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The sounds of Cleveland seem to grow increasingly abstract with each passing release and a third Kalahari outing is no exception. Manipulating house and techno templates into newly mutated forms, ‘Lola Ran’ is a testament to a producer always playing fast and loose with concepts of genre. It’s possibly his most probing set of productions thus far.

Where predecessors came bearing remixes, it's strictly originals for the duration here.

‘Rand’ and ‘PrideBRK’ are direct but decidedly off-kilter; at once modern and faintly retro in their approach to breaks and deep-dwelling techno. ‘Lola Ran’, ‘Mano’ and ’Temp Oro’, on the other hand, shift gear into opiated, rhythmelodic territory. There are no doubt traces of Detroit-style sci-fi but the Brussels-based producer terraforms an alien microcosm unto itself.

Omena proudly presents 'Ceramics' by Saine, the much awaited follow-up to 'For The Dreamers' released on Omena in 2017.

Manoeuvring between styles and atmospheres comes second nature to Saine, but what's truly highlighted here is emotion - steering away from short-lived trends, the LP offers a non-forced listening experience by an artist exploring the different facets of what his music can be.

Swaying analogue synthesiser arpeggios, playful beat-work and what feels like echoes from an alternate dimension sum up a full-length which pushes and pulls at the fabric of what you've come to expect from Saine.

A tale of two Indians recorded in Cologne, Stockholm & Berlin.
Anurag Choudhary & Pawas Gupta are Non Solo.
Friends from more than two decades, these gentlemen decided to bring together their knowledge of music at Anurag's apartment in Stockholm back in 2008. Anurag’s life journey took him to Stockholm,
Sweden and Pawas’ culminated in Berlin, Germany; both cities a cultural and a musical powerhouse in their own right. Anurag, a professionally trained Flautist (bamboo Flute or “Bansuri”) in the traditional Hindustani Classical Music and Pawas, someone who has been exploring the realms of electronic music since 1997 as a DJ and releasing records under different monikers since 2007 decided to bring in their forces on a gloomy Stockholm afternoon.

You may ask, why Non Solo? Well, for obvious reasons!
In traditional Indian classical music you are trained as a soloist, mastering a single instrument and each instrumentalist has a deep understanding of the common syntax and rules of engagement that produce some brilliant duets. Both Anurag and Pawas have been pursuing their solo music careers and mastering their craft. However, ‘Non solo’ brought these two (soloists) together to collaborate on something that has not been done before in this way so two soloists coming together and forming NON SOLO.
It all started over a “Fika” which translates to “ a concept, a state of mind, an attitude and an important part of Swedish culture. Many Swedes consider that it is almost essential to make time for fika every day.
It means making time for friends and colleagues to share a cup of coffee (or tea) and a little something to eat” in Anurag’s favourite Cafe, not to forget his exquisite palette for Coffee. After a short brainstorming on how to create something new and fresh without it being too cliched and with the help of impeccably roasted coffee beans that were freshly brewed, the men decided to jam it out to see where this goes.

The first attempt resulted in the second track on the record “Svar” which means “note or tone” which was a one take track. Motivated and excited, they both decided to continue working on this project.
A few months later Anurag visited Pawas' previous Studio in Cologne to record, where Sarang, Tandav and Bhoop were born. Even though the creation had happened, they felt it wasn't the right time to put
it out there just yet. However, time flew by and after almost 14 years of waiting, the men came back to what they had created and decided it was now the time to release it.
The title track “Sarang” is inspired by raga Brindavani Sarang, where Anurag infuses the romantic and mystical flavour of this raga with his flute and Pawas brings his deep repertoire of electronic grooves and
atmospheric sounds to create an intelligent track that touches the listeners.
Svara is inspired by raga Hansadhwani (translated ‘svan song’ or ‘sound of swan’) is an endearing melange of Indian classical and house music.
Tandav is a high energy track based on a variation of Sarang raga. With Pawas’ in-depth knowledge of both Indian classical percussion and electronic music….. This track combines multiple rhythmic layers
manifesting in one exhilarating track that is filled with polyrhythmic cadence and interludes.
Bhoop is melancholy and nostalgia infused into one melodious offering inspired by raga Boopali laid over a bed of organic drums and bass.

The Feel:
Svara is falling in love, the feeling you get when you are walking after that first wonderful date, smile on your face and so much anticipation and joy in the heart for all that excitement that is about to come.
Sarang is being in love, when you start to experience all those emotions you didn’t know even existed inside your heart. It is a complete journey.
Bhoop has a tinge of melancholy, longing and missing each other , while Taandav is coming back together after a long time away from each other. Re-discovering each other and re-experiencing all those
emotions at an even deeper level and celebrating the togetherness, be it in friendship or relationship.
Non solo is first in its kind to bring the melodious/musical depth inspired by the raga traditions to the exhilarating rhythmic world of deep house and electronica.
Available now in your favourite digital store and on limited edition Vinyl with an exquisite typographic artwork by Shantanu Suman in collaboration with Masala Movement's Manoj Kurian!

The 4th Pumpkin Witch album released by Deathbomb Arc, and their first non-reissue for the label. Nothing can keep the Pumpkin Witch dead for long. The Witch is back! And her web of evil is larger than ever, her vile plans call for nothing short of world domination... The Three Dark Figures have conjured up 11 new tracks of creepy cackles and crazed cacophony that create an audiological kaleidoscope of terror. An emphasis on percussion and an evident influence from goth club music blends with the horror soundtrack-fueled dark ambience of albums past, making this perfect listening for any unholy ritual or cemetery soiree. You can lock your doors, board up your windows, and say your prayers but nothing can protect you from "The Return of the Pumpkin Witch"!

Exotica, ye-yé cumbia, guaracha infused twist, rock’n roll mambo, Spanish rumba, boogaloo beat, tropical garage and other unexpected bastard genres are featured in this festive compilation of bizarre hits taken from the glorious catalog of records released during the 60s and 70s on the Peruvian label Discos MAG. Some clearly unite genres, others are projects with creative names, but all are bold musical initiatives that got and will always get people onto the dance floor. “Sabroso Go Go” brings together fourteen musical mixes created in the recording studios of Manuel Antonio Guerrero (MAG), in which music directors combine rhythm with alchemy in a quest to find the philosopher's stone of the dance. Exotica, ye-yé cumbia, guaracha infused twist, rock’n roll mambo, Spanish rumba, boogaloo beat, tropical garage and other unexpected bastard genres are featured in this festive compilation. Although this compilation begins in 1957, experiments like this (some more memorable than others) were not new in Peru. The songs on this album were however much more successful hybrids. Some clearly unite genres, others are projects with creative names, but all are bold musical initiatives that got and will always get people onto the dance floor. At the end of the fifties, rock music shook the foundations of Peru, and orchestras rushed to cover hit songs and explore the possibilities of mixing them with tropical music. Lucho Macedo's orchestra took up the mantle and reinterpreted a well-known guaracha by Celia Cruz ('Rock and Roll') in mambo style, renaming it 'Rock and roll Mambo'. 'Maestro de Rock and Roll', a hit by the Cuban Conjunto Casino, received similar treatment. Another mix in this vein is the rock tune 'El Rock de los Chinos' by the Mexican Manolo Muñoz (author of 'Speedy González') recorded by the Chilean Choche Mérida for MAG in 1961. The following year, Chubby Checker’s 'The Twist' hit the scene and was immediately fused with guaracha by maestro Nelson Ferreyra. A legendary MAG musician, Carlos Pickling, composed 'La Charanga del Espacio' in 1963. The space sounds are produced by Pickling and his inseparable Hammond. He himself is the one who leads the orchestra that accompanies Benny Del Solar, Lita Branda and Pablo "Melcochita" Villanueva in the tropicalized version of Spanish Rumba, when the beats of the Iberian rumba were still exotic in South America. Around that time, the Chilean Willy Marambio was already living in Lima. In the track included on this album, the go-go style showcases his virtuosity on the trumpet. Another outstanding trumpet player, Roberto "Tito" Chicoma from Chiclayo, played as a session musician with MAG from 1959. A few years later, he became one of the most popular Colombian cumbia players, a talent he demonstrates in the song on this compilation, which blends the fun of go-go with yé-yé beats. 'Batijugando' was a hit from Mexico and was played in all the rhythms played across the Hispanic world since 1967. Inspired by the "Batman" series, it was performed at MAG by the Betico Salas orchestra, with vocals by the Panamanian lady crooner Nallye Fernández. 'Computador Electrónico' is another surprise on this album, performed by Panamanian vocalist Patty Pastel, it is the only known version in Spanish of 'Der Computer Nr. 3', originally sung in German by France Gall. Two other songs feature Edgar Zamudio. The versatility of Zamudio y Los Vikingos (originally a Chilean group) is demonstrated in the guitar-heavy song composed specifically for the late sixties skate fashion ('Go Go en Patines') and in his idiosyncratic protest song ('Día de Pago') performed in beat style. In the mid-seventies, Los Kintos, led by guitarist Francisco Acosta, developed different harmonic ideas in an instrumental track that veers from boogaloo to salsa, the fashionable rhythm of the day. Finally, in 1976, when the bumping hips dance craze swept the continent, Manuel Guerrero was quick to jump onto the bandwagon, composing a Bump song, together with his son Carlos. The Italian musician based in Lima, Luciano Luciani performed the song 'A Bailar Bump' backed by his band of local musicians Los Mulatos.

Underdog Recordings fills a 25 year old gap in its catalogue with "The Original Jungle EP" by Darkdean & Hankinson featuring MC Stevie A on 3 tracks and introducing Carmen Naida on the 4th. There never was an Underdog 13, until now, 4 banging brand new old skool jungle style tracks made in 2019 on this limited edition EP. Dark Dean & Stevie A have been residents at one of the South Coasts biggest raves- Destiny, from the mid nineties to the present day and team up with new gun- Hankinson to encapsulate the vibe of the legendary nights at the Manor at Matchams, on vinyl.

Yazmin Lacey didn't set out to be a singer. Born and raised in Manor Park, East London, she relocated to Nottingham whilst working for a children's charity and initially only considered making music as a way of having fun with friends. However, a chance encounter lead to her earning a place on Future Bubblers - Gilles Peterson's development programme devoted to discovering and nurturing fresh UK talent – and enthused by the experience, Lacey recorded some songs in her living room, then in 2017 self-released her debut EP, 'Black Moon'. The more polished 'When The Sun Dips 90 Degrees' EP followed in 2018, and then 'Morning Matters' EP in 2020 – the EP's title track has clocked up over 14 million plays on Spotify and also saw Yazmin make her COLORS debut performing 'On Your Own'.

Unreleased but perfectly formed "hidden" album, recorded in 1989-90 by Nuno Rebelo on the wake of his "Sagração Do Mês De Maio" double LP (composed in 1988 as soundtrack to the third Manobras de Maio fashion event in Lisbon). The tracks convey a sense of investigative curiosity regarding computer composition and they sound wonderfully artificial. Titles as "Moon OK", "Tiny Space Ships" or "Dança Das Creaturas Elásticas" ("Elastic Creatures Dance") embody this idea of otherworldness, a kind of music actually coming from another place, composed and played by elastic creatures. It displays the functional qualities of Library Music, illustrating playful as much as moody and dense moments. In this way the album comes across as a soundtrack for moving images, sure, but with unusual framing and sharp angles. A unique object in the Portuguese avantgarde, keeping its distance from Academia but also from contemporary independent releases ("Plux Quba" by Nuno Canavarro comes to mind). António Duarte's 2019 mastering enhances this collection of music liberated from the archives of one of the most brilliant, active and challenging musicians of his generation.

Nuno Rebelo was born in 1960, graduated in Architecture, founded Street Kids and Mler Ife Dada, played in the "transitional" line up of GNR in 1982. His creativity expanded into improvised music. Performances and recordings with other musicians multiplied. He composed music for theatre, dance, jingles and, on an almost contradictory scale to his underground credentials, soundtracks for the Expo 98 and Porto 2001 mega events.

“Improvisações Cristalizadas” by Nuno Rebelo:
Short electronic pieces composed in 1989-90 using the Atari 1040ST computer with Steinberg Pro24 Software, Two Yamaha Sound Modules (TX81ZX and TG55) and Ensoniq Mirage Sampler with keyboard. The composition method for each piece evolved from a short improvisation on the Mirage keyboard, recorded in MIDI to the computer. Counterpoint permutations (inversion, reversion, inverted reversion, transpositions) were then applied through the software, distributing the variations of the initial improvisation by other timbres. No other musical material was used.

Roher, urwüchsiger Epic Heavy Metal aus dem Kopf des legendären Ross Friedman. ROSS THE BOSS sind mit ihrer Best Of Compilation "Legacy Of Blood, Fire & Steel" zurück und feiern ihr 15 jähriges Jubiläum. Erhältlich nur auf roter Vinyl & digital.

Es ist ein Vermächtnis. Eine "Legacy Of Blood, Fire & Steel", die ROSS THE BOSS mit seiner Band seit nunmehr 15 Jahren geschaffen hat. Zeit, das zu feiern und eine grandiose Best-Of-Compilation mit den besten Tracks der letzten vier Platten, wie "Hailstorm" oder "Born Of Fire" zu veröffentlichen.
Ross Friedman hat als Gründungsmitglied der legendären Manowar Musikgeschichte geschrieben. Sein Einfluss in der Metalszene reicht bis heute und er ist als derjenige bekannt, der maßgeblich am Schreibprozess der besten Manowar Alben beteiligt war. Darüber hinaus sagen viele Fans, dass er den Manowar Sound mit ROSS THE BOSS weiterführte, wie es sich Fans der True Metal Legenden gewünscht hätten. Eine gute Ausgangsposition mit ROSS THE BOSS in den Heavy-Metal-Olymp aufzusteigen. Nach vier ROSS THE BOSS-Alben, die fast alle in die deutschen Charts einstiegen kann man sagen, dass diese Band definitiv zu den wichtigen Akteuren der Szene gehört und sich dementsprechend zum 15-jährigen Jubiläum etwas Besonderes einfallen lässt. So gibt es am 28. April 2023 die "Legacy Of Blood, Fire & Steel" nur auf rotem Vinyl, wie es sich für den True Heavy Metal gehört. Freut euch auf Tracks wie "Denied By The Cross", "Blood Of Knives" oder "We Are The Night", die in typischer ROSS THE BOSS-Manier mit einem wunderschönen True Artwork versehen sind. Kingdom Arise!

Shuko´s new LP is something different. He and the producer Basti (Kanye West, Joey Badass, Timbaland) spent the last 3 years creating samples, learning vintage recordings and putting their knowledge of vintage soul jazz, 60´s and 70´s composer and r&b music into crafting this 31 track album. What makes this release so special is that you now are able to use those samples for your own music and recreating something new without the hustle and pain of clearing samples. Just visit tracklib, pay a little licence fee and register your new work with them. And even if you are not into creating music, this LP is a perfect soundtrack for a calm start into the day or something you will love to relax to.

Für viele Musiker ist der Schritt aus dem Kollektiv ein riskantes Manöver: Wie nämlich nehmen Band und Publikum die Entscheidung auf? Hendrik Otremba, Sänger der Gruppe Messer, stellt nun sein Soloalbum vor. Er hat es Riskantes Manöver genannt - aber nicht aus dem genannten Grund. Längst hat er sich als eigenständiger Künstler etabliert, hat als Maler, Autor und Performer stets auch zur Identität von Messer beigetragen, die gerade obendrein an einem neuen Album arbeiten - dieses Soloalbum kündet also nicht von Zwist. Wenn etwas verblüfft, dann vielleicht eher, dass Otremba nicht erneut in ein neues Medium aufbricht, sondern dorthin zurückgeht, wo alles anfing: zu den eigenen Songs, die bisher im Verborgenen lagen. Riskantes Manöver ist dabei kein Aufguss des Bekannten, aus Ennui oder Eitelkeit. Viel eher tritt der Songwriter Hendrik Otremba an die Öffentlichkeit, der sich parallel zu Messer entwickelt hat. In den vergangenen zwölf Jahren nimmt er Demos auf, experimentiert, geht intuitiv vor und findet zu einer eigenen Sprache, aus der er nun mit zwei engen Freunden ein Album ausgearbeitet hat: Multi-Instrumentalist Alan Kassab, ein Schulfreund Otrembas, und Kadavar-Schlagzeuger Christoph 'Tiger" Bartelt, schon Produzent des Messer-Debuts. Gemeinsam nähern sie sich den Demos wie einem Skript und schaffen so eine Art auditiven Autorenfilm. Im Zentrum steht eine kreative Vision, die von virtuosen Technikern und begnadeten Darstellern umgesetzt wird - neben der Kern-Crew gehören dazu Stella Sommer, Alex Zhang Hungtai (Ex-Dirty Beaches), der Otremba überhaupt erst dazu inspirierte, ein eigenes Album zu schreiben), Gregor Schwellenbach, Friedrich Paravicini, Dominik Otremba (aka Performance) - aber auch Tochter Hedi und mehr als ein Dutzend weitere Kreative zwischen Indie-Adel, Hochkultur-Bagage und Jugendfreunden. Doch nicht nur durch sein Casting-Gespür und weitere direktive Entscheidungen überzeugt Otremba, sondern vor allem mit Musik, die durch ihre Weite und einen eigensinnigen erzählerischen Ansatz gar filmisch wirkt: Als zarter Chansonier schleicht Otremba durch die Streicherschluchten von New York II, geifert als Apokalyptiker in Nektar Nektar vor Blastbeat und heulendem Saxofon, findet in der sinophilen Klavierballade Bargfeld aber auch zu Ruhe und Intimität. Brachialen Proto-Industrial und dröhnenden Goth meistert Otremba ebenso wie epischen Pop oder Großstadt-Country; hier öffnet ein Musik-Enthusiast sein vielseitiges Portfolio, in dem er als Sänger und Performer zugleich eine neue Bandbreite entwickelt. In sein Rollen-Inventar führt Otremba zudem die Figur "66 ein, ein "Zeuge des zivilisatorischen Niedergangs" und eine Art Erzählstimme, durch deren Perspektive wir auf das von Katastrophen und Verlassenheit geprägte Geschehen des Albums blicken. Otremba tritt als "66 maskiert auf, zu sehen etwa auf dem Cover der Riskantes Manöver Doppel-10-Inch. Was die Bandagen bedeuten, bleibt unklar - ein weiterer, rätselhafter Eintrag in Otrembas Privatmythologie, bestehend aus Namen, Zeichen, Bildern, die sich durch sein gesamtes Werk erstrecken. Riskantes Manöver öffnet darin nicht nur eine neue Facette, der Titel fasst zugleich das Ethos eines Arbeitens zusammen, "das nicht auf Relevanz oder Erfolg gepolt ist". Gerade, wenn dabei immer wieder Gegensätze vereint werden müssen, die an dem Menschen dahinter zerren: "Das riskante Manöver ist mit den Widersprüchen zu leben und sie im eigenen Schaffen stattfinden zu lassen. Lust und kreative Ambition als was Positives zu begreifen in einer Situation, wo das, was ich sehe, eigentlich für das Gegenteil spricht, abgründig, negativ, dämonisch ist." In diesem Sinne ist hier ein Monolith von einem Album geschaffen, der sich zugleich machtvoll und zart aufstemmt, wie es im Untertitel der Platte heißt: "gegen die Verachtung der Gegenwarth"! - Sebastian Berlich

Zur Feier des 40-jährigen Jubiläums von OMDs viertem Studioalbum ”Dazzle Ships” wird das Album in einer brandneuen, erweiterten Version veröffentlicht. Das Set besteht aus dem Originalalbum und einer BonusLP mit unveröffentlichten Demos und Raritäten, zusammengestellt und gemischt von Paul Humphreys.
Erhältlich in einer Standard-Gatefold-Hülle auf blauem und silbernem Vinyl und als 1CD

Cryptically-named duo JOHN - comprised of John Newton (drums, lead vocals) and Johnny Healey (guitar, backing vocals) - return with their first new music since the release of their acclaimed third album Nocturnal Manoeuvres . It comes in the guise of the blistering 'Theme New Bond Junior', the A-side of a new 7" single, b/w 'Hopper on the Dial'.

Set to undulating guitar riffs and a greater sense of dynamics than ever before, 'Theme New Bond Junior' finds JOHN tackling the questioning feelings that arose as the band returned to the live circuit once venues began to open their doors as they embarked on a rapturous 30-date UK tour in autumn 2021, as well as recent festival slots at Green Man, End of the Road, Latitude, a main stage appearance at Bearded Theory’s Spring Gathering and a memorable return to the mainland at Belgium’s historic ROCK HERK.

“The arts function as a mirror of our wider culture, and it’s been interesting to see how the acceleration of the present affects most aspects of our lives - including the production of art and music," says Newton. "The track was a gestation on the speed of consumption: this includes both the constant update/obsolescence of physical products and their resulting affect on the human attention span.”

Back in 2010 Caribou's Dan Snaith hosted a remix competition for his track 'Sun' from his then-new album Swim. The winner was an unknown producer called altrice.

Hailing from Tucson, Arizona of Iranian/Mexican descent, altrice took the bright euphoric highs of the original and crumbled them into rumbling lows, the crystalline edges becoming rough and undefined. Along with a bursting goody-bag of prizes, Snaith also provided altrice with the stems for the rest of Swim and the offer to remix the whole album track-by-track, creating 'stem'. Aside from a further dream-come-true remix of Radiohead, this is largely the last we heard from altrice in the past 12 years.

A year and a half ago though, having kept up correspondence with Snaith over the years, altrice began sending new material. With encouragement from Snaith he eventually wound up with an EP which has since become essential DJ material for Snaith and the cohort of friends he's shared it with, as well as appearing in Leon Vynehall's Radio 1 Residency, KH (Four Tet)'s recent Essential Mix and more.

With three tracks already released from the EP receiving further DJ support from Avalon Emerson, Floating Points, Yu Su, Sofia Kourtesis, Mano Le Tough and more, today the EP is released in full officially via Snaith's own Jiaolong label. compciter is a collection of music that for the first time is entirely altrice's own sound, alluring and off-kilter, a wealth of sounds and styles that are tied together by an irresistible warmth.

Speaking of the EP, altrice says:

"This EP is the result of allowing my stylistic boundaries to be nudged in a new direction, putting away a self-inflicted notion that I’m only fluent in certain subgenres of electronic music. I made some production choices that, for better or worse, will make this project stand out. I’ve been overwhelmed by the reactions in clubs and at festivals, and individuals reaching out with kind words about the music. It’s surreal."
From the huddled and obscured yet comforting vocal samples - described by Pitchfork as "a beacon of light in an uncertain landscape" - of 'bda creature' to the swinging 90s eurodance drums of 'places faces' and the way the welcoming guitar melody and soulful vocals of 'eyes' gives way to a full on bass pummel, the tracks that have been released so far from the EP are already causing a stir both on and off the dancefloor. Today, the chopped up vocals and vast roomy sound of 'yoni' along with '1609km' - which would almost be straightforward house if it didn't pull the rug out to make way for delicate piano and harmonica flourishes - complete a set that fulfils a promise 12 years in the making..

Mental techno Material

The only release from FROM HERE ON IT'S ALL, a duo composed of Gyeongsu and Justine Dorion from Paris. 4 unreleased tracks to complete the track "Vincennes" released on the compilation "Everything Was Supposed To Be So Easy" by the English label Left Alone in 2021.