - in the undulating rhythms and new age melodies of Kamasutra's Sugar Step', the meandering synthesizer solos and Spanish language vocals of Congarilla's sublime Sacred Tree', and the lilting flamenco guitars of Gambarra', an unreleased mix from Mison's popular Cantoma project.

Elsewhere, listeners can marvel at the starry ambient bliss of Belgian legend Frank De Wulf's The End', recline to the saucer-eyed fusion jazz of the Christoph Spendel Group, shuffle along to tactile, hard-to-find period deep house from Language, Moodswings and Don Carlos, and marvel at The Cactus Rose Project's ridiculously rare Jelly', a sparkling, disco-era jazz-rock outing partly inspired by the Doobie Brothers' Long Train Running'.

Out Of The Blue may well be a very personal selection of tracks celebrating a moment in time, but it's happily one that we can all enjoy.

The Fall is the fourth studio album by British virtual band Gorillaz. The album was officially announced on 20 December 2010 as a holiday gift to fans. The Fall was first released on 25 December 2010 to stream for free on the Gorillaz website, only available as a download for paying members of the band's Sub-Division club, a premium access campaign the band ran throughout 2010. The album features fewer guest artists than previous Gorillaz albums; collaborators include Mick Jones and Paul Simonon of The Clash and Bobby Womack.

All Tracks Written and Produced by S3A
Mastered by Kuniyuki Takahashi

This house project, based on the idea that electronic music is a blend of different cultures and music, started 15 years ago when Max began jamming on analog machines and samplers with different projects from techno (FriendShip Connection) to house (S3A).
It is through this project that he expresses, among other things, his taste for soul and House music. Such as his beloved artists MCDE, Floating Points... he uses the process of sampling as a basis to color his music with sounds of all his inspirations, he always add his own touch and groove to get his own vision of electronic music: dynamic, warm, emotional and dirty.

Although he discovered electronic music in 92 through UK hardcore with DJ as Tanith or Producer, his culture is based on a solid knowledge of house music, soul, funk, hip hop, making him one of the most promising house artists of the French scene since 2009.

He first came to Paris with Zadig to realize his childhood dream: building a studio and later collaboration, Frendship Connection (All is just a matter of time has actually been playlisted by Marcel Dettmann).

His residency at Concrete helped him to confirm his DJ position since the last 4 years adding as well releases on Lazare Hoche Records, Hold Youth, Concrete Music, Local Talk, Phonogramme and Faces. With these releases, his remix for Laurent Garnier on Music Large and his booking request from the French legend to play with him for his residency at Rex club and Concrete, gave him legitimacy and visibility in all over Europe.


In 2014 he decided to make his own label Sampling As An Art Records and focus on finding new-blooded artists and release his very personal music. A perfect definition between underground quality emotional house music and dancefloor efficiency!
In 2015, he released a collaborative EP on Uncanny Valley Label with Max Graef and Cuthead (whom released S3A RECORDS 03 the same year), made his first live representations and currently continue to spread his vision of music.

collecting orders for repress

There we go again. Finally, Cuthead returns with the long awaited follow-up to his "Brother EP". His new record "Everlasting Sunday" surely fulfils some dreams as it is packed with no less than nine tracks. Three catchy House tunes on the A-Side and six Hip-Hop-jams on the B-side make for a very extended EP or a mini-album ... the choice is up to you! Right at the beginning we start with the sample-heavy "Maputo Jam", a tune in classical Cuthead-manner with its irresistible drumming full of stumbling blocks and layers of sweet synth-melodies. "Nautic Walking" is a straighter House track with a guitar line and clapping samples but that bass line quickly reminds you whom you're listening to. "Minerals" starts off pretty deeply before evolving from a jazzy House affair into an almost orchestral tune with opulent strings. The flipside is an extensive expression of Cuthead's inexhaustible love for Hip-Hop. There is feel-good material like "Everlasting Sunday" and "Deep Shadows" as well as banging joints like "Calculator Watch" with all the typical Cuthead-trademarks: sick bass work, stammering drumming and imaginative sampling.

Melbourne party troupe, Animals Dancing return with the labels sixth disc, Psytube; a mind-melting trip from Lyon duo, The Pilotwings.

The synth-heavy house pair, synonymous with the BFDM label channel their digi synth euphoria into trance not trance and acid atmospheres across a four track EP.

From the subtle breaks and pan flute/acid combo of Trance En Aubrac, steady synth flutter of Future Glouglou to the full tilt restless psychedelia of Yakado and cinematic acid stepping Gig in the Ocean, The Pilotwings once again showcase their tongue in cheek nods to the past with production launching into the future.

Man Band delivers its first Various release with a stunning downtempo opener by the enigmatic DJ Sacom and an ever mind-bending trip by Forest Drive West, with his second hypnotic remix of Elise. More newcomers on the flip include Bristol based Patrick Flint with a celestial workout of swirling percussions, and a massive, dub inspired cut by Paris local figure HANAH.

First time on vinyl! Official bonus 12 inch with songs from "Temple of Glendor", originally released on Tape via Plaque from Bristol + 2 New Bonus cuts!! Only 100 copies! "A series of twisted stairwells, fly dungeons and mossy, dimly lit passages. Help our hero navigate into the lower echelons of Glendor's claggy labyrinth and unlock the real secret behind it's master's evil ways. Potions can revive dead party members, consulting occult spaeman can unlock bonus levels. Destroy all the master's treasure chests and collect the keys to emancipate his disfigured servants from their opiated haze and assist with the struggle deeper into shadowy purple chambers. For this journey expect fragmented visuals with ever-tessellating rib vaults, turnt-up combat mechanics with challenging boss battles for a cerebral quest seeped in dread and unease."

Building on the already incredible collection of music so far released on Francis Harris' Kingdoms imprint, Emil Abramyan returns with the stunning 'Movement' album. Abramyan is a Brooklyn based composer, musician, and producer, whose work traverses various styles and disciplines. In this release Emil shares his unique perspective by bringing together his conservatory training as a cellist and his love of electronic music and sound design. Having played the cello on every Francis Harris album, Abramyan now expands his repertoire by playing every instrument, including cello, piano, and electronics. Beginning with 'Flightplan', the album lifts off in sublime fashion. Brooding cellos combine with pianos before subtle rhythms unfold and introduce themselves. 'Winter's' skittering rhythm is combined with pizzicato melodies, clicks and modular synth flurries. Showcasing his versatility, 'Foolky' is a more dance floor oriented cut - a highly percussive groove unfolds and carries along a variety of instrumentation. 4_24 also makes use of shuffling, percussive grooves layered with drone sounds, and more of Abramyan's signature cello.'Fever' sees the brooklynite heading in a more obviously ambient direction, building atmosphere with a mixture of close mic'd experimentation, and beautiful choral fragments.Rounding off this release, label boss Francis Harris reworks 'Flightplan', finding new nuances in the sublime atmosphere, and slowly building up to a subtle, understated groove that takes the track to a different place entirely.

There we go again, Luettje Luise el numero sixo. The soundtrack for a sunny sunday morning. Between the sheets and under the blanket, stroking the belly, feeling lush and lovely. Slide in your slippers and slightly sip the first coffee with a warm breeze touching you and your inner self. Lokke der Boss halt.

Sanctuary Lakes present their debut, self-titled album, out 21 June on Cutters Records. It is a new project featuring members of Cut Copy and Midnight Juggernauts, forged out of lo fi folk psychedelia, instrumental library records and delicate electronic sounds.

Opaque soundscapes forged from fluid basslines, aqueous guitar, naturalist field recordings and vague incantations, the Sanctuary Lakes sound values feeling over form, intention over intellect, imagination over the explicit, a faded watercolour image offering an ocean of interpretation in which to swim.

Borne in Brooklyn during idle time improvising in front of the meditation station on television, Tim Hoey sent rough sketches of his noodling to Andy Szekeres in Melbourne, initially to see what his old friend made of them. Beyond merely offering feedback, Szekeres went ahead and added to the songs, initiating a workflow than became an almost wordless conversation between the two, as files drifted back and forth with the currents until deemed done.

Arrangements are left loose, choruses never come - or that’s all there is, extended instrumental passages emphasise atmosphere over action, and field recordings of the channel whisper low in the mix. Production across the album has a gently edgeless, soft-focus feeling akin to being submerged in a boundless body of water, at once engulfing and instinctively comforting.

As two musicians with years and albums of experience under their belts, Sanctuary Lakes came together during a period of reflection and faint anxiety that their best ideas might be behind them. Work on the album acted as a form of therapy and confirmed that the stream of creativity still runs strong.

Tim Hoey is most widely known for his work in Cut Copy, Andy Szekeres in Midnight Juggernauts. Together they are Sanctuary Lakes.

“In a sea of love, you and me belong, endless together.”

Little Things 04:51 B5. Onlee Desire 01:58 B6. Reelax 03:43 Shortinfo: soulphonic Means Speaking From The Soul, And That's What My Sound Is All About.' - Ohbliv

After a 5 year pause for breath, Rainer Veil return with their debut full length for Modern
Love; an immersive, kinematic tumble through electronic forms from hyper trance to
tape dub experiments and loose polyrhythms - a summoning of ‘ardcore spirits in flux.
A hypnotic soundworld tempered by weighty bass and angular construction, ‘Vanity’
marks a breaking away from the binds of overthinking, an embrace of imperfection. It’s
a brighter set of tracks then anything we’ve heard from Rainer Veil before, discarding the
foggy filters and guitar pedals that were the signature of their first two EP’s in pursuit of
a more loose-limbed and swung ideal.
Opening on the skeletal Trance vapour-trail ‘Sim Screen’ and the agitated ‘Repatterning’,
we head into a ferociously asymmetric warehouse swerve ‘In Gold Mills’ conjuring an
uncanny, nighttime vision of suburban bass riddled with tension and bliss. ‘Shallows’
retreats through isolation dub, echoing ‘Change Is Never Easy’, a re-worked House
template fractured to its bare percussive core, while ‘FM2’ entwines a double helix of DX7
patches with a heart wrench, and ‘Gauze’ dismantles a mosaic of Kwaito patterns, buried
under a haze of smoke.
Tracing rapidly mutating electronic forms, from ringtone hooks to latinate rhythms
and Razor synth edits, ‘Vanity’ explores an instinctive swell of ideas and influences in
perpetual and unstoppable forward motion, a sequence of flash frames captured and
distilled for posterity.

The now legendary turntablism festival 'National Phonographic' has been hosting some of the most prominent turntable wizards in between 2001-2005. The X-Ecutioners, Cutmaster Swift, Kid Koala, Grazzhoppa, the list goes on and on. Equally as legendary are the National Phonographic 'Turntablist Tackle' vinyl releases. They've been used during DJ battles and sampled by leading producers worldwide. Now, 16 years after the latest record, 'Tackle 3' will be released! Top notch producers Eni-Less, Mike Redman and DJ Optimus created an amazing tool for turntablists and producers alike. This volume, pressed on 7inch limited edition colored vinyl, contains exclusive sounds, phrases and beats. The record also includes a voucher with a unique download code. We're safe to say that 'Turntablist Tackle 3' is the best volume yet!

Coco Bryce steps up for LORE 006, setting the vibe instantly with the effortlessly anthemic tones of ‘Come 2 U’. Subdued chords and etheric vocals are draped over playful breaks and 808s in deadly style, one of those rare tracks that will lift any dancefloor throughout the night! Dead Man’s Chest makes an appearance on ‘True Rebellion’ fusing ruffcut sample choppage with Coco’s riffs & melodies to roll out a hazy recollection of the raves of yesteryear.

Side B continues the theme with ‘Beats Like This’, a neon saturated breakbeat workout of whirling melodies, hardcore riffs & b-boy vocal chops. ‘Like Normal Death’ revisits Yaïr’s instrumental hiphop roots, signing off the EP with soaring pads, heavenly vox and a laid back crunch.

Released May 10th 2019 on digital and heavyweight (180g) black vinyl, shrink-wrapped & housed in a full art reverse board sleeve.

“Introducing COSMIC RESIDENTS v. 1, the first in an ongoing compilation series from Cosmic Resonance Records. This series will showcase emerging talent from Toronto’s underground creative electronic music scene.

This first edition features local favourites and Cosmic Resonance residents Radiant Aura Faculty (aka Raf Reza), KOREA TOWN ACID and Hemingway along with (and making their vinyl and Cosmic Resonance debut) Body Butter, WeTurnToRed and Smoke & Shadows.

On the A-side, Hemingway kicks things off with Astralnauts, a deep, dubbed out boogie breakbeat burner dedicated to explorers of the astral plane featuring fellow label don Chris Evans on rhythm guitar. Radiant Aura Faculty (aka Raf Reza) takes us even deeper with the mystical 'Cid Pit Riddim', a slamming 707 acid bender sure to melt any dance floor. Things get slippery with Body Butter’s debut single ‘Lights In The Hallway’, a timeless operatic pop opus featuring Neil Rankin (aka Burt Sugar), Chris Evans (aka Mr. Bliss) and Hemingway behind the board.

On the flip side, things heat up with Shamanta Chandran’s project WeTurnToRed (recently releasing their debut EP on ORO Records), featuring the progressive modular techno odyssey 'Warm Winter', an escape from Toronto’s long and tumultuous blizzards. Emerging from the Mahogani Forest, Korea Town Acid reinterprets Hemingway’s emotional ode to the jazz aesthetic 'Blue Notes' with her trademark cerebral rhythms and a masterful bassline that elevates the original to new heights. Closing it off, we have an amazing collaboration between Curtis Clark (aka Smoke of Lab.our Music) & Em Zy (member of Nikki Fierce) called Smoke & Shadows with their stellar debut single Convincing Thoughts that features Em Zy’s hazy vocal emanations amidst a backdrop of mystical reverberations and a dark, powerful groove.”

Khotin Is The Recording Project Of Dylan Khotin-foote, An Electronic Artist And Part Manager Of Label Normals Welcome Hailing From Vancouver's Thriving Underground Landscape. Since His First Album As Khotin, 2014's Hello World, He's Moved Freely Between Genre Experiments, Every Move Linked By Distinct Melodic Sensibility. His Dance-minded Output - Released On Labels Such As 1080p, Pacific Rhythm, Dfa, Public Release, Normals Welcome As Well As His Own Imprints Khotin Industries And Waterpark - Is Both Offset And Informed By A Deep Interest In Down-tempo Sound, The Mood Of Stillness, The Melancholy After The Club. With 2017's New Tab, He Explored The Gentlest Music Of His Career, Tapping Into A Playful Naivety Last Felt In The Bedroom Projects Of His Teenage Years. A Response To Dj Gig Fatigue, The Album Offered A Salve Of Synth Arrangements Mingling Vintage Electronic Sounds With Voicemail Samples And Other Abstract Chatter. He'd Refine, Expand, And Blur Further This Impressionistic, Dream-like Style Of Music With Beautiful You, Self-released To A Slow Simmer Of Cult Praise In 2018, Pressed For Wider Circulation In Early 2019 By Ghostly International.

Das sechste Thievery Corporation-Album aus dem Jahr 2011.

- Limitierte weisse/clear heavyweight (180g) Doppel-Vinyl im Roughboard Sleeve inklusive Downloadcode / Artwork von The Designers Republic

After seven years of label making, Dorfjungs says goodbye with a final collection. GroupWorks mixes improvised vocal jazz and tropical ambient with sweet pop music, bad-tampered hip-hop and pitched down techno tracks. Thanks to all friends, fans and collaborators. Adieu