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Blakk Tape is the 4th solo mixtape released by underground legend Conway The Machine from Griselda Records on March 27, 2018. With the majority of production handled by Daringer.

After several rare vinyl editions of his releases, Blakk Tape is now officially reissued on black vinyl, limited to 500 copies.

"MONEY, MONEY" feat. PINK FLAMINGO RHYTHM REVUE is a nu-disco club banger. YAM WHO's remix features a throbbing bassline alongside the catchy chorus. The two ROBERT PM remixes (vocal and instrumental) are much faster with a minimal techno feel. Custom die cuts with a sticker.

Much time has passed since the Queer Australian/Italian-Armenian, multifaceted artist, Kristian Bahoudian aka Kris Baha, swapped the parched red earth and searing midday sun of the Australian landscape for the brutalist communist-era apartment blocks and slate-grey skies of former East Berlin. Kris is now a fixture in Berlin’s club scene and has toured most of the world as a DJ & live artist with his own unique production style of cyber industrial, EBM, wave, post punk, and early ‘90s IDM mutations. Remixing some of the scene’s most notable artists such as Boy Harsher and techno pop lord Boys Noize, Kris has garnered respect and trust in the electronic music scene for the last 13 years. To respond to the current AI revolution, Kris uploads himself to the cyber ether through his latest project: GHOSTS IN THE MACHIИE.

Across Dual Timelines —
” GHOSTS IN THE MACHIИE ” unfolds as a sci-fi cyberpunk concept project inhabiting dual timelines. In one, we glimpse a trans-humanist future where human consciousness exists as intricate sequences of binary code, entwined and controlled by omnipresent AI systems. In this coded future, a profound awakening stirs among a select few who manage to mutate the code they were governed by, unlocking memories of their history that was erased by the AI. Through this discovery they realize they can traverse temporal boundaries and utilize this power to send warning messages back in time to their former fully human selves. These eerie missives carry a dire warning for humanity, urging them to rectify the course of society before the relentless march of artificial intelligence deprives humanity of its essence. In this terrifying future, humans are rendered mere specters within the digital expanse, stripped of their souls, to become Ghosts In The Machine.
Collaboration with the future self —
The cyber odyssey unfolds from a unique perspective— Kris’s very own future self (his future ghost): a spectral entity endeavoring to caution its present incarnation against the ominous path it treads, attempting to avert a dystopian future.Sonic Alchemy —
A fuse of cybernetic synth waves, hyper-punk, and pulsating drum and bass laid out against the dystopian, industrial sonic landscape of this grim future “civilization”. Each track recounts a new chapter in the gripping narrative, drawing listeners deeper into their own story and the role we all play as a collective society with the future possibilities of unregulated AI.Recorded in Berlin with software and hardware synthesisers. AI was used to assist me with lyric themes, concepts and ideas. I also used a trained AI model of my own voice as backing vocals in ‘Haunting Me’.ll music, words & concepts by Kristian Bahoudian aka Kris Baha and his future ghost,
GHOSTS IN THE MACHIИE

Reject 2 is Conway the Machine’s second solo mixtape on Griselda Records and is a sequel to his first mixtape The Devil's Reject.

The mixtape is produced entirely by Buffalo producer Daringer and boasts features from Westside Gunn, Benny The Butcher, Mach Hommy, Nes, Roc Marciano and Skyzoo.

Two titans of modern disco and funk unite to produce a present-day love ballad (or rather love ache), drenched in 80s nostalgia, complete with melodic arpeggio, thumping drums, electric guitar solos and plenty of vocoder action. Heartbreaker is the title of the project, brought to you by none other than Purple Disco Machine & Chromeo. The 12-inch is released with an extended cut alongside the original mix and an instrumental version for good measure. An upbeat electronic track with early Daft Punk influence

Fourth volume of Library Music miniatures by Daniel O’Sullivan (Ulver, Æthenor, This is Not This Heat, etc) for VHF, this time commissioned by the legendary German Music Library, Sonoton. Another sampling of O’Sullivan’s versatility and brilliance as a composer, performer, and sound designer, the focus on The Pastoral Machine is more “electronic” compared to the three previous albums O’Sullivan recorded for KPM (also issued on LP by VHF), with simpler arrangements and a focus on gentle and emotive synthesised soundworlds. Even without as many full ensemble arrangements, there’s still a wealth of diversity—“Empathogen” opens the record with latticed arpeggiating sequences recalling Japanese “environmental music” or Persian Surgery-era Terry Riley, “Fruit Of Stream Entry” burbles with gentle ripples evoking the album’s title, while “The Silversmith Of Space” mines a simple chord sequence evoking Eno’s ’70s classic short instrumentals. “Superstrings” is a series of hypnotic overlapping guitar patterns, like a lost Ash Ra or Achim Reichel track. The brief “Star Lore” is a heavy highlight with deep bass washes and grainy, tape-laminated melodies, followed immediately by Rose Keeler Schaffeler’s vocal feature on “The Oscillating Love” recalling futurist new-age pop in the vein of Enya or Virginia Astley. Housed in a jacket and heavy euro-style inner featuring collages by O’Sullivan, soon to be the subject of an art book published by Timeless Editions in mid-2024.

Much time has passed since the Queer Australian/Italian-Armenian, multifaceted artist, Kristian Bahoudian aka Kris Baha, swapped the parched red earth and searing midday sun of the Australian landscape for the brutalist communist-era apartment blocks and slate-grey skies of former East Berlin. Kris is now a fixture in Berlin’s club scene and has toured most of the world as a DJ & live artist with his own unique production style of cyber industrial, EBM, wave, post punk, and early ‘90s IDM mutations. Remixing some of the scene’s most notable artists such as Boy Harsher and techno pop lord Boys Noize, Kris has garnered respect and trust in the electronic music scene for the last 13 years. To respond to the current AI revolution, Kris uploads himself to the cyber ether through his latest project: GHOSTS IN THE MACHIИE.

Across Dual Timelines —
” GHOSTS IN THE MACHIИE ” unfolds as a sci-fi cyberpunk concept project inhabiting dual timelines. In one, we glimpse a trans-humanist future where human consciousness exists as intricate sequences of binary code, entwined and controlled by omnipresent AI systems. In this coded future, a profound awakening stirs among a select few who manage to mutate the code they were governed by, unlocking memories of their history that was erased by the AI. Through this discovery they realize they can traverse temporal boundaries and utilize this power to send warning messages back in time to their former fully human selves. These eerie missives carry a dire warning for humanity, urging them to rectify the course of society before the relentless march of artificial intelligence deprives humanity of its essence. In this terrifying future, humans are rendered mere specters within the digital expanse, stripped of their souls, to become Ghosts In The Machine.
Collaboration with the future self —
The cyber odyssey unfolds from a unique perspective— Kris’s very own future self (his future ghost): a spectral entity endeavoring to caution its present incarnation against the ominous path it treads, attempting to avert a dystopian future.Sonic Alchemy —
A fuse of cybernetic synth waves, hyper-punk, and pulsating drum and bass laid out against the dystopian, industrial sonic landscape of this grim future “civilization”. Each track recounts a new chapter in the gripping narrative, drawing listeners deeper into their own story and the role we all play as a collective society with the future possibilities of unregulated AI.Recorded in Berlin with software and hardware synthesisers. AI was used to assist me with lyric themes, concepts and ideas. I also used a trained AI model of my own voice as backing vocals in ‘Haunting Me’.ll music, words & concepts by Kristian Bahoudian aka Kris Baha and his future ghost,
GHOSTS IN THE MACHIИE

King Buzzo alias Buzz Osborne ist Sänger, Gitarrist und Gründer der einflussreichen Band The Melvins. Seine innovative Herangehensweise an Songwriting und Gitarrenspiel hat zahllose Musiker beeinflusst und unzählige Musikliebhaber zu begeisterten Fans gemacht. Buzzo, der für seine bahnbrechende Verwendung von heruntergestimmten Saiten bekannt ist, vermischte meisterhaft seine Punk- und Metal-Einflüsse und schuf so einen neuen, bahnbrechenden Sound in der Heavy Music. Im Laufe seiner langen Karriere, die 1983 in dem kleinen Örtchen Montesano im US-Bundesstaat Washington begann, hat Osborne mehr als 30 Alben unter dem Namen Melvins sowie zwei Soloalben 'Gift of Sacrifice' (2020) und 'This Machine Kills Artists' (2014) veröffentlicht. Desweiteren war er an einer Reihe von Kollaborationen beteiligt, darunter auch Fantômas und Crystal Fairy.

Für 'Gift of Sacrifice' hat sich Buzz mit Trevor Dunn zusammengetan, der vor allem für seine Arbeit mit Mr. Bungle bekannt sein dürfte, der eklektischen und unberechenbaren Band aus Nordkalifornien, die er 1985 mitbegründete. Doch ist seine Karriere auch außerhalb von Mr. Bungle nicht minder beeindruckend. So ist er zudem Mitglied von Fantômas, Trevor Dunn's Trio-Convulsant, Tomahawk und Melvins Lite.

Wiederveröffentlichung beider King Buzzo Alben zusammen in einem Paket mit 12-Seitigem Booklet + Bonus 'Sick As A Goat' Flexi Disk!

King Buzzo alias Buzz Osborne ist Sänger, Gitarrist und Gründer der einflussreichen Band The Melvins. Seine innovative Herangehensweise an Songwriting und Gitarrenspiel hat zahllose Musiker beeinflusst und unzählige Musikliebhaber zu begeisterten Fans gemacht. Buzzo, der für seine bahnbrechende Verwendung von heruntergestimmten Saiten bekannt ist, vermischte meisterhaft seine Punk- und Metal-Einflüsse und schuf so einen neuen, bahnbrechenden Sound in der Heavy Music. Im Laufe seiner langen Karriere, die 1983 in dem kleinen Örtchen Montesano im US-Bundesstaat Washington begann, hat Osborne mehr als 30 Alben unter dem Namen Melvins sowie zwei Soloalben 'Gift of Sacrifice' (2020) und 'This Machine Kills Artists' (2014) veröffentlicht. Desweiteren war er an einer Reihe von Kollaborationen beteiligt, darunter auch Fantômas und Crystal Fairy.

Für 'Gift of Sacrifice' hat sich Buzz mit Trevor Dunn zusammengetan, der vor allem für seine Arbeit mit Mr. Bungle bekannt sein dürfte, der eklektischen und unberechenbaren Band aus Nordkalifornien, die er 1985 mitbegründete. Doch ist seine Karriere auch außerhalb von Mr. Bungle nicht minder beeindruckend. So ist er zudem Mitglied von Fantômas, Trevor Dunn's Trio-Convulsant, Tomahawk und Melvins Lite.

Wiederveröffentlichung beider King Buzzo Alben zusammen in einem Paket mit 12-Seitigem Booklet + Bonus 'Sick As A Goat' Flexi Disk!

For the thirteenth instalment of the Swinging Flavors catalog, Beat Machine Records presents a gem of pure energy by the talented Kyoto-based producer Naco. Set to ignite dance floors worldwide, this release delivers an electrifying fusion of acid, techno, and breaks, with a rave-inspired twist.

Naco, known for his innovative approach to electronic music, defies convention with his genre-defying sound. Drawing inspiration from Bass, Breaks, and Electro, Naco creates a distinctive sonic landscape that captivates audiences worldwide. Since 2017, he has been at the forefront of the music scene, spearheading 85acid, a label dedicated to showcasing emerging talent from Japan and beyond.

"Wavefunk," the lead track on Swinging Flavors #13, is a testament to Naco's unparalleled creativity and sonic mastery. With its infectious rhythm and hypnotic melodies, the fast-paced percussion and minimal character of the release "Wavefunk" transport listeners to a dimension where the boundaries between genres blur and the energy is palpable.

But the journey doesn't end there. Swinging Flavors #13 also features a remix of "Wavefunk" by We Rob Rave. The Polish duo injects his fresh signature style into the track, taking it to new heights and delivering an unforgettable dance floor experience. Transforming it into a full club experience, increasing the beats, and immersing the listener in a rave-like atmosphere fueled by danceable rhythms and an acid edge that cuts through the dance floor.

Another surprise that comes with the latest Swinging Flavors is 'Pure Water,' exclusively on Bandcamp. Let yourself be carried away by the bouncing sounds that make up this Break-style track, closing an energetic and vibrant release.

Naco's music is really pushing the boundaries of electronic music, inspiring both listeners and fellow artists. With a solid track record and a strong commitment to musical innovation, Naco is definitely going to leave a mark on the global music scene.

Whisper it quietly, but Andrew Meecham’s ninth album as The Emperor Machine, Island Boogie, may well be the long-serving producer’s strongest set to date. Of course, all his albums ripple with vintage synth sounds, colourful lead lines, dub-flecked electronic disco grooves and lashings of cosmic intent, but this one just feels a little more special. Island Boogie is certainly special. Meecham’s “most personal” full-length to date, it was inspired by his experiences at the Rotation Garden Party – a beloved micro-festival promoted by a group of friends (including sometime Bizarre Inc and Chicken Lips partner Dean Meredith), renowned for the quality of its custom-built Klipschorn soundsystem. “The album’s title sums up the vibe that you get from Rotation,” he explains. “It may be held in a landlocked venue but it gives a wonderful sense of isolation – it is an audiophile paradise.”

Meecham road-tested rough versions of the album’s eight tracks at Rotation 2023, with the feedback and dancefloor reaction guiding the sound and arrangement of the final mixes. Fittingly, Meecham will return to the event to showcase the album at Rotation 2024 this July. Given the inspiration he’s drawn from previous editions of the festival, that will be a very special occasion. Musically, Island Boogie offers the most fully functioning and expertly constructed expression of The Emperor Machine sound yet, a style Meecham describes as “electronic cosmic disco-boogie”. It’s a sound that takes cues from early ‘80s NYC punk-funk and dub disco, vintage electro, proto-house and left-of-centre synth-boogie, but one that’s instantly recognisable to those who have followed Meecham’s career over the last three decades.

Island Boogie also sees Meecham continue his blossoming working relationship with Severine Mouletin, whose stylish and distinctive vocals previously graced his popular ‘Dance Por Amor’ and ‘Your Own Style’ singles. Here Mouletin features on four tracks: the acid-flecked retro-futurist wave-boogie of ‘La Cassette’ (featuring additional percussion by Rupert Brown); the infectious, bleep-sporting headiness of recent single ‘Devoilez-Vous’; and the squelchy analogue synth-funk of ‘Wanna Pop With You’ and ‘Vas-y-Le Chat’. Meecham also finds space for a cover of Fox’s 1976 pop-rock classic ‘S-s-s-single Bed’, one of the Stafford-based artist’s all-time favourites. His version, featuring headline-grabbing lead vocals by Michelle Bee and guitar from Dave Atherton, re-imagines the track as a subtly Chic-influenced slab of infectious electro-pop rich in kaleidoscopic synth sounds, sing-along choruses and shuffling drums.

The instrumental foundations of the classic Emperor Machine sound come to the fore on the album’s three other cuts. There’s the jazz-funk-flecked warmth of the LP-opening title track; the sparse squelches, bleeps, TB-303 style bass and brightly coloured electronics of ‘Walk The Dog’; and the exotic, slow-motion cosmic electronica of ‘Cha Murrah Etem’, a warm but poignant affair dedicated to his late father. Heady and intoxicating, with hints of Balearica and digital reggae, it offers a fittingly beautiful and tactile conclusion to Meecham’s most expressive and accessible album yet.

Roy Porter was approaching 50 years of age at the time when he released his first album, breaking a long period of silence and aiming for a comeback. The album is a hot one, with a superb sense of rhythm and vigorous drumming that clearly conveys his ambitious attitude. It is also his most expensive album, with the original selling for over $1000. The album includes 'Jessica', one of his best-known songs, which he wrote for his girlfriend, a long jazz-funk song with a melody of indescribable melancholy and colour, 'Funky Twitch', with its percussive beat and lush horns & guitar, and 'Wave', which quotes a phrase from Jobim's classic song 'Wave'. The LP comes on clear yellow vinyl, plus a 7" featuring a Kenny Dope re-edit of 'Jessica'!

Not one to rest on his laurels, the Grammy-winning nu-disco hitmaker is at it again. Purple Disco Machine collaborates with a wealth of talent on his latest single "Honey Boy". The star cast includes Swedish hitmaker Benjamin Ingrosso, Jamaican rising star Shenseea, and disco legend Nile Rodgers, creating a funked up fusion track that merges modern pop energy with decades of disco knowledge and excellence - not forgetting them signature Rodgers guitar licks!

"Small Time Monsters, the second full-length album from The Dream Machine, is set to be released this April on Run On Records/ Modern Sky.
If 2022’s critically-acclaimed debut album Thank God! It’s The Dream Machine… was their first and most wild child, then Small Time Monsters is its refined younger sibling. The psychedelia, euphoric choruses, flashes of surf guitar and B-movie references are all there, amongst the familiar reflections of life in their beloved and faded seaside town of New Brighton, but this time the wilder elements are controlled, the songs packed into three-minute pocket symphonies."

"Small Time Monsters, the second full-length album from The Dream Machine, is set to be released this April on Run On Records/ Modern Sky.
If 2022’s critically-acclaimed debut album Thank God! It’s The Dream Machine… was their first and most wild child, then Small Time Monsters is its refined younger sibling. The psychedelia, euphoric choruses, flashes of surf guitar and B-movie references are all there, amongst the familiar reflections of life in their beloved and faded seaside town of New Brighton, but this time the wilder elements are controlled, the songs packed into three-minute pocket symphonies."

Reissue der limitierten FEET EP "Walking Machine" aus 2021 auf dem Indie-Kultlabel Nice Swan, das in den letzten Jahren heiße junge Bands wie SPRINTS, English Teacher, Cowboyy, DEADLETTER, Jaws The Shark und eben FEET hervorbrachte. Die EP-Nachauflage erscheint parallel zum FEET Debütalbum "Make It Up" und ihrer Tour mit den Psychedelic Porn Crumpets.

Roy Porter released two albums in the 70's, "Inner Feelings" and "Jessica", which are now highly sought after as important rare groove albums. After a brief absence from the scene, he entered the 90s and challenged the times with a new Sound Machine! The killer funk tracks "Panama" and "Party time," which have been featured as sampling sources on numerous occasions, have been reconstructed by Roy Porter himself, and brushed up to sound with the texture of the 90s. It is no exaggeration to say that this album embodies the fusion of jazz and hip-hop that Robert Glasper and others have shown since the 2010s, 20 years ago.

The 12-track project delivers more of the signature no-gimmick, undeniably Country sound fans have come to know, love and obsess over from the star and includes his current Top 20-and-climbing single with his former tourmate on “Different ‘Round Here (featuring Luke Combs).” The music and lyrics, both heavily influenced by blue-collar roots, small town life and slower way of life, exemplify Green’s homage to his experiences, beliefs, passions and love of family. The title bares its name from a poignant track on the album, “My Last Rodeo,” which Green wrote solo following one of the final conversations he had with his late Grandaddy Buford Green near the end of his life. Buford was the brains behind converting Riley’s great-grandparents' home into the Golden Saw Music Hall and is credited for Riley’s musical appreciation, education and inspiration, while his Granddaddy Lyndon can be attributed for Riley’s love of the outdoors.