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Barker's debutalbum Utility (on Berghain's Ostgut Ton label) was something of a sensation in the world of electronic music when it was released. Utility made numerous Best of 2019 year's end lists, including Pitchfork (8,2 review), The Quietus, DJ Mag, Resident Advisor (Recommends) and others. It also earned title of Mixmag's Album of The Year 2019. Now its finally time for the follow-up Stochastic Drift on Smalltown Supersound. And where Barker on Utility was "using ambient materials to remake techno" as Pitchfork's Philip Sherburne wrote, he takes this approach even further here creating - as the title suggests - a dreamy stochastic drift and beautiful freeform float.

Barker's debutalbum Utility (on Berghain's Ostgut Ton label) was something of a sensation in the world of electronic music when it was released. Utility made numerous Best of 2019 year's end lists, including Pitchfork (8,2 review), The Quietus, DJ Mag, Resident Advisor (Recommends) and others. It also earned title of Mixmag's Album of The Year 2019. Now its finally time for the follow-up Stochastic Drift on Smalltown Supersound. And where Barker on Utility was "using ambient materials to remake techno" as Pitchfork's Philip Sherburne wrote, he takes this approach even further here creating - as the title suggests - a dreamy stochastic drift and beautiful freeform float.

* Sounds like a mix of Thom Yorke, Burial, Nils Frahm, all swirled together in a colorful yet creamy mix;

* A blend of Emikas neoclassical descending melodies, signature breathy, female vocals, icey pianos, heavy sub-bass vibrations and layered Hazy beats.

* Sat between her life in moving-boxes, wedged between them surrounding her upright piano in an unfurnished empty-sounding room in her in-laws house. Haze was made with voice-memo recordings of her piano and voice on her phone, edited and mixed on her laptop in headphones. Little loops in Ableton, lyrics, sadness and melodies, just like Emika’s real-life in boxes.

* Emika is set to launch a new event series, inspired by her memories of early Dubstep in the legendary Black Swan venue in Bristol (now closed) she saw her friend Mala play, with one table-lamp, it was all about this new sound, and meditating on the bass-weight. Something she plans to continue in her Haze Nights, where each guest will be gifted a little Haze Light with their ticket.

Jesse Hackett returns with another unclassifiable co-mingling of genres, this time made in collaboration with Durban-based gqom trio Phelimuncasi. The group met up in Nyege Nyege's Kampala studio last year, spending three days engineering a sequence of tracks that turned the acts' respective sounds inside out, stretching urgent vocals over mutating backdrops of time stretched electronic drums, saturated noise and unstable synths.We last heard from Hackett on last year's chilling 'Shadow Swamps', a chilly, surrealist blast of disembodied folk and vintage electronics that added a cinematic twist to industrial music. Phelimuncasi meanwhile followed their acclaimed debut with the enormous 'Ama Gogela', asserting their dominance with tight, dancefloor-fwd, hook-led jams produced by some of the scene's most important beatmakers. In collaboration, both Metal Preyers and Phelimuncasi materialized a few worlds outside their comfort zones, with the Durban trio's words frothing from Hackett's marshy productions like echoes from another universe.Opening track 'Gidigidi ka Makhelwane' erupts in a fizz of beatbox percussion that loops noisily alongside Makan Nana, Khera and Malathon's stirring vocals, delivered in their local isiZulu tongue. Hackett's process is relatively restrained, offering Phelimuncasi the space to work their rousing magic unimpeded and adding punctuation where necessary. But when he takes more of a destructive role, it's just as impressive: on 'Gqom slowgen Chant', he corrupts his rhythm into a ritualistic pulse, letting the trio's words melt into metallic clicks and nauseous atmospheres.Elsewhere on 'Mgiligi wableka', Phelimuncasi's words create a rousing rhythm against a low-n-slow gqom thud from Hackett, and on 'Coffin Roller' he brings to mind '80s video nasty soundtracks, toying with analog synth sequences against Makan Nana, Khera and Malathon's distant chants. 'Like A Corpse' might be the album's most hollowed-out banger, turning the beat into a chopped 'n screwed drag that scrapes clamorously against Phelimuncasi's gurgling raps. Needless to say, there's nothing else like this.Jesse Hackett returns with another unclassifiable co-mingling of genres, this time made in collaboration with Durban-based gqom trio Phelimuncasi. The group met up in Nyege Nyege's Kampala studio last year, spending three days engineering a sequence of tracks that turned the acts' respective sounds inside out, stretching urgent vocals over mutating backdrops of time stretched electronic drums, saturated noise and unstable synths.We last heard from Hackett on last year's chilling 'Shadow Swamps', a chilly, surrealist blast of disembodied folk and vintage electronics that added a cinematic twist to industrial music. Phelimuncasi meanwhile followed their acclaimed debut with the enormous 'Ama Gogela', asserting their dominance with tight, dancefloor-fwd, hook-led jams produced by some of the scene's most important beatmakers. In collaboration, both Metal Preyers and Phelimuncasi materialized a few worlds outside their comfort zones, with the Durban trio's words frothing from Hackett's marshy productions like echoes from another universe.Opening track 'Gidigidi ka Makhelwane' erupts in a fizz of beatbox percussion that loops noisily alongside Makan Nana, Khera and Malathon's stirring vocals, delivered in their local isiZulu tongue. Hackett's process is relatively restrained, offering Phelimuncasi the space to work their rousing magic unimpeded and adding punctuation where necessary. But when he takes more of a destructive role, it's just as impressive: on 'Gqom slowgen Chant', he corrupts his rhythm into a ritualistic pulse, letting the trio's words melt into metallic clicks and nauseous atmospheres.Elsewhere on 'Mgiligi wableka', Phelimuncasi's words create a rousing rhythm against a low-n-slow gqom thud from Hackett, and on 'Coffin Roller' he brings to mind '80s video nasty soundtracks, toying with analog synth sequences against Makan Nana, Khera and Malathon's distant chants. 'Like A Corpse' might be the album's most hollowed-out banger, turning the beat into a chopped 'n screwed drag that scrapes clamorously against Phelimuncasi's gurgling raps. Needless to say, there's nothing else like this.

Multi coloured splatter vinyl repress of the celebrated debut from the New Zealand-born singer-songwriter, as well as the first album on Phantasy Sound. ‘Forever Dolphin Love’ is a psychedelic pop-folk celebration of a world between fantasy and reality, innocence and wisdom, a gateway to a world of Connan’s own… contains the singles ‘Faking Jazz Together’, ‘It’s Choade My Dear’ and ‘Forever Dolphin Love’.

Dive into introspection with ‘Blue Monday’, a thoughtfully curated selection of melancholic songs designed to help you delve deep into your thoughts. Each track carries a gentle sadness, creating the perfect backdrop for late-night musings, journaling, or quiet moments of reflection. Whether you're staring at the stars or simply sitting with your emotions, this collection invites you to embrace the impermanence of life and find a serene peace in its fleeting beauty.

Catching Flies' (aka Produzent/DJ George King) Musik ist ein bassig-melodisches Amalgam aus brütender Elektronik und komplexen Rhythmen mit Anklängen aus Hip-Hop, House, Soul und Jazz. Er veröffentlicht auf Ninja Tune, Anjunadeep, Cercle und seinem Label Indigo Soul, kollaboriert mit Sofia Kourtesis, Hot Chip, Pretty Girl und DJ Seinfeld und zählt Diplo, Bonobo, Keinemusik, Maribou State, Jungle und Nils Frahm zu seinen Fans. Nach "Silver Linings" (2019) und "Tides" (2024) folgt nun sein neuester Longplayer, den er wie folgt ankündigt: "Ich habe nach einer Tour an der US-Westküste ein Airbnb in Ojai gemietet und ein Beat Tape gemacht. Es ist eine Ode an die Downtempo-Beats-Szene der 1990er/2000er, mit der ich aufgewachsen bin."

Now and again, an album project with no home comes along out of the blue, demanding to be licensed and shared with the world.

It was unearthed on one of Paper's digging trips. BOM's album sounded like nothing else out there, only the future. Shrouded in mystery and country-of-origin unknown, Africa runs through its DNA, but sometimes mysteries are best left...

Ase - a Yoruba philosophy signifying the power that makes things happen and produces change; given to Gods, ancestors, spirits, humans, animals, plants, rocks, rivers, songs and prayers.
BOM takes influence from all corners of Africa and its diaspora, blending them with 25 years of Western electronic music into a melange of forward facing, leftfield afro futurism.
The album features one of Africa's brightest rising stars, Luka Productions (from Mali), cosmic poet Sirius Rush (UK) and master drummer & vocalist Felix Ngindu (DRC/Liverpool) for a journey into kaleidoscopic Afro-tech funk. Gqom, Shangaan electro and township funk rub shoulders with hip-hop, bass, deep house and dub for a psychedelic celebration of collaboration and possibility.

As geographical and musical barriers are broken down, BOM's 'Ase' album is leading the charge; London to Lagos, Lisbon to Sao Paulo, Bamako to Berlin, BOM captures the sound of the underground.

Hüma Utku returns to Editions Mego with her new album. The title Dracones makes reference to the mediaeval latin term "Hic sunt dracones" (Here be dragons), marking the unexplored, dangerous places on world maps, expressing the fear of chaos, the unexpected and the unknown.

This new work by the Istanbul sound artist is a sonic journal of an expedition into uncharted territory, one which occupies self and domesticity. Inspired by Utku’s experience of matrescence, Dracones explores the themes of familial demonology, metamorphosis and homecoming as well as human relationship to the experience of love woven layers of euphoria, alienation and consumption.

Musically, Dracones traverses a wide array of sonic tools whereby industrial sounds are imbedded with certain psychological angles, this is an album where, all matter meshes into a sly snapshot of the human experience with a tension and release exposure occurring frequently with dark corners opening up to bright layers of electronic experimentation.

The haunting opening track ‘A World Between Worlds’ tackles pregnancy, of which Utku was experiencing when making this record. The emotional, physical, spiritual and mental experience of this journey is all documented here.. This track features the ‘Lyraei’, an electromagnetic string instrument and modern interpretation of the ancient lyre, that was built and played by Mihalis Shammas. ‘Comfort of The Shadows’ moves from within to without, what was once hidden is now exposed. Utku’s ability to conjure the visual in the sonic is at the forefront as howling electronics give a distinct impression of movement. ‘A Familial Curse’ presents a desire to break the cycle of generational trauma with a creeping sense of dread that rolls into an industrial rhythm prior to landing in a beautiful place represented with shimmering guitar tones. ‘Here be Dragons’ is a rich and dark evocation, a spooked surrender to the themes of the record whereby Utku’s wildly distorted voice beckons all manner of phantasmagoria over cello and recordings of her ultrasound. ‘Care in Consume’ engages in further sonic exploration as a means of conjuring ‘matriphagy’, with its unique psychic energy coursing through electronic veins. ‘A House within a House’ could also be read as a body within a body as the pulse of ultrasound audio rattle amongst a cage of thudding rhythms and swirling electronics, one also ending in optimism as an exquisite melody is born from the prior fire. The striking journey ends with the more soothing ‘Ayaz’a’, a track embracing love and all the hardships that a period of fundamental metamorphosis brings, this is a heartfelt dedication to her son and concludes an album draped in life, experience, joy and pain.

Dracones is a deeply visual journey through inner and outer worlds, a space where symbolic evocation is supreme and passive listening is not an option.

All tracks composed,performed and recorded by Hüma Utku
Buchla 100, vocals, cello, electric guitar performed by Hüma Utku
‘’A World Between Worlds’’ features the ‘Lyraei’ built, played and recorded by Mihalis Shammas
Buchla 100 recorded in EMS Stockholm 2022-2023

Mixed by Enyang Urbiks
Mastered by Heba Kadry, NYC
Cover Artwork by Marco Ciceri
Design by Tina Frank

All the gems of Electronic Music in a 5 LP boxset with : Fakear - Kölsch - Fritz Kalkbrenner - Laurent Garnier - Bicep - Kerri Chandler Thylacine - Bob Sinclar - Mr. Oizo - The Prodigy - Alex Gopher - Purple Disco Machine...

Lucien Kimono fully composed the original soundtrack for Season 2 of Amours Solitaires, which aired on Arte and France TV in November.

Initially a popular Instagram account before becoming a French Euphoria-style drama, the series follows the romantic wanderings of its young protagonists. From ultra-modern synthetic arpeggios to warm, nostalgic Rhodes melodies, 18 tracks map out their joys, sorrows, and orgasms.

Madronas’ debut LP Erogenous Biome is an amorphous, murky, cathartic offering. A duet of modular synthesizer and winds that’s equal parts doom and ecstasy, it’s the sound of a majestic butterfly emerging from it’s slimy chrysalis just in time to catch the sun setting on the end of days, a bewitching, heavy ceremony, a power-wash of both mind and spirit.

Tracked in one continuous take at Brooklyn’s Heavy Meadow studio, individual tracks were gleaned from the purge and eschew predictable structures, making for a dense, fluid suite of improvisation, like dancing smoke ribbons in the dark. The duo's chosen sound sources are seemingly opposite - Ry Fyan’s modular’s coming from electronic oscillators, Isaiah Barr’s saxophone and various flutes originating with the breath - but the visceral, imprecise, alive quality to the sound of both lends the record a thrilling combination of rapturous harmony and gritty, intense friction.

Opening the session in ritualistic, foreboding fashion, Voluntary lurches to life with rattles and wandering, bassy arpeggios before a suona’s cry signals the seance has officially begun. Ostraca Loam spits explosive modular rhythms and eerie shrieks for the flute to float above, while Detritus Harp smudges mechanical whirring, pensive horn and wind chimes for an untethered drift. Petrified Microdot swells with menacing sci-fi sequences and breathtaking sax runs until they both run out of breath, and Negative Lingam starts out in a panic of breathy riffing before exhaling into one of the most sublime passages on the record. Rhythmic pounding and undulating flutes punctuate Lenticular Shroud, before The Preparation Of The Novel sets the winds aside for a synthesized dual fit for electric dreams. The title track dominates the B-side, it's shimmering levity slowly unfurling to reveal itself as a kind of post-apocalyptic devotional music, deep space drifting grounded by earthly flutes, and Vale Of Cashmere offers an ascetic, contemplative closure, sparse flute and chiming rhythms organic or electronic - by this time it’s hard to know, it doesn’t matter either way.

Erogenous Biome is a world of it’s own, and one Impatience is honored to offer a window into.

RIYL - Senyawa, witchcraft, Colin Stetson , Civilistjavel, Mars (the planet), Finis Africae, raga, Stephen O’Malley, modular synthesizer, Anthony Braxton, Shabaka.

Madronas is Ry Fyan and Isaiah Barr. Fyan is a painter and tattoo artist, this is his first release. Barr is a prolific instigator of the downtown New York scene, producing and playing saxophone in jazz circles with his group Onyx Collective, as a player and/or producer on records by Nick Hakim, David Byrne and Wiki, performing live with William Parker and as part of his projects Universal Space Jam and Cafe Dewanee.

Erogenous Biome was recorded and mastered by Griffin Jennings at Heavy Meadow, Brooklyn.

Vinyl was cut by Beau Thomas at Ten Eight Seven Mastering, Berlin.

Artwork is by Ry Fyan, typography and layout by Nicolas Turek.

LIMITED EDITION - Riso Print Cover (each individual cover may vary)
4 chop-outs from the Japan (tour) Tape. Edited and turned into full tracks.

CYRIL is the Aussie-born artist, DJ, mulit-instrumentalist and producer behind two of the world’s hottest records at the moment, “Stumblin’ In” and his remix of Grammy-nominated artist Disturbed’s “Sound of Silence.”. He is signed to the Dutch record label Spinnin’ Records, known for its smash hits in the EDM genre.

His biggest moment thus far came in late 2023 with the release of “Stumblin’ In,” which initially exploded on TikTok before dominating the worlds of streaming and radio. It became the #1 most played song on air in countries like Germany, Poland, Australia, New Zealand, and more, as well as covering some of Spotify and Apple’s biggest playlists.

Shortly afterwards, a remix of Disturbed’s cover of the Simon & Garfunkel song “The Sound of Silence” was released and reached the Top 10 in several countries.

CYRIL’s debut album, From Down Under-To The World , features tracks such as “True” with Kita Alexander, alongside extended versions of “Stumblin’ In” and “The Sound of Silence.”

From Down Under - To The World is available as limited edition of 1000 copies on white coloured vinyl.

Portland-based ambient architect and far afield sound technician Graintable, aka James Cooke returns with his debut outing on Music To Watch Seeds Grow By and his fourth in the R$N stable; 'Blue Flax'. Following his acclaimed and sold out cassette releases 'Herons', 'Universal Ash' and ‘The Rain In The Trees’ on Ransom Note Records, this new collection sees Cooke delving deeper into the intersection of natural processes and liminal organic electronics.

'Blue Flax', the resilient flowering plant celebrated for its delicate blue blooms and medicinal applications, is native to the Pacific Northwest - the region Cooke calls home. This plant has long grown on the ancestral lands of the Wasco, Klickitat, Warm Springs, Cayuse, and Umatilla tribes. Its connection to this landscape underscores the album’s themes, weaving together ten intricate ambient pieces that reflect the plant's dual nature of part healer, part object of wonder. Recorded during the transitional hours of dawn and dusk in his Portland studio, Cooke’s soundscapes capture both the meditative aspects of watching plants grow and the gradual transformation of organic matter into usable forms. The centrepiece of the album Cerulian FIelds, reminds of the early morning light, those inspiring hours before the rest of the world wakes and the first shoots break through the soil into the new dawn. It’s a beautiful crystallisation of what is Cooke’s most comprehensive collection of meditative compositions to date.

For fans of: Steve Roach, Alessandro Cortini, Suzanne Ciani, Davis Galvin

Early support including: Courtesy, Laurent Garnier, Massimiliano Pagliara, DJ Harvey, Domenic Capello

QUEENDOM is an album that marks a new era for the project while staying true to the essence of Minuit Machine. Produced under the SYNTH RELIGION label, this opus immerses us in Amandine's introspective realm, oscillating between darkness and light, between doubt and self-conquest. While retaining the emotional DNA of previous productions, QUEENDOM stands out with a more pop-oriented touch, featuring tracks where Amandine sings in French for the first time.

The first single, "HOLD ME," is a powerful pop anthem addressed to the queer community, celebrating the freedom to be oneself and breaking free from societal and patriarchal norms. This track is a true empowerment statement, with striking electro beats supporting a strong message of emancipation and pride.

"Créatures," a collaboration between RAUMM and Minuit Machine, is a modern fairy tale—a timeless love story that could take place in any era. This salvific love, rarely seen today, embodies a poignant depth and beauty.

Continuing the journey, "Cent Fois"—a French-written track—takes us into a techno-pop universe with nostalgic yet hopeful undertones. This song perfectly reflects Minuit Machine's evolution toward a more radiant approach while staying faithful to its dark heritage.

"Party People," on the other hand, is a return to roots with dark wave/italo sounds. This hypnotic and haunting track questions identity in an increasingly robotic society, where individuals are forced to conform to imposed norms. This exploration of the individual versus the collective lies at the core of Minuit Machine's DNA.

"Mes Souvenirs," created in collaboration with Rebeka Warrior, dives intimately into the memories of Amandine and Rebeka. Together, they reveal fragments of their past—precious and vibrant memories that resonate through powerful and melancholic electro sounds.

Finally, the eponymous track "Queendom" invites us to plunge into the depths of Amandine's world—a universe that is both tormented and icy, yet resilient. Supported by a slow and captivating rhythm, this track is designed to grip and haunt the listener, like an incantation.

QUEENDOM is a bold and hybrid work where each track reflects a pursuit of sincerity and artistic reinvention while maintaining the ability to express emotions through rhythms that are both danceable and introspective. The album showcases Minuit Machine's artistic maturity, establishing itself as a must-listen in the darkwave and electronic pop scene.

Amandine entrusted the artistic direction of this album to Manon Dupeyrat, a brilliant young artist who crafted a bespoke universe perfectly aligned with the produced tracks. The album cover, both intimate and anachronistic, invites listeners into Amandine's private world through her bedroom, revealing what she wishes to share.

T?t 41 is the latest record by modular synthesist and Berghain resident JakoJako (Sibel Koçer), marking her album debut for Mute.

Recorded during a trip to Vietnam and bookended by field recordings from T?t Lunar New Year celebrations, the album is illuminated by references to Koçer's heritage. The melodic palette breaks away from traditional Western scales, drawing instead from the tonal intricacies of the Vietnamese language, inspired by overheard conversations. The album and track titles further honour the vibrant T?t festivities, shrines, and landmarks she encountered during her travels.

This album is, in many ways, a distillation of ideas she has been exploring for years. Tapping into a deep understanding of machine-based music, crafted with a minimalist setup consisting of a Eurorack and Waldorf Iridium Core, T?t 41 reflects on notions of rebirth, and the pursuit of a sonic core. From this simplicity emerge some of her most expansive, unworldly compositions to date.

T?t 41 is available on vinyl in a limited run of just 500 copies worldwide.

Mit ihrem Debütalbum, 'Portraits', aus dem Jahr 2015 und dem ebenso hochgelobten 'Kingdom In Colours' aus dem Jahr 2018 haben Maribou State die Weltbühne betreten und gefühlvolle Downtempo-Electronica für eine neue Generation neu definiert. Ihre Musik wurde von Medien wie Kulturnews, Beat, TV Spielfilm & TV Today, Piranha & Start und wurde beim Münchner Radiosender, egoFM, sogar das Album des Jahres! International gab es zudem Support von u.a. NME, Complex, GQ, Clash und Crack Magazine, Mixmag kürte Maribou State zu einem ihrer 'Künstler des Jahres' und BBC 6Music huldigte 'Kingdom In Colours`' als „Album des Tages“, während Annie Mac, Gilles Peterson, Pete Tong und viele andere die Band unterstützten, sowie US-Radioplay von KCRW & KEXP - wo sie auch eine spezielle Live-Session spielten. Außerdem gab es Welttourneen, Auftritte an majestätischen Orten wie der Sydney Opera sowie Auszeichnungen als Künstler des Jahres und mit „Feel Good“ auch eine äußerst erfolgreiche Single mit Khruangbin. Bei 'Hallucinating Love' hat sich das Warten jedenfalls definitiv gelohnt: es ist ehrgeizig, vollgepackt mit erhabenen Hymnen und gespickt mit rastloser Energie, schwebenden Streichern und umwerfendem Gastgesang von Holly Walker, mit der sie schon seit vielen Jahren zusammenarbeiten, und neuen Freund:innen, wie der MOBO-nominierten Künstlerin Andreya Triana. Es unterstreicht Maribou States sich entwickelnde Balance zwischen Intimität und Komplexität, sowie ihr Talent, epische Musik für Sonnenuntergänge zu machen. Die engere Zusammenarbeit mit anderen half auch dabei, musikalisches Gold zu schürfen, und zwar bei verschiedenen Aufnahmesitzungen in idyllischen Gegenden im ganzen Land. Liam und Chris luden Kollaborateur:innen wie den unglaublich talentierten Produzenten Jack Sibley und den Bassisten Jonjo Williams ein und schufen so überall, wo sie hinkamen, kleine provisorische Gemeinschaften. Das verlieh ihrer Musik eine neue Energie.

Dutch electronic music duo Polynation returns to Atomnation with Bloom, a new EP featuring guest appearances from Itai Weissman and Eric Vloeimans.

Polynation has always employed a wide range of gear to make their music, from synths, bass, guitar, and pedals to their unmistakable use of acoustic drums. This time, they have guest musicians Eric Vloeimans on trumpet and Itai Weissman playing saxophone and EWI — a digital wind instrument. The EP is their investigation into the symbiosis between electronically generated sounds and acoustic wind instruments. It finds them playing wind instruments in unconventional ways to mimic the language of a synthesizer and contrasting them with electronic sounds that breathe and feel alive, as if acoustic. "We are particularly interested in the sonic world where the boundaries between electronic and acoustic sounds begin to blur," they explain. They now take that concept one step further on this latest outing.

Bloom is another deep dive into the adventurous sonic alchemy of the continually innovative Polynation.

On Hardcore, James Mapley-Brittle (GRRL) and Nick Sanborn (Made of Oak), meld their love of late-night club music to make mind-bending high-energy dance music. GRRL is one of the brightest emerging stars in the underground arts space and a regular collaborator with PC Music, NTS, and more; Sanborn is better known as one half of the Grammy-nominated electronic pop duo Sylvan Esso. First sparked during DJ sets in North Carolina basements, the duo's unique creative chemistry has grown exponentially since the 2022 release of their debut EP, Inertia. GRRL x Made of Oak's glitched-out sounds have been featured on Adult Swim, Fortnite, and with their own sample pack on Splice. Finding new fans in the likes of Björk, Arca, AG Cook, Porter Robinson, Barker and DJs across the world, GRRL x Made of Oak is an exhilarating experience that will shake the speakers and get any after-hours dance floor moving.

The first Jazzamor Vinyl Release!
12 selected and newly edited songs from 20 years of Jazzamor history.
"20 years of Jazzamor with over 100 songs and 13 albums released. Concerts all over the world. Encounters with many interesting people in many countries. Places we look back to with loving memories. And although we currently cannot travel them all music connects them. Music goes beyond borders. Thankfully!
20 years in which we were fortunate to collaborate with fantastic musicians and technicians who inspired us and enriched our music. We are grateful to have had you with us and we look forward to discover new things with you."

Leah Chisholm, die als LP Giobbi bekannte Künstlerin, ist eine der interessantesten und wichtigsten Produzenten und DJs der Welt. Sie ist eine im Jazz ausgebildete Pianistin, die sich von der Welt der Jazzmusik inspirieren lässt und es vorzieht, die oft komplizierten und vorprogrammierten Strukturen der elektronischen Musik zugunsten einer spontanen Live-Zusammenarbeit zu vermeiden. Heute kündigt sie ihr zweites Album Dotr an, das am 18. Oktober auf dem Ninja Tune Imprint Counter Records erscheinen wird.
Dotr ist der mit Spannung erwartete Nachfolger von Light Places, dem Album, das ihr den Titel DJ Mag's Best Producer of 2023 einbrachte und sie unter NPR's Favorite New Musicians of 2023, Spotify RADAR's Artists to Watch, Amazon's Artists to Watch und TIDAL's Artists to Watch 2023 platzierte. Mit 3 Millionen monatlichen Hörern auf Spotify und mehr als 340 Millionen Streams auf allen Plattformen hat LP Giobbi große Festivalbühnen geziert - Coachella, Tomorrowland, Electric Forest, Lollapalooza, sowie Auftritte bei Kappa Futur, Arc Music Festival, Lost Village und Portola, die für dieses Jahr geplant sind - und überfüllte Clubfloors, während sie mit Künstlern wie Mochakk, DJ Tennis, John Summit, Diplo, Dead & Co, Black Coffee und ihrem häufigen Kollaborateur Sofi Tukker tourte. In Dotr sind für LP Giobbi echte, unverfälschte Erinnerungen eingestreut: eine letzte Geburtstags-Voicemail von Patricia Lynn und die Aufnahme eines ihrer letzten Gespräche mit Carolyn Horn. Doch obwohl das Album aus der Trauer geboren wurde, ist es im Großen und Ganzen ein fröhliches Projekt, das die Traurigkeit durch die überschwängliche Offenbarung dessen, was es bedeutet zu leben, überwindet. "Is This Love" ist eine wunderbare Kino-Disco, Carolyn" fühlt sich an wie eine Ode an die Chancen, die man einfach so ergreift. Es gibt Lieder über Liebe und Versöhnung, Hymnen über Trauer und Glauben und Hymnen über Angst und Ekstase - keine Emotion ist vollständig ohne ihr gleichwertiges Gegenteil.

Mit ihrem Debütalbum, 'Portraits', aus dem Jahr 2015 und dem ebenso hochgelobten 'Kingdom In Colours' aus dem Jahr 2018 haben Maribou State die Weltbühne betreten und gefühlvolle Downtempo-Electronica für eine neue Generation neu definiert. Ihre Musik wurde von Medien wie Kulturnews, Beat, TV Spielfilm & TV Today, Piranha & Start und wurde beim Münchner Radiosender, egoFM, sogar das Album des Jahres! International gab es zudem Support von u.a. NME, Complex, GQ, Clash und Crack Magazine, Mixmag kürte Maribou State zu einem ihrer 'Künstler des Jahres' und BBC 6Music huldigte 'Kingdom In Colours`' als „Album des Tages“, während Annie Mac, Gilles Peterson, Pete Tong und viele andere die Band unterstützten, sowie US-Radioplay von KCRW & KEXP - wo sie auch eine spezielle Live-Session spielten. Außerdem gab es Welttourneen, Auftritte an majestätischen Orten wie der Sydney Opera sowie Auszeichnungen als Künstler des Jahres und mit „Feel Good“ auch eine äußerst erfolgreiche Single mit Khruangbin. Bei 'Hallucinating Love' hat sich das Warten jedenfalls definitiv gelohnt: es ist ehrgeizig, vollgepackt mit erhabenen Hymnen und gespickt mit rastloser Energie, schwebenden Streichern und umwerfendem Gastgesang von Holly Walker, mit der sie schon seit vielen Jahren zusammenarbeiten, und neuen Freund:innen, wie der MOBO-nominierten Künstlerin Andreya Triana. Es unterstreicht Maribou States sich entwickelnde Balance zwischen Intimität und Komplexität, sowie ihr Talent, epische Musik für Sonnenuntergänge zu machen. Die engere Zusammenarbeit mit anderen half auch dabei, musikalisches Gold zu schürfen, und zwar bei verschiedenen Aufnahmesitzungen in idyllischen Gegenden im ganzen Land. Liam und Chris luden Kollaborateur:innen wie den unglaublich talentierten Produzenten Jack Sibley und den Bassisten Jonjo Williams ein und schufen so überall, wo sie hinkamen, kleine provisorische Gemeinschaften. Das verlieh ihrer Musik eine neue Energie.

Cindys petrochemical plant managed by her husband Norbert
He’s just half-eaten a sandwich, he’s got a little dino friend, a couple perhaps.
Surrounded by strange industrial structures and debris he’s quickly animated by inhuman images and sounds.
Fearful over a dream she had about sinking in quicksand she quickly remembered Pasolini’s words.
‘In a dense fog’ they read, no it was perhaps another instance.
She used to live on an island and swim off a beach at an isolated cove. She orders pizza often. Of all the rocks in the cove it seems that only one comes alive and sings to her.
In the voice of the core.
The factories wide consumption continues.
Twenty-two minutes per side.
Something good.

Following their acclaimed debut album The Shedding of Skin (2022), the formation has deepened their relationship through numerous live jams, intense touring and story sharing, pushing both their skills and the boundaries of the project. For its successor, État Coupable, this growth has been enriched by various collaborations, including one with Lebanese-Canadian producer Radwan Ghazi Moumneh (Jerusalem in My Heart).

The first single, Freedom, Asshole, features live drums by Spooky-J from Nihiloxica. With lead vocalist Saif singing, 'I envy you because you can close your eyes, you can choose,' the track addresses those who need to be addressed in the Western world, resulting in a gutwrenching piece of raw electronica that delves into the very definition of freedom. Alongside the launch of the record , the single will be released on Bandcamp and other streaming platforms on Wednesday, January 29.

A series of live dates have been announced including gigs at Ment Festival (SL), Rewire (NL), Donau Festival (AT) and dunk!festival (BE) among others.

Belgian multidisciplinary artist and long time collaborator of the project, Youniss Ahamad, has shared a that embodies unease through distorted images, a black-and-white palette, and abstract bird loops.

“For me ‘Freedom, Asshole’ is about fighting for freedom even when everything seems bleak”
– Youniss Ahamad

Beirut Birds (طيور بيروت) is a sonic memory capsule honoring (inter)personal stories of migration, displacement, and the cyclical turbulent circumstances in Lebanon. Transforming her multi-year project, multidisciplinary artist and composer Nour Sokhon crystallizes the performance Beirut Birds (طيور بيروت) into her long-awaited debut album. When presented and performed live, it is accompanied by juxtaposed images of the Lebanese capital’s city life and avian migration across the Mediterranean Sea, representing themes strongly woven into the music.

In her variegated artistic process, Nour has undertaken and recorded interviews with diasporas and repatriates to commemorate, share, heal, and envision. These source materials become the album’s core elements that loop, narrate, and return throughout time, with Nour responding with both instruments and her voice. Chanting in dialogue with the interviewees, crafting near-mantras, Nour further congregates these materially-rooted soundscapes by including field recordings that she gleaned during 2018–2021 in Lebanon and her subsequent move to Berlin.

Embedded within the composition are manipulated sounds from objects that symbolize migration, such as office bells, a luggage wheel, car parts, and bureaucratic paperwork. Musically, the songs are enriched by Nour’s improvisations on classical piano, electronics, synthesizers, violin, and various percussion instruments. As time is sculpted and the layers blur, words become specters, while an entropic orchestra of drums and melody rises, giving shape to an in-between space for those who have left, and stayed.

Music and artistic research by Nour Sokhon, 2018–2024. Recording, editing, and mixing by Rabih Beaini at Morphine Raum, Berlin. Mastered by Rashad Becker at Clunk.

Veyl is pleased to welcome Velvet May for his debut LP on the label. Enchanted By The Muse marks a new and exciting direction for the Italian-born, Berlin-based artist whose aesthetic focuses on post-punk, techno and industrial music. This album embodies May’s exploration and experimentation of various musical directions, reflecting a fusion of industrial, rock and electronic elements. It also symbolizes a new approach, spanning genres and styles and exploring his sound from every angle.
Conceptually, the album reflects a realm of emotional dissonance in an industrial desolation - where harsh electronic textures mingle with gritty industrial and rock elements. Also present are echoes of punk's raw energy and adrenalinic drive, a musical journey through shifting moods and atmospheres, serving as a soundtrack to different aspects of life and capturing the essence of its high and lows.
From the opening track, “Now That You Have Left It All”, we are lured into a thrilling sonic dimension with a shot of energy that sets the stage for journey ahead. “Keep On Falling” injects a dose of rock which we find throughout the record fused with the artist’s signature blend of postpunk, industrial and techno strains. Tracks like “The Outsider” and “Slithering Serenade” conjure raw, distorted rhythms and a menacing fuzz which bleeds out of the speakers while “Scales of Gold” traverses back through infectious body and wave. “Illusion In Control” is the perfect climax, a musical assault that shatters boundaries and blurs the lines between reality and fantasy.

Flutter Ridder is the duo of Norwegian multidisciplinary artists Espen Friberg and Jenny Berger Myhre, both of whom play important roles in Oslo’s contemporary art and music underground. The pair first collaborated during the production of Friberg’s debut solo record, “Sun Soon” (Hubro, 2022), quickly recognizing in one another a creative kinship rooted in a playful, intentionally naive approach towards making art. In November of 2023, the pair decamped to the coastal town of Hvisten in southeastern Norway to record what would become this debut, self-titled album in an ancient wooden church. Drawing from a palette of Friberg’s idiosyncratic Serge modular system and the church’s resident pipe organ and intoxicating acoustic reverb, they began recording and sculpting music informed by the notion that air and electricity share a common flow, a continuous current that can be directed through valves and potentiometers. The pair came to think of the Serge and pipe organ as sibling instruments, the former yielding characteristically unpredictable and complex timbres that complement the wooly, reedy drones and strange, microtonal overtones of the latter. At once sublime, liturgical, and whimsical, Flutter Ridder offers its listener a series of moving, cinematic natural landscapes, affirming the sensibilities of its makers and the indelible influence of the environment in which it was produced.

Rivet’s new album for Editions Mego is an uplifting and joyous affair coming in the wake of tragedy and disenchantment. It is yet another rebirth from an artist willing to take a step back and reprise the current situation he is in. Mika Hallbäck has a long credible history in the Swedish underground. First recognised for his industrial techno works under the Grovskopa moniker he worked privately on more experimental works that eventually came out as On Feather and Wire, an album released on Editions Mego in 2020. After much acclaim for this bold new direction that blended electronic abstraction, pop and industrial forms into a heavy synthetic trip two tragedies struck. One was the passing of label boss Peter Rehberg and then the passing of his dog Lilo, who was as close as a companion one could have. These events led to the release of the more unsettling follow up L+P-2 (Lilo and Pita minus two) on Midnight Shift Records in 2023. Peck Glamour sees Rivet return to the reawakened Editions Mego with an album of optimism inspired by reconciliation with loss and further explorations of new mental/sonic realms.

Hallbäck defines his approach as not being married to any particular machine, instrument, process or genre. However he holds a particular affinity to sampling, of which, he says, provides the dirt and grit amongst what would otherwise be pristine, generic machine music. The contemporary crate digging method of scouring obscure download music bogs for unique sounds was his preferred research practice.

Peck Glamour is an album full of tracks brimming with the excitement of exploration. It's the results of a mind informed by punk, industrial, techno, dancefloor, disappointment, trauma and rebirth. Here the synthetic and authentic is viewed simply as the same means of human rationale and expression.

The opening, ‘Catch Up to Light’, sets the scene with ecstatic and odd fluorescent vocals sliding amongst crystalline likembe whilst synths swirl amongst the external festivities. ‘Orbiting Empty Cocoon’ is somewhat a homage to the alien sound worlds of The Orb, one which takes the listener deeper into a mind melting array of teased potential as visual elements are executed in a mask of audio wizardry and euphoric staccato rhythms, the later being a nod to Singeli music. ‘Patitur Butcher’ is more dance frontal utilising the Ghatam drum and a YouTube rip of a Chinese language lesson. ‘Plastic Bag Putain’ was made during the beginning of Russia's invasion of Ukraine and should be clear of its intent. ‘All that Heaven Allows’ is a marimba cover of an imaginary Love Parade anthem. 'Kyrie Geire’ potentially briefly fills the void left by the demise of Coil. The entire trip of Peck Glamour is sewn up with ‘We left before we came’ whereby extraneous recordings of double bass player Gregory Vartian-Foss (tuning/strumming/moving the bass) are superimposed with local field recordings to create a gorgeous bed of sounds acting as an exciting exit music to this sharp collection of cinematic ear excursions.

Speckman D.J. & Producer hailing from Hamburg. Co-founder of the tastemaking partyseries Dreamteam and resident at the legendary Golden Pudel Club is finally presenting his new Album titled „NOISEMAKER“ on Public Possession. His eclectic style as a D.J. is perfectly represented in the Music on this record, sitting comfortably between techhouse, indie, new rave and electronica it could probably be best described as a pretty epic take on electroclash in a fully updated, reloaded 2025 version. Fu**in seriously, unserious party music with a nod to the past yet fully in the present. The mellow, deeper episodes are the topping on the bright, pink cake. Speckman is going to jump out of it and right at you. Find him soon in a D.J. booth close to you, no matter if he is supporting „The Dare“ on his EU Tour or holding controls at the Golden Pudel Club. It’s going to be wild and full of surprises.

Born from a childhood friendship, the five members of Ciao Kennedy have crafted their own sound and feeling after exploring a variety of different musical horizons. Following the release of EPs 'Keldercave' (2021) and 'the problem is' (2022), as well as being featured on the compilation Lefto presents Jazz Cats Vol. 3 in the spring of 2024, it was only a matter of time for the Brussels-based band to reappear on the music circuit.

As part of the Magma collective, alongside groups like TUKAN and ECHT!, they started to stand out with their instrumental music merging the playfulness of jazz,the repetitive facets of post-rock, and the overtly grand electronic sound evident in what is nowadays described through the grapevine as the 'Brussels sound'.

With Solarium, their debut album set to be released under the Sdban Ultra label, they have found a course and common denominator in guitars drenched with post-rock effects, steered by hypnotic electronic beats, creating an atmosphere of rare, dense melancholy, peppered with a sound that belongs in a blockbuster sci-fi movie.

Ciao Kennedy and its debut album are a tangy candy bursting in your mouth, the thrill of an afternoon at the fair, modernity meeting up with the nostalgia of childhood. Or standing beneath the shimmering neon lights of a rainy night, like colourful poetry, blending tenderness with electric intensity. Many of these musical descriptions would be completely off the mark, but after a few listens, they don't seem to miss the mark either. There's something for everyone to discover on this album, oscillating between the familiar and the unexpected, melancholy and cheer, and while everyone keeps on talking about something being a 'vibe', we can only conclude that Ciao Kennedy is the only one putting this into action.

To celebrate the release of Solarium, the band will host a release party at the Brussels venue Botanique on April 17, 2025. A must-attend event for everyone who wants to see if the live reputation which precedes Ciao Kennedy is actually true. Whatever happens, make sure to keep that date free.

Release show: 17/04 Botanique, Brussels.

Die zweite LP des Duos aus Megan Louise und Johnny Jewel (Chromatics) wurde in LA und Palm Springs, Kalifornien, geschrieben und aufgenommen. Inspiriert von der ultralebendigen Welt der 1970er Giallo-Filme schrieben Desire den Soundtrack ihrer Träume mit ihren Lieblingsinstrumenten: Minikorg, Jupiter 8, 909, Mellotron, Simmons Rhythm Modules, String Machine, D-50, Fender Rhodes. Während House-Rhythmen die Grundlage ihrer Erzählungen bilden, ergänzen pulsierende Synthwave- und Daytime-Drama-Seifenopern die Farbpalette des Albums. Gesungen wird auf Englisch, Französisch und Koreanisch, was der Mischung noch mehr Dramatik verleiht. Durch all das hindurch gibt es den Optimismus des Kompasses der wahren Liebe, der uns durch all das Chaos navigiert, das das Leben zu bieten hat.

Naya Beat continues to champion South Asian musical heritage with the aptly titled Bhangra House Xtc EP featuring music from the late great Manjeet Kondal with remixes from Mr. Scruff and new tracks from label heads Filip Nikolic and Raghav Mani aka Turbotito & Ragz. It celebrates the overlooked influence of late 80s dance and dub music on Bhangra and comes complete with over-the-top artwork, an ode to Bhangra sleeves from the era.

This EP pays homage to a special and relatively untold time when Asian and Western producers collaborated to bridge musical cultures on the dance floor and when British Asian youths were finding their own space at daytime raves. It is in part a tribute to Bhangra innovator Manjeet Kondal, who passed away late last year, and part a tribute to the forgotten yet scintillating confluence of acid house and dub music with late 80s and early 90s Bhangra, now highly sought after as long out of print 12”s.
Kondal, a founding member and percussionist of the legendary band Alaap, left to pursue his solo career as a vocalist. He helped broaden the Bhangra sound by incorporating elements of dub and house into Punjabi folk and traditional instrumentation. His first album, Holle Holle became a household hit, and it is from there that the originals for this package are taken.

The famously deep digging and eclectic selector that is Manchester's Ninja Tune regular Mr. Scruff remixes Kondal’s proto-house banger Ishkaan De Mamle. He first became a fan of Turbotito & Ragz after their label’s superb Naya Beat Volume 1 release and doesn’t disappoint here with a sublime acid house-inspired take with the most infectious and bounciest of basslines. He also serves up an Instrumental Dub and Vocal Strip Down that twists the original into subtly different moods.

Next up, Turbotito & Ragz deliver a dub tribute that works with Kondal’s vocal stems from an assortment of tracks from his album ‘Holle Holle’. It's a compelling and vibrant sound with exotic instrumentals and dubbed-out low ends, all held together by hooky Punjabi vocals. It also comes as a Lovey Dubby Dub version.
With dance music now coming full circle and South Asian DJs increasingly regular faces on the mainstream festival, club, and underground circuit, this release is a fitting and timely modern tribute to the pioneers that came before.

Reinventing himself as a vocalist on his new album 'Silver Blue', Pomrad fuses 80s fusion funk, raw electro-dance, and 90s rave grooves to craft his unique style of cosmic crooners. For Fans of Prince, Hudson Mohawke and Herbie Hancock.

Drawing inspiration from a wide range of genres, the record pays homage to the iconic African American productions of the '80s-such as Prince, One Way, the Gap Band, and Whitney Houston-while also nodding to UK-styled genres like Street Soul (The Antipode), '90s R&B (Is It True) or even grotesque 2-step (Sad Dancer).

Throughout the album, layered synth textures from instruments like the Yamaha DX7, RolandD-50, Simmons SD-5, and Korg Opsix create otherworldly atmospheres (Silver Blue), as tracks swing from the playful funk naivety of an '80s TV show intro (How It Feels) to corny synth ballads (Sweet Dear Lucky) or happy clapping turned hardstyle (Suzy Got Lost).

Pomrad wrote the songs over the past few years in his home studio in the Antwerp area. After a seven-year hiatus, following his collaboration with Onra, he returns as a fearless singer and storyteller with a distinctly Belgian surrealist flair.

"Forastero translates to “outsider” or “foreigner”. It is a common reference in Argentina folk music that describes the experience of immigrants and troubadours - bringing up feelings of isolation and solitude, but also the freedom of roaming in nature without borders. It reflects Selasco’s experience as an immigrant - feeling like an outsider both in the United States or Argentina, yet at the same feeling that there is a deeper sense of belonging to the world that is beyond borders.

In Forastero, Terror/Cactus explores themes of identity, memory, perception, and mysticism. Featuring collaborations with artists such as Pahua, Rumbo Tumba, Barrio Lindo, and Corina Lawrence, Forastero encompasses a musical landscape filled with electronic folk, dark cumbia, and psychedelic beats."

Neue erweiterte Deluxe-Version des Debütalbums "fishmonger" (2021) der gefeierten Hyperpop-Produzentin underscores (aka April Harper Grey) aus San Francisco, das sie bislang nur im Eigenvertrieb auf den Markt brachte. Eine aussergewöhnlich frische, experimentelle Produktion zwischen Electronic, Pop, Dubstep und Pop-Punk, mit den Fanlieblingen "Spoiled Little Brat" und "Second Hand Embarrassment". Die neue "deadAir Legacy Edition" enthält eine zusätzliche LP mit 6 Single/EP-Tracks, 5 Remixen (Lunice, six impala, Virtual Riot, carolesdaughter) und 2 Bonustracks, dazu ein 24-seitiges Songtext-Booklet. Transparent-hellblaues und transparent-kobaltblaues Doppelvinyl.