Hip-Hop Новости

After just over a year-long hiatus from the Earthly Tapes series – the 3rd Chapter is finally upon us. Offering more mind-altering tracks to the series, we welcome 6 new members to the Earthly Measures familia!

We kick things off with ‘Comets (part I & II)’, the first release by ORSO, the new musical project from Jean Dasso AKA Yeahman, stepping into club and drum music. Alongside faster rhythms, with influences of UK Break music, African dances and traditional instruments, we’re taken through a two-chapter journey led by modular melodic loops, old traditional voices samples and ORSO’s own recordings.

Up next is a trip to Argentina as we welcome Balam to the EM family, join him as he takes you on a daydream across the Latin-American rainforest where synthesizers and nature collide to create the perfect mix, guided by a voice from the deep jungle. ‘Ensueño’ is a dance-floor tool fitting for both the start and end of the night.

Japanese native Mamazu steps up the tempo for the third track ‘Tombi’. Transporting us to a hypnotic and hedonistic state as delightful aerophones sound with the exotic chant, delivering the feeling of a dry breeze from the unseen frontier. Another dance floor ripper!

The B-side starts with ‘Voces’, a track inspired by the music that Chilean artist DJ Raff’s mum listened to when he was a teenager making beats in his bedroom. He used to take her records and tapes to sample and make boom-bap beats. Voces is influenced by both Spanish and Chilean 70’s music, although deconstructed to make an amazingly catchy melody. .

Ditti takes us through an ever-twisting groove as we swim upstream, spot a wave and take off... welcome to ‘Poly Party’. The soundtrack to a carnivalesque funked out ballad on a Polynesian beach shifting between the rhythms of a guitar & riding the surf, cutting synths & dripping flows.

We wrap things up with ‘Small Town Rebellion’, a story told by Scottish producer Kusht – this downtempo chugger reflects the story of a young man in a dead-end town with no future. He needs to break his fate and carve his own path by revolting and manifesting his own destiny.

Pejzaz (aka Bartosz Kruczyski) returns with two captivating new collage albums. Divided into two records LIST I (which was released end of September this year) & LIST II - which premieres end of movember - delves into the realm of 90s/Y2K Eastern European CD releases. Employing hundreds of samples, Pejzaz sculpts a mesmerizing and distinctive body of work.

LIST II guides the listener into the night, combining trip hop and dub influences, dusty samples, wailing blues guitars, and cold-wave synthesizers. Its haunting soundscapes provide an apt soundtrack for winter in Eastern Europe.

Notably, this marks Pejzaz first foray into a fully instrumental album. Although devoid of lyrics, the bittersweet blend of samples infuses the music with a profoundly Polish essence, further enhancing its distinctive allure.

Glasgow-based producer Conna Haraway returns to Theory Therapy with his first vinyl release, Spatial Fix. Inspired in part by his 2024 tour of Japan and Korea, the album explores new dimensions of his evolving sound.

Since Lusidiq – his debut on Theory Therapy – the co:clear owner has honed his ability to balance introspective atmospheres with crisp, meticulously crafted rhythms, imbuing his music with a physicality that’s as tactile as it is hypnotic.

Spatial Fix expands on this approach in every respect. The record oscillates between ambient abstraction and rhythmic intensity, seamlessly weaving the two together. Tracks like “Freon” and “1702” are anchored by a propulsive low end, woven through with Haraway’s crackling textures and field recordings – including those captured across Asia last year. Even in these deeply immersive moments, there’s always something luminous lurking beneath the surface – snaps, clicks, and micro-shudders ripple throughout in strange and surprising ways. The result is an album that pulls you into a writhing, disorienting space, a psychedelic sonic world where beauty and unease pulse in equal measure.

Spatial Fix is available as a limited edition run of 200 12-inch vinyl records.


Written & Produced by Conna Haraway
Mastered by Ike Zwanikken
Lacquer cut by Henry Rudkins
Artwork & Design by Conna Haraway & Gary Hunter

New artist welcomed on the Slow Life family, the multitalented french artist stablished in Bristol, Deep Nalström. Ethereal vibes, trippy percussions, deep downtempo grooves… just magic.

World Why Web is KABAAL aka Jakob Warmenbol’s first solo album. It is the hallucinated and brilliant fruit of a long journey of exploring a more adventurous setup for improvised drum performance. Reinventing the work with sensor equipped drum kits, KABAAL playfully improvises songs with samples ranging from car engines, to Paul Dunmall’s bagpipes, Ligeti’s harpsichord piece Hungarian Rock, or a Chinese television series from the seventies. You get it : just about anything as long as it isn’t drums! This innovative approach allows him to create dialogs between instinctive and awesome drumming and improvised digital poetry. As if Autechre was meeting and merging with Zach Hill and Tony Allen at the same time. It also extends and changes the functionality of the drum kit, making it a tool to create odd melodies and landscapes of atonal synths and distorted noise.

Enigmatic producer ANiML returns to the freeform Los Angeles-based label StrataSonic to release a six-track mini album, Star Walk. The new body of work, which comes alongside a new music video for “Bruv” (directed by Spanish visual artist YZA Voku), is out now.

Picking up where ANiML left off with “Breather” and “Bruv,” Star Walk elaborates further on that woozy-yet-sophisticated psychedelia, materializing as cinematic trip-hop, cavernous dub, and other unique genre concoctions across its six tracks. “Cherry,” with its free-spirited, delay-soaked guitar riffs, depicts a colorful, post-rock-inspired soundscape. “BabyD,” in step with “Bruv,” features a mischievous marimba melody among ghostly vocal samples, a punchy drumkit, and a slackened bassline.

These scenes are brought to life thanks to YZA Voku, a groundbreaking visual artist who is at the forefront of AI-assisted filmmaking in the animation space (see his work for The Weeknd, Swedish House Mafia, Hï Ibiza, and XG). The new music video for “Bruv,” out today, unfolds in stark black, white, and red, evoking a noir-inspired aesthetic steeped in mystery and intrigue. Shadowy figures move rhythmically through dimly lit alleys and smoke-filled ballrooms, blending calculated steps with hypnotic dance sequences.

The production blended real-life recordings with digital effects like blur, negatives, masks, analog textures, and AI-driven transformations using Runway’s video-to-video tools. AI-generated sequences created with Midjourney and Runway were merged to contrast real footage with synthetic imagery. This type of work is a rejection that AI is simply used as a shortcut in art and comes at a time when musicians are beginning to embrace such tools for the visual components of their products.

Chilean-born, Bristol-based DJ, producer, and vocalist Shanti Celeste is back with her highly anticipated second album, Romance, set for release on May 16 via the label head’s own Peach Discs, in collaboration with Method 808. Marking her debut LP on the cult London-based label, Romance sees Celeste fully embracing her artistic evolution, delivering a lush and deeply personal exploration of love, longing and self-discovery across its nine tracks. The album’s bubbling lead single, ‘Thinking About You’, is out now - an emotional and dancefloor-facing glimpse into Celeste’s new era with her voice at the fore.

Shanti Celeste has long been revered for her radiant and infectious sound in a vibrant blend of house and techno. Romance takes this signature style to new heights, exploring the depth of romantic and platonic relationships that permeates the record with a pop-infused sheen. With her vocals placed front and center for the first time, Celeste weaves a sonic tapestry that is as introspective as it is euphoric; it’s a love letter to romance, but also an ode to the transformative power of opening your heart.

For all of Romance's soft focus, it still functions for the dance floor - lead single ‘Thinking About You’ is poignant and heartfelt, driven by a shimmering groove and Celeste’s ethereal falsetto. Inspired by memories of a late friend, the song is a tribute to the enduring nature of love and loss. “He was my first boyfriend but also a really good friend,” Celeste shares. “He was a really important person in my life.” —a beautiful, danceable meditation on the power of remembrance.

The majority of Romance was crafted between Celeste’s home of Bristol and London, featuring collaborations with longtime friend and esteemed producer Batu on ‘Note to Self’, ‘Light as a Feather’ and ‘Softie’. The album also sees Celeste teaming up with Austrian-Ethiopian harpist Miriam Adefris, whose delicate instrumentation adds a celestial edge to tracks like ‘Butterflies’ and ‘Medicine’. It follows her previous smash hit ‘Ice Cream Dream Boy’ last summer, which was named a track of the year by both Mixmag and DJ Mag. Earlier this month, Shanti celebrated the release of the vinyl version with a packed-out in-store set at Phonica Records in Soho.

Shanti will be taking her Club Celeste event series to The Cause for the third year running on May 17, in celebration of the album release. The day & night party will feature sets from Shanti as well as Daisy Moon, Gabrielle Kwarteng, Lishy, Peach and Ryan Elliot b2b Ogazón. Tickets are available here: https://ra.co/events/2062135

With Romance, Celeste steps into her full potential, creating an album that is as deeply personal as it is universally resonant. The album arrives this summer via Method 808. Stream ‘Thinking About You’ now.

2024 Repress

Hot on the heels of two EP releases on Bristol label Shall Not Fade, Felipe Gordon is preparing for the release of his debut album on the important UK imprint. With human contact at an absolute minimum, it's refreshing to hear an electronic music record that ventures away from the machine in favour of the organic. Gordon's ability to blend complex jazz instrumentation with acid-licked basslines, golden-age house aesthetics and the cultural sounds of South America is unrivalled; creating distinctive, beautiful and exciting house records from his home in the Colombian capital of Bogota.

"A Landscape Onomatopeya" was crafted through the concept of a painting; exploring shades, changes of tone, use of light. "I found myself making tons of music and wondering how to start an album process", he says, "something with more concept; a long journey between all the different musical influences in my head. I wanted to try to accomplish something with soul, deepness and an inherent melancholia to it. More organic, more human."

The record - which includes the Spanish word Onomatopeya as a Colombian statement and ode to the Latin American house scene - kicks off with the early evening funk of "How Do You Spell That", the distinct sugar cane sweetness of Guaro hanging in the late sunlight. "Wes" ventures into hip hop territory; dusty boom baps, 90's scratching and live guitar provoking a vibe that lies somewhere between Dilla and fellow Colombian AvenRec before the A-side reaches its climax with a cut of Gil Scott-Heron-esque funk on "She Will Come".

The B-side raises its curtain and with it comes two cuts of sublime house, each more colourful than the last. "The Colombian Excursions of House Music" does exactly what is says on the tin; fusing South American drum patterns with the creative innovation of live jazz to create a dimly lit, Latin American energy. "Momma, It's A Long Journey" maintains a more progressive vibe as it meanders through subtle acid stabs, radiant atmospherics and an oxymoronic blend of mournful, hopeful vocals.

Tape throbs and breakbeats make up the C-side as we delve deeper into Gordon's sound palette: think The Cyclist and Kaytranada, but with an Ibero-American vibe. "Howl" meanders slowly through the smoke-filled booths of a jazz cafe whilst the sounds of Detroit and Chicago shatter and break ("Away", "Das Nuyorican Vibes") over the crowd below on, before "Brazil" invites you outside for a post-dance cigarette with itsdowntempo boom-bap and mellow energy.

The record comes to its end with three D-side cuts that perfectly encapsulate its artistic vision. "Like the album itself, the artwork process was all about texture and analog treatment", he says. "We used old pentax cameras with black and white ilford rolls to achieve an intimate feeling. I found that my mind was drawn to a landscape with a house deep inside the Bogota mountains; where I hang all the time with my girlfriend and friends. It's a quiet, emotional place. Far from the city."

Wiggling basslines, vibrant shimmers and bold jazz instrumentals bring a fitting end to a truly beautiful record, and further cements Shall Not Fade's reputation as a label with its finger on the pulse of exciting dance music.

traverse is proud to announce the release of its first record - a compilation of six tracks from various artists, inspired by Pembroke King’s poem moving silhouettes, written for this occasion.

As the fourth volume of the compilation series “traversée”, moving silhouettes encourages artists to explore all corners of listening music and creative avenues that aren’t tied to any one convention.

Pembroke King’s poem sheds light on the mood of the compilation, and even though each artist brings its own interpretation of it, there is a beautiful harmony of it all - from Kate Miller’s atmospheric sounds to Teqmun’s drums-made-of-rain-drop-recordings or Ghjuliú’s nostalgic melodies, the listener travels around Pembroke’s words with each track.

As our first physical release, we feel honoured to collaborate with artists who have been involved in a way or another on traverse before such as Officium, Mika Oki and Alohn, but Kate Miller, Teqmun, and Ghjuliú, that we’ve been keeping close to our heart for a long time already.

Credits:
artwork: Gabriel Sauvageot
tracks produced and mixed by (in order of appearance): Alexis Tytelman, Tijmen Blokzijl, Alban Mercier and Yolek, Kate Miller, Ghjuliú, Mika Oki
mastered & cut: Marco Pellegrini at Analogcut
digital master: Umvral
distribution: Kuroneko

Degiheugi presents his new project “Remixed Treasures”. A project that bears its name well. Like seabed adventurers, the remixers have been asked to rework in their own way some of the most significant tracks of a career spanning more than 20 years.

Starring L’Orange, Moderator, Souleance, iZem, The Architect, Senbei, Al Tarba, Mounika, DJ Vadim, La Fine Equipe, Kognitif, ProleteR and Scratch Bandits Crew, the XXL cast of this impressive crossover melts genres (hip-hop, electro, ambient, drum & bass, jazz…) and brings together no less than 13 beatmakers from different scenes and generations.

Type “Was Joan of Arc” into Google and the suggested endings for this statement give you an accurate gauge of her place in pop culture: “Catholic” / “a nun” / “canonised” / “a prophet” / “French” / “a witch” and so on. Related questions to “What were Joan of Arc’s last words” on the info-sharing site Quora include “Was Joan of Arc bisexual” and “Was Joan of Arc simply crazy?” Everyone seems to agree this person was burned at the stake in 1431, but beyond that, Joan’s narrative is an enigma. It is this lack of definition that the production duo Pillow Queen harnessed for their second release, Burn Me Up. Inverting the image of the devout Christian girl, the Joan who stands as this record’s heroine was a heretic, a transvestite, most definitely a dyke and a hot femme-top at that.

Opening up the A-side, the title track is a call— a battle cry, but also a summoning. In a time of need one calls upon their patrons and elders from history; a DJ beckons and gathers dancers to the floor; prayer and sweat go hand and hand. A traditional Irish bodhrán drum beats out the first rhythms, joined by a steamy vocal sample that gets caught, chopped, and soon “Burns Me Up” is pumping along with organ chords and distorted keys. Pivoting away from the 4/4 format, “Submission” is a textured, downtempo slow-burner, with close-mic’d vocals from Vani-T and the D. Tiffany’s deft drum programming. When the choral pads come in, there’s an echo of the 1990s German worldbeat project Enigma, with its Gregorian chants and flutes laid on top of lounge beats—here, though, the chorus is stripped of kitsch, only driving the track deeper into a mood.

If Burn Me Up’s sequence of tracks is read as a kind of narrative, they seem to tell the story of Joan’s last moments. “Burn Me Up” is, frankly, heat—aggressive, the high-end crackles and the bass puts a pyre under one’s feet. “Submission” is like an exhale, a giving-in to death’s grip; there is, along with the sensuous tread, a melancholy. It only makes sense that one flips the record to “Resurrection”, which rolls in a tremolo’d wail of pitched vocals for 30 seconds before a kick drum begins the 141-BPM march. The percussion is central here, as the track shifts between polyrhythms like a range of resuscitations, varied heartbeats. “Salvation” closes the record, again dialling back the tempo to the deep nod of dub. To no surprise, the scene of redemption here is not one of sunlit cherubs—the church bell sample tolls one strike every few measures of bass-throb and shadow, while Vani-T intones, “Then he lay down and died”. Death can be salvation to some; living as many selves, living in contradiction, is a saving grace to many more.

Tominori Hosoya has been producing music under his name sake and Tomi Chair for a number of years now. Known for his uplifting and inspiring house tracks. Tomi makes his Stasis Recordings label debut with this sweet 7” single. Two luscious, atmospheric, downtempo selections for easy poolside chilling.

German trio Cloud Management approached Digital-Sting in late 2023 and started a conversation concerning a loose configuration of improvisations, studio experiments and rehearsal jam recordings. The timing was particularly serendipitous with Feel Free Hi Fi fresh off a West Coast USA tour with Exotic Gardens where we had spent several long drives along the California coast listening to Cloud Managements prior records on Altin Village. The second of which included collaborations with Exotic Gardens. This release " Unfinished Business" inhabits much of the musical history and influences foundational to the Digital Sting sound and ethos making the link up an obvious one. I don't want to be overly predictable in the comparison to the great body of work created by German legends like Moebius, Roedelius, Plank and others but it is there. Also present are heavy doses of dub wandering not too far from the furthest out zones created by African Head Charge or Dub Syndicate. Some creeping psychedelic unease in the way of Industrial Records also sits in the mix. Comparisons aside, Cloud Managements embrace of collaboration and jammy experimentalism create a sound that is unique and a bit rare in the contemporary dub and electronic music continuum where perceptions of genre restrictions can guide a bit too much. The two side long continuous tracks documented in this release lock in and groove as much as they wander, drift and break apart in subtle shifting ways making for special repeat listening where something new is always waiting.

On his third album Comité Hypnotisé let you belly flop into his eleven chambers of the Danza Del Piri-Piri: expanding the feral and contagious universe he started to build a lifetime ago. Levitating and shimmering a glistering way through deep old skool 70's sitar vibes and jitterbug grooves. This boogieman aka the Millionaire-mind and part of the Evil Superstars has carved some hot smoked out bass and organ flared cuts on wax, ready to never leave you again. Whether it is with woodchopped kazou sounds stretching into hazy sunshine desire or dazzling basslines blending with interstellar and stuttering kick drums: the Danza Del Piri-Piri flip-flops and slams into a wiggly relentless sonic future.

FFO Sven Wunder, Ennio Morricone, Khruangbin, Flying Lotus, The Meters, Parliament, Edan, The Gaslamp Killer.

Comité Hypnotisé is the brainchild of Tim Vanhamel, frontman of Millionaire and Evil Superstars, two of Belgium's most famous alternative rock bands. In 2013 Tim started creating solo music that only got released in 2021 on his first solo album through the Belgian eclectic Cortizona label

Torn Hawk is no newcomer…he’s been lurking in the corners, creeping in and between various arts worlds for well over a decade: spoken word slice of life narrations as heard on NTS Radio and Trilogy Tapes; more guitar-oriented song structural work on Mexican Summer; extensive videography (PPU Party Volumes One and Two along with music videos for Torn Hawk as well as Bicep, Xosar, and more); and more beat-focused work as seen on Unknown To The Unknown and as is featured here on his 12” for Fixed Rhythms.

Euphoria in a concrete rainforest. The joys of plumbing the depths of your own inner darkness. 80s synth sounds with soaring guitars and police sirens and rhythmic vocal snips. Distorted bass line bombers. S l o w e d down breakbeats. Offkilter, stomping grooves for the seasoned freaks. Mid-tempo heavy hitters fit for those thirsty for slime and hungry for grit. Step inside and get your fill!

Credits:
Mastered by Dietrich Schoenemann.
Design by Nick Owen.
Distributed by One Eye Witness.

2025 Repress

It's rare that a certain sound is entirely an artist's own. Although undeniably a stew of impeccable influences - from blues to folk to Latin to dusty funk, soul and hip-hop - one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.The cult skater from San Francisco is globally renowned as one of the original members of the legendary "Bones Brigade" team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who've basked in its blissful glow.There's something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it's a kind of funk-fuelled, melody-driven, groove-based magic. There's a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it's two of his most vital LPs that we're honoured to reintroduce.The originals were quietly pressed on to a single piece of vinyl so we've worked closely with Tommy this year to bring you these fresh, limited editions. They have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets.A Little Bit Of Somethin' is a quietly majestic gem. Brimming with Guerrero's horizontal "loose grooves", these brief but innovative instrumentals demonstrate a rich variety and, as such, comprise an LP that is aptly titled. An enchanting start-to-finish listen, it was instantly regarded as essential upon release via Mo Wax in 2000. It has aged remarkably well.Throughout this inspired collection, simplicity is key. In deploying it, Guerrero presents a beautifully crafted melodic soundscape. The distinctive, mellifluous approach of his guitar style, blending Brazilian, Cuban, Mexican, soul and jazz motifs, is at once startlingly new and tantalisingly familiar. Set against unrushed percussion, the music releases a crystal clear stream of healing frequencies to create a fragile, hypnotic atmosphere.Each track clocks in at around three minutes and, with a lack of studio polish or commitment to traditional song structure, it's a wonder how this enigmatic record demands your attention. However, through its gentle dynamism and impressive playing, it does just that. Whilst resolutely low-key, this lo-fi aesthetic feels genuinely organic and remarkably personal, its powerful intimacy truly connects. It's what makes this album so beloved of those lucky enough to be already familiar with it. From Margaret Kilgallen's truly iconic cover artwork to the music contained within, it's all brilliantly effortless.Guerrero's musical ideas are consistently compelling throughout, making it impossible to select highlights. The album's laconic drift touches upon jazz-fusion workouts and slow-mo hip-hop drums, Tortoise-style experimental post-rock and cinematic sound textures. It's at once hazy, light and bouncy yet sombre and bluesy. The Latin soul of El Chicano blends with the breezy jazz of Grant Green. By employing guitars and drum machines to create a stripped down rhythmic tapestry of spellbinding, addictive songs, there are even traces of The Durutti Column. A little bit of country, a little bit of rock & roll. A Little Bit Of Somethin', indeed.

Mouth Music, a Scottish-inspired musical project with core members Martin Swan and Talitha Mackenzie, mixed Gaelic vocals (including the traditional ‘mouth music’ techniques of sung rhythms) with African percussion and dance sounds. The self-titled debut album was originally released on the Triple Earth record label in 1990 on CD and in limited quantities on vinyl. The Gaelic technological music is now more widely available through this Forest Jams re-issue.

Anah proudly presents her second EP under Cymatix, her label co-owned with Lumiere. This four-track collection seamlessly blends influences of electro house, deep house, and techno, culminating in a captivating downtempo remix.

Drawing from her past experiences, Anah infuses her music with raw emotion, expressed through her distinctive vocals.

Despite being only her second release, Anah's unique sound is becoming unmistakable, each track showcasing her evolving musical identity.

The EP "Echolocation" sees the debut of a new German artist: Len.Leo. Moved from his hometown of Mainz, and now for a few years a Berlin resident, Len.Leo's "Echolocation" comes to Bézier's recently launched record label "Körperspannung".
In their shared concrete home inside Friedrichshain, Bézier and Len.Leo have built an immense production studio, in the heart of their apartment, around which they organize salons with friends and fam to cultivate dreams, new vocabulary to express wishes for the collective queer musical mosaic.
Cut right from the cloth of a post-punk lineage, 'Echolocation' burns and welds tracks into rails fitted for a high-speed lysergic bullet. 'Corrugation' is a subversive adventure into the wells of imagination weaving pulsating artifacts from an unknown era to craft sounds through atmospheric needlepoint. In 'Radio Silence' cascading wings flutter through the diagrams of a sunken underground compound only to be discovered to be long abandoned, cut off from receiving transmissions for who knows how long?

One year after his surprising debut, Agosta, the Catania musician-non-musician and Space Echo Records return to the point with “Reworks and Remixes”. Which from the very title disengages itself from the industrial 'album+remix album' chain and on listening reveals itself to be a record capable of moving, in total autonomy from its antecedent, on three different levels of reading. For, at its base, we would say, there is a much more stimulating idea than the simple compulsion from alternative versions, b-sides and so on.

Point 1, transfiguration. Because, contrary to the genre stereotype, the remix mode allows songs to express themselves in creative and experimental ways.

Point 2, the Rorschach Test. Because, on those songs, there is the personality, that is, the result of the cross-vision with experience, of the individual producers being measured against itself.

Point 3, the stage backdrop. That is, its ability to show a cross-section of the current electronic scene in Etna.
Agosta wanted some of the pillars of Catania's black-minded electronic scene with him and, together with them, reinterpreted songs from his first album. The result is a work that is as multifaceted, in terms of the specific weight of the artistic individualities involved, as it is homogeneous, in their idea of a sound that is as physical as it is mental and, above all, in terms of a totally Mediterranean underlying taste with which every single track is imbued.
Whether it is the pensive house of “Apple 65” or “Lady G” (Butterfly Agosta's Rework) as much as AN-AN's dub on “Varanni”, between Grace Jones and Adrian Sherwood, or Galathea's more psychedelic and twilight Trip-Hop on “Three Chestnuts”. The Shaft-esque swagger of Salvo Borrelli and Reverend James, the donwnbeat pop of “Cellars” by Go.Soul.Map. and the caress of “Hearing The Call” (Lady G In A Rainy Day Version) by The Invisible Session, in which spoken and what they once called nu jazz flirt.

Don’t Miss It!!!!

Remastered for the first time since its original release in 2000, Mirror Conspiracy is the second studio album from ambient duo Thievery Corporation, the brainchild of Eric Hilton and Rob Garza. The lasting influence of this effervescent album on modern lo-fi music cannot be understated.The record includes the popular hits “Lebanese Blonde” which features vocals by Pam Bricker, and “Le Monde” with vocals by French singer Lou Lou Gehlickhani.

Brooklyn Highs Edits are back with another killer 7-inch release, featuring two exclusive versions from Ilija Rudman—reimagining the work of one the greatest Soul Men a.k.a Black Moses.
Limited edition, Buy or Cry!

Deeper than Static is the third solo album by Australian producer Alex Gillett and his affecting Boy is Fiction project.

Limited edition transparent red vinyl, limited to 250 Units worldwide.

Those familiar with n5MD might remember Gillett's recent collaboration with Light Out Asia's Chris Schafer on 2018s A Single Beam of Light which perfectly merged the two band's styles. Deeper than Static finds Gillett at laser focus, refining the Boy is Fiction sound to near perfection.

Electronic, often glitched-up beats embrace astute piano pacing and swashes of melodic synths. It's affecting and can be, at times, some- what catchy, all with a haunting lean that Gillett has whole- heartedly embraced in his nearly fifteen-year career. Such melodicism leads to the immediacy of the works on Deeper than Static which as a bonus get some added vibrancy by way of mixing, mastering, and additional production by n5MD label head Mike Cadoo (Bitcrush/ Dryft).

The compilation includes 5 Downtempo and 2 Deep House tracks. Marcel primarily focuses on slow and soft grooves with jazzy elements. The “Muzai in the House” and the“Cool Stuff at 4 o’clock” gives a jazzy fl are with a nice bassline. The “Sun-Kissed Shores” is a cool deep House track with a nice trumpet solo. The closing track “End of the Day” by Forteba is a calm and warm deep house song.

Terra Utopia returns to Emotional Response with a second long-from EP / mini-LP, 10 more tracks that span the ethereal sounds of ambient, atmospheric beats and liquid drum and bass.

Originally intended as a one-off project from French producer Benoit B, Terra Utopia 1 was recorded in 2 weeks while sojourned in an Athens’ Spring. A personal dedication to a specific sound he loved.

Since the original release, a debut LP under his own name followed, before Benoit embarked on his new club orientated project Blu:sh, releasing a series of acclaimed EPs for the likes of esteemed Kalahari Oyster Club and Roza Terenzi’s Step Ball Chain label.

However, the incredibly positive feedback of the first Terra Utopia recordings led to reappraisal and return to the name and here again, a second set of 10 tracks (8 vinyl and 2 digital bonus).

Once more recorded as short pieces – cut loud for DJ play – they interconnect to feelings of intangible expanses, that embracing summer, the warmth, a latent stillness of the azure sea and sky. This invitation, a narrative forever calling, of long days, calm nights, the infinite astral plain in minds eye.

The ambience has progressed, beats crackle and snap, tracks visualise an individuality, names are anointed, with the collaboration with singer dvdv on Shadows Of Memories, a floating, mesmeric highpoint, a dreaming siren.

No fears, the children of the heat embark.

Om Unit, SKRS INTL, Frankie Downbeat & N1_SOUND reimagine T3AL’s debut 12” with four new remixes ranging from casio digi, dubby street soul, dance floor euphoria & lofty exotica. T3AL’s debut offering, Bluish Green was released in May of 2024, selling out its initial limited edition 12” run almost immediately.

When It came time to explore what to do next, it just seemed logical to reach out to close friends and explore a companion remix record to release in tandem with a repress of the original 12”.

Each track on Bluish Green Remixes hones in with razor precision on the sounds and influences that T3AL blend together to create their unique soulful dub sound. Frankie Downbeat’s take on album opener ‘R U 4 Real” puts the digi back into dub with a crunchy Casio rework. N1_SOUND’s “Stretch Mix” cranks up the low end with a thumping Roland 808 beat. Om Unit’s “Weightless - Sunrise Dub” is deep dance floor crusher & SKRS INTL smooth it all out with a smoke filled lofty version of album closer “Flip That Switch”.

The end result is a 12” that covers a lot of ground while simultaneously remaining incredibly cohesive &
complementary to the original

Phoenix is Coco Bryce's third full length album in a single year and was made solely on a Teenage Engineering PO33 pocket sized mini sampler.

Recorded between 2018 and 2022 it features 11 tracks ranging from bleep techno junglism to crusty rap beats, via toned down minimalist juke to the wavvy house vibes of its title tune.

-Lagartijeando is synonymous with pushing the alt-Latin electronic scene forwards along with his contemporaries Nicola Cruz, Chancha Via Circuito and El Buho.
-7 Caminos marks Lagartijeando's 4th consecutive LP with Wonderwheel, following La Tercera Vision (2021), Jallalla (2019) and El Gran Poder (2017)
-The album was recorded between Cholula, Mexico and Tarapoto, Peru - it has the energy of the South American jungle and the volcanoes of the Mexican Altiplano.
-Touring Japan all of October 2024 with winter dates in Mexico and Latin America
-Lagartijeando has been releasing music since 2009 (both under that name and Mati Zundel). He's been associated with labels like ZZK (Nicola Cruz) and Waxploitation (Gnarls Barkley, Danger Mouse)
-His releases have sold over 15,000 physical units (Vinyl and CDs) and over 25 million cumulative streams across all DSPs
-Extensive press and blog coverage from the likes of The FADER, Vice, KCRW, NPR and many others.
-Past tour history includes dates throughout Latin America, Europe and Asia

Yssue brings his signature mix of breaks, dub, techno, and leftfield vibes, shaped by a punk-inspired edge. Human Nature is raw, bold, and full of energy—don’t miss it.

Thank you @yssue_music for this gem.

I first saw Hugh and Jackson play together at Good God’s ‘Soft Future Piano Bar’ at the Sydney Opera House in 2017. That year was a fruitful year for the two as artists and for the Sydney music community in general. I remember that all of us, along with Greville and Brad, hosted a DIY party in a tunnel under a highway somewhere near Sydney Airport. Is that the same tunnel that Tunnel Dancers derived their name from? 7 years after that first meeting at the Sydney Opera House, Hugh and Jackson have released an album. Listening to these songs there is an audible patience and understanding between two musicians. They probably could have released something else a long time ago, but chose to wait - instead enjoying bowls of laksa on their lunch breaks and sharing long, quiet conversations at The Babylon Sauna & Spa. When the next warm bowl of noodle soup arrives on your table, how long will you let it sit before you dive in? Soup first or noodle first? If you learn from these songs, perhaps you will know to first observe the whole bowl. Observing in this way, the moment settles and hovers and remains for much longer than a moment.

'Only Good Dreams For Me' is the new album by Polish producer Zaumne whose works have previously been released on sferic, Mondoj, Warm Winters Ltd. or Perfect Aesthetics. Positioned somewhere between ASMR soundscaping and ambient dub/ambient pop, Zaumne's music relies on intuition and moving beyond the rational. Zaumne describes himself as a "sound artist, researcher of human moods, atmospheres, internet culture and its sound content." His work has been supported by The Quietus, BBC Radio 6, Philip Sherburne, Shawn Reynaldo and many more.

'Only Good Dreams For Me' sees Zaumne lift the heavy air which lingered on his previous releases. His trademark diaristic vocal snippets and emotive melodic accents are now anchored in more song-like structures, with Zaumne moving ever-closer to more ambient-adjacent pop music (eg HTRK, YL Hooi, Voice Actor etc.), trip-hop or other electronic genres.

Bluish Green was 15 + years in the making, passively percolating bi-coastly in the background of three family members' lives, waiting for the perfect opportunity to present itself. That moment came in January 2024 when Ball Sisters & N1_Sound settled into the Spiritual World home base of Studio Z in Toronto, Canada. What started as three casually blissful days, resulted in a debut album, combining a unique blend of dub, neo soul, ambient & downtempo. Bluish Green sits halfway between a low-key dance floor and late night back room.

The album was almost entirely created live in the studio with very little discussion, conversation or conscious direction. There were no goals or future plans, just mutual appreciation for the moment. Repeat takes were few and far between, with the group moving fluidly from one track to the next. This preservation of emotion and human touch is deeply embedded into the music, allowing the listener to share in the raw moments that were experienced while Bluish Green was organically taking shape.

Sonic themes of the natural world run throughout the five song, 30 minute album. “R U 4 Real” welcomes the listener into T3AL’s unique ecosystem with intimate cicade-esque shakers. A reverberous güiro frog (acquired on a family trip one year ago) and synthesized ocean waves create an ambient wetland on the album's 8 minute instrument track “Frog Legacy ''. Bluish Green comes to a shimmering close on “Flip That Switch” with dubbed out crystalline slide-flute melodies resembling ocean birds that fade into an iridescent horizon.

Digital drum patterns skip & stride around contemplative circular lyrical themes on four of the five album tracks, while spatial flute melodies simultaneously spin just under the surface. The bass guitar on Bluish Green is a continuous harmonic support system, repeating on a different tectonic rotation, much slower and deeper, offering familiar footing that stops the listener from drifting out in the rippling undertow of analogue delay feedback.

“R U 4 Real”?... A question that T3AL revisits frequently when thinking of the surreal weekend that resulted in the trio’s debut album, Bluish Green

Liam Dadds AKA Velvet Velour took inspiration and encouragement from Josh Tweek and his MMSU podcast series when he was writing these tunes. The resulting mini-album has ended up precisely where it should be, as the 2nd release on Josh’s downtempo label Sonido Chido. What goes around comes around!

Vinz Giaimis comes from southern Italy, a former dj who, during his years of activity found inspiration in New Wave, Disco, Electronic and Kosmische Musik. He describes his musical experience as a journey between experimentation and psychedelic anarchy. In his first EP for the German label Climax! Electronic and Krautrock are blended in a organic and fluid way which leave the listner defenceless inside an unpredictable and multifaceted sound cage.

In the absence of air, find solutions in the soil. mbie

Delicate Records delves into the swamp laden depths of heartbreak; inexplicable depth, darkness and twisted beauty with a 9 track full length debut from Saffron Bloom. The Iranian-American producer and performer; already prolific as Sepehr and known for his expertly raw and freaky sound, develops this alias to indulge the silver linings of agony. An illbient force of nature drawing on industrial atmospherics, trip hop flow and unbothered breakbeat influx. The record serves as an ode to the ever changing phases of lost love and grief, seasons of emotion weathering the passage of time each with their own ferocity and relation to the evolving cycle; one so personal yet universally understood.

Intro, the infrastructure of aura laced throughout the record, builds around an ominous and evocative piano soundscape bleeding with delay, intruding barely human vocal cries and percussive injections. Dripping into the DNA of Dirge of the Lonely and Jealous Desire, there comes a yearning, cries from beyond the grave; mourning relationships lost with an eerie familiarity. This sinister sanctuary bred through low slung stripped back breaks, those that echo within the soul and tie themselves to an anchor of inconspicuous growling sub bass; a signature idiosyncrasy perfectly elevated with Saffron Bloom timbre.

Quelling the urge to disintegrate, with power through distortion and commanding drumwork, corners of the B side like Curtain Call and Apathetic Rose reiterate a primal and hypnotic sonic discourse. At the heart of the LP and the artist’s ethos, it resonates through the mind and body in a psychedelic manner while remaining powerfully minimal. Time’s Up (It’s Over) featuring. Sam Weinberg feels like a fever dream, saxophone drenched and echoing throughout your brain, while album closer Ultimate Acceptance is named perfectly. A melancholic realization, soft in nature yet rich in complexity and beauty, a bittersweet conclusion.