It’s been 6 years now since our last collaboration with Roar Groove and The Revenge in 2019. So it was about time to unleash some new heavy hitters by this House master.
With the opener “Twisted Signal” this EP sets the pace and tone to spiraling and pulsating sines, great grooves and hypnotic vocal use. Dark dance floor material at it’s best! Followed by the deep “Spiral Highway” the a-side is one long live jam. On the b-side we take back the pace and make it groovy-er with the House cut “Open Your Eyes” in a true classic “Revenge” style. Closing out with the excellent lush journey that is “Your Life”, bringing back again his great vocal sample use and adding deep soulful chord flavors.
Get real Deep with this new 4 tracker by The Revenge! Enjoy!
All tracks mastered by Salz Mastering in Cologne. Art by Hugo Barne.
Mr Bongo proudly presents the third album by Melbourne/Naarm multi-instrumentalist, Don Glori, entitled ‘Paper Can’t Wrap Fire’. A kaleidoscopic genre-surfing odyssey that brings together the worlds of jazz, soul and funk. Feeling both contemporary and classic, familiar yet novel, it’s an assured third release that sees an artist in full flight, showcasing their creative prowess and the uniqueness of their musical voice.
Steering in a new direction, Don Glori (aka Gordon Li) has delved headfirst into his songwriting with ‘Paper Can’t Wrap Fire’. Deftly showcasing his talents as a writer and bandleader, he brings with him a whole host of friends from the creative crossroads that is Naarm. It’s an album enriched with more soul, R&B, and funk-oriented songs than his previous jazz-rooted productions, yet there’s still plenty of jazz material for those familiar fans of Don's earlier works.
The album’s title is an old Chinese proverb, roughly translated as 'you can’t deny the truth'. This underlying thread is woven between the songs. “A lot of them are in some way about truth-seeking, observations and the masks you put on to deal with life (hence the cover art)”, Don mentions. Take, for instance, the sensational soul single 'Brown Eyes' featuring silky lead vocals by ML Hall. A dissection of the minority experience, and the power and comfort in building those communities. Elsewhere, 'Disaster' is a satirical take on the structures serving everyone but the artists, and 'Flicker' tackles notations of truth and clarity after introspection.
To marry that meaning with the level of musicianship on these tracks is what really stands out. Don has set out his stall here as an artist who can write songs that hit home in the heart, as much as they do in the head. It’s a journey infused with a glistening jazz finesse, layered with nourishing vocal harmonies and powered by an instantly relatable human soul.
Recorded over two hot summer days in Rolling Stock Studios in Collingwood, Naarm, the lineup of musicians is built up of Don's friends and family. Featuring the backbone team of Tim Cox, Al Kennedy, Joel Trigg, Robyn Cummins and Lachlan Thompson, who were part of Don's touring band before he relocated to London, and a stunning selection of vocalists in the form of ML Hall, Ruby Dargaville, Isadora Lauritz, and Bianca Kyriacou. Also gracing the album are trumpeter extraordinaire Audrey Powne, saxophonist Joshua Moshe, and Alcides Neto who sprinkles some Brazilian magic into the record.
Taking influence from artists including Azymuth, SAULT, Jordan Rakei and Lynda Dawn, as well as from London musical beacons such as NTS and Total Refreshment Centre, Don has run with this, leaned in and come out with a record truly unique to himself and his distinctive core, with no mask necessary.
Flabaire, a seasoned French DJ and producer, has been a mainstay in the electronic music scene for years. As the head of the renowned D.KO Records for a decade and a multi-instrumentalist with the ability to play classics from The Band and Fleetwood Mac, Flabaire's artistry knows no bounds. We're thrilled to welcome him back to our label (his talent previously shone on the « Skylax House Explosion » compilation, curated by DJ Sprinkles and Hardrock Striker). With this latest release, we genuinely believe Flabaire has reached a new height of maturity in his production, delivering what we consider some of the finest deep house we've heard in years. This EP is steeped in the timeless essence of deep house, aligning with the legacy of Black Jazz Consortium (aka Fred P), the late, great Mike Huckaby, and the silky elegance of Soul Capsule. Every track feels meticulously crafted within the same creative framework, creating a cohesive listening experience that's as suited to at-home sessions as it is to the dancefloor. This isn't music designed for quick attention or fleeting trends—it's a powerful moment of deep house reclaiming its voice in a landscape crowded with Instagram “DJs” and shallow hype. The EP opens with A1.Echoes, an evocative track that draws listeners into its lush, immersive soundscape, immediately setting the tone for the record. A2.Eventually continues the journey, layered with smooth textures and a subtle groove that feels both intimate and expansive. On the flip side, B1.Lip Them explores deeper, jazz-infused rhythms, each note purposefully placed, creating a rich, hypnotic atmosphere. Finally, B2.La Haye rounds out the release, offering a dreamy, ambient house vibe that seems to float effortlessly—a testament to Flabaire's refined touch and sophisticated style. Each track flows seamlessly into the next, much like the movement of a jazz record, with even the titles evoking a Pink Floyd-esque sense of introspection. This is ambient house at its finest: real club music made for dancing, socializing, and deep listening. Beyond a simple EP, this record is a statement—a testament to the artistry and authenticity of true deep house.
Two IDM icons, Roel Funcken and exm come together on Science Cult for an LP that is nothing short of alchemy. Flyphel feels like a living, breathing entity — an intricate fusion of sound that shifts between the mechanical and the organic. Each track unfolds like a story told in textures and tones, with Funcken’s razor-sharp precision meeting exm’s ethereal abstractions. You're not just invite you to listen, you're pulled into its world, where every detail reveals something new on repeat visits. This stunning release arrives as a 2x12" LP encased in a beautifully printed outer jacket with matching inner sleeves featuring paintings by Roel Funcken, making this as much a visual statement as an auditory one. With their combined expertise in sound design and their shared commitment to pushing boundaries, Roel Funcken and exm have created something that feels both timeless and ahead of its time.
Exzellente LP mit komplett unveröffenlichtem Material der Stuttgarter Jazz-Rock-Band BAOBAB aus den Jahren 1978-1981. Gegründet Anfang 1970 als Zufallsprojekt der Musiker Karl-Heinz Huschka (sax), Michael Radtke (bass) und Joachim Pflieger (keys), entwickelte sich das Trio im Laufe der Zeit zu einer 7-köpfigen Band mit vielseitigem Spektrum und charakteristischen Merkmalen: Drive mit euphorischen Bläsersätzen, cooler Swing mit Bluesphrasen, Rhythmus mit lateinamerikanischem Anstrich, die Stimme von Beatrice Mathé nicht nur solistisch herausragend, sondern sich auch mühelos integrierend in das Unisono der Leitmelodien. Limitierte Bio-Vinyl-LP im Gatefold samt DL-Code und vielen unveröffentlichten Fotos.
One And Only opens up yet another chapter in Reznik & Mikesh’s collaborative efforts on Keinemusik. And what a nicely written chapter it is. The boys are laying down what might be their most heartfelt material to date, with an original version that is drafted in rather classical song structure—a yearning piece graced with string and piano arrangements, and most notably: Mikesh’s vocals.
The club mix on the other hand picks on the original’s vibes and translates them into a more functional, but still deeply fervent peaktime weapon. Both tunes have been road tested by the Keinemusik crew over the last months and generated some serious collective emotional release and ID requests alike.
One And Only opens up yet another chapter in Reznik & Mikesh’s collaborative efforts on Keinemusik. And what a nicely written chapter it is. The boys are laying down what might be their most heartfelt material to date, with an original version that is drafted in rather classical song structure—a yearning piece graced with string and piano arrangements, and most notably: Mikesh’s vocals.
The club mix on the other hand picks on the original’s vibes and translates them into a more functional, but still deeply fervent peaktime weapon. Both tunes have been road tested by the Keinemusik crew over the last months and generated some serious collective emotional release and ID requests alike.
5/5 LEAD TWO-PAGE REVIEW IN MOJO: “SHACK'S SONGWRITING HERO'S ROMANTIC , OPIATED FOLK DREAM, RESTORED AND AUGMENTED WITH A COMPANION ALBUM OF UNHEARD SONGS.
5/5 LEAD TWO-PAGE REVIEW IN Q MAGAZINE: “SCOUSE CULT HERO'S MAGICAL MOMENT REVISITED. THAT THESE ARE SONGS THAT FEEL A LITTLE MORE TRANSCENDENT WITH EVERY PASSING YEAR IS NO MERE CONJECTURE.”
9/10 IN UNCUT : “ANDMOREAGAIN! A LOVE-LORN MASTERPIECE AND ITS LONG-LOST SIBLING”
SUNDAY TIMES 'MUST-HAVE REISSUE' “ONE OF THE 1990'S GREAT LOST ALBUMS..MORE REDOLENT OF SUMMER-OF-LOVE SAN FRANCISCO THAN BRITPOP MERSEYSIDE...A CLASSIC...
Multi platinum-selling musician and multi-instrumentalist Jamie Cullum today announces The Pianoman At Christmas - The Complete Edition. Due for release on 19th November via Island Records. The deluxe album completes last year’s critically acclaimed hit album The Pianoman At Christmas Part 1, with its Second Part - featuring 11 covers of classic Christmas songs, as well as two original songs, including lead single ‘Christmas Don’t Let Me Down’, out now.
Drawing from the past and inspired by the present, The Pianoman At Christmas - The Complete Edition sees Jamie team up with London jazz innovators Kansas Smitty’s, as well as composer and producer The Vernon Spring and acclaimed LA-based jazz singer Lady Blackbird to complete a piece of work that is imbued with seasonal sophistication. Alongside his two original tracks, Jamie breathes new life into classics such as ‘Winter Wonderland’, ‘Silent Night’ and ‘Frosty The Snowman’, ranging from ‘Amazing Grace’ to ‘Man With The Bag’ and ‘Sleigh Ride’. The Complete Edition will be released on double CD and double black vinyl formats, alongside a limited run of 180G Heavyweight coloured vinyl in red and gold.
Speaking on the release, Jamie said -
“I had a huge amount of fun creating part two of TPAC. Recorded live, all in the room together - it’s the party after the big show, with friends, drinks and some of the finest musicians on planet earth.”
Released almost a year to the day before The Complete Edition is due out, The Pianoman At Christmas featured 11 original songs played by 57 of Britain’s best musicians, recorded in Abbey Road’s famous Studio 2 and produced by Greg Wells whose The Greatest Showman soundtrack spent 28 weeks at number 1. The album sold over 37,000 copies, spending 6 weeks in the album chart and peaking at number 11. In December Jamie broke the Guinness World Record for the largest music lesson ever, when he held a virtual piano lesson for 2,282 people, teaching them the carol ‘In The Bleak Midwinter’ with special guests Robbie Williams, Sigrid and Dodie.
With 10 million album sales and over 890 million streams to date, Jamie is a celebrated musician the world over with loyal fans in every corner of the globe. With a career spanning over 20 years, his legendary live shows have seen him perform and work alongside artists as diverse as Herbie Hancock, Pharrell Williams, Kendrick Lamar and IDLES - Jamie writing on the latter’s album Ultra Mono. The success of Jamie’s major label breakthrough, Twentysomething in 2003 and its follow up Catching Tales saw him nominated for a BRIT, Grammy and numerous other awards around the world. In 2020 he won an Ivor Novello Award for his track ‘Age of Anxiety’, taken from his acclaimed 9th studio album Taller. In addition to his enduringly successful recording career, Jamie has also established himself as a multi-award winning music broadcaster; his BBC Radio 2 show celebrated its 11th year on air this year.
With her debut album Black Acid Soul earning critical praise, Lady Blackbird is a revelatory new talent with music that transcends the jazz scene through which the LA-based artist is rooted. Reflecting influences as varied as Billie Holiday, Gladys Knight, Tina Turner and Chaka Khan, with critics drawing comparisons to Adele, Amy and Celeste, Lady Blackbird’s distinct and beguiling voice is not one to be missed.
UK band Kansas Smitty’s have developed a musical voice wholly unique from what’s happening around them. They are led by band leader and producer Giacomo Smith who's cinematic compositions feature on their releases, most recently 2021's acclaimed Things Happened Here for Berlin based label !K7. In 2015 they launched their own east London venue and bar, of the same name, which became one of the conception points for the current UK jazz boom.
Londoner Sam Beste aka The Vernon Spring is a polymath in music who has production, writing and performance credits as eclectic as Amy Winehouse, Matthew Herbert, Kano, Joy Crookes, Beth Orton, Blood Orange, Gabriels and MF DOOM. Since 2019 he has been making waves with solo project The Vernon Spring, which foregrounds his rare capacity to hold sophistication and simplicity in the same hands through highly intimate muted-piano compositions and improvisations.
One of Europe's most popular alternative / dark wave bands. Lebanon Hanover have over one million monthly listeners on Spotify. Following their first US tour in over a decade, Lebanon Hanover returns with a soul-stirring double A-side single release, marking their first new material since the captivating 2020 album, 'Sci-Fi Sky.' Now, the enigmatic duo of William Maybelline and Larissa Iceglass beckons listeners into unventured sonic domains, intricately weaving folk-driven acoustic dream pop with the vulnerable essence of post-punk in a contemplative exploration of life's ephemeral yet profound nature. Embarking on a Cure-like sonic voyage reminiscent of the 'Head on the Door' and the 'Kiss Me’ era, title track 'Better Than Going Under' manifests as a romantic, sombre daydream. William Maybelline's brooding baritone intertwines with sighing back vocals, narrating an ode to life's fleeting yet boundless vistas. The acoustic strums initiate a folk-driven narrative which, when coupled with a celestial choir, crafts a contemplative soundscape of cautious optimism, reminiscent of Echo and the Bunnymen or The Church.. KYIV: Bearing the name of Ukraine's capital, 'KYIV,' voiced by Larissa Iceglass, delves into a narrative reflective of the sorrow and despair entwined within war-torn regions like Ukraine and beyond. The acoustic guitar and drum machine create a Cocteau Twins' 'Treasure'-esque soundscape, evoking a melancholic yet beautiful auditory journey. Iceglass's voice, transitioning from her husky baritone to a more resigned lament, embodies a poignant reflection on the harsh realities faced by those embroiled in conflict-ridden landscapes.
Iconic German producer Stimming takes flight with his new album Friedrich Friedrich is out on April 25th via Stimming Recordings A masterful blend of sonic experimentation and storytelling, Friedrich – the second chapter in Stimming’s trilogy – dives deep into life’s ordinary yet profound moments. Designed to ignite the dance floor while offering a rich, introspective home-listening journey, it showcases the producer’s unparalleled artistry. Stimming’s sound world has always been known for its high-level, cerebral architecture. The artist takes electronic music to a compositional extreme where every sound is imbued with meaning and nothing is left unthought of.
Kohei Matsunaga, a musician and illustrator born in Osaka in 1978, started drawing at an early age and went on to study architecture at university. He has been actively making music since 1992, with notable releases on labels such as Raster Noton, Wordsound, Mille Plateaux, PAN and Skam Records. Kohei has collaborated with many artists, including Mika Vainio, Sensational from the Jungle Brothers, Sean Booth from Autechre, Conrad Schnitzler, Merzbow, Asmus Tietchens and many more.
The world of item expands. Small or significant, material, immaterial, items define much of our daily life. We are in the era of itemisation.
Itemise yourself
The first item in the catalogue, hardware evangelist and live performer Otis.
Presenting sounds for the higher self: Red Flags written and produced by Otis. Built for dark rooms and soggy limbs. A devout purveyor of hardware and analogue, Otis’ revered live performances are greedy with drive and dance. Machine-led but felt in toes and gut. His live act craft can be traced through this EP garnering influence from industrial, early 2000s electro and progressive trance. Sweat as currency the common thread.
This, another item for your dance directory. Trinket thing piece music. A keepsake.
Theory Of Swing Records and Club U Nite Records are two 90s house devoted Record Label on the market nowadays. When they decide to combine their music taste and collect a bunch of tracks together this is the result.
Collective Grooves Vol. 1 is a V.A. must have split EP .
A side fully dedicated to label boss of Club U Nite Records’s Mellow Man and his side project “ Black Chunes Productions “ for a real elegant Soulful Piano House groover.
B side sees a collaboration between Theory Of Swing main man St. David and his mate from “No Hype DJ’s” project Wildbox.
This side will take you in the beautiful journey of 90s underground Cutting records / Easy Streets nostalgic sound.
Daryl Systems: The Wall Street Investor Turned Synth Maestro_
Daryl Systems, a former Wall Street stockbroker, found his true calling in music after a successful career in finance. Born and raised in the heart of New York City, Daryl made his fortune in the high-stakes world of stocks during the booming 90s. By the mid-90s, he had amassed significant wealth, allowing him to retire early and turn his attention to his lifelong passion: music.
Daryl relocated to Sweden, a country known for its rich history of electronic music, and began amassing a vast collection of vintage synthesizers. Inspired by the analog sounds of 70s and 80s synth music, Daryl became deeply immersed in the world of electronic production, creating lush, nostalgic melodies with a modern edge. His music blends the warmth of classic synths with innovative soundscapes, capturing a sense of retro-futurism.
Daryl's work is rooted in the tradition of vintage synth music, drawing influences from early electronic pioneers, while adding his own contemporary twist. He quickly gained a reputation within the underground scene for his impeccable taste in synthesizers and his ability to weave intricate, atmospheric tracks. His unique background and sound have made him a sought-after producer within the global electronic music community.
Mr. Fantasy: The Latin Italo Lover and Synth Collector
Mr. Fantasy is a true embodiment of the Italo disco movement, with a deep love for the genre and a keen passion for synthesizers. Hailing from Latin origins, Mr. Fantasy’s music is a vibrant tribute to the golden era of 80s Italo disco, blending nostalgic melodies with rich, rhythmic layers. With a particular obsession for collecting vintage synthesizers, Mr. Fantasy's music brings the analog warmth of the past into the present, creating a captivating blend of melodic hooks and captivating synths.
He grew up listening to the Italo disco classics, developing a fascination for the genre's distinctive sound, which he now incorporates into his music. Mr. Fantasy’s tracks are filled with pulsating beats, dreamy synths, and smooth basslines, all influenced by the golden age of Italian disco and electronic music.
His passion for synthesizers is matched only by his dedication to creating the perfect track. By blending his Latin roots with the shimmering sounds of Italo disco and the energy of modern electronic dance music, Mr. Fantasy has carved a niche for himself in the underground electronic scene.
The Collaboration: "Sensazione Elettronica" EP
In a highly anticipated collaboration, Daryl Systems and Mr. Fantasy have teamed up to release a new EP for the Italian record label Maledetta Discoteca. This collaboration brings together their shared love for vintage synthesizers, the Italo disco influence, and a passion for deep, atmospheric electronics.
Sensazione Elettronica features four electrifying tracks that blend retro vibes with fresh, forward-thinking production. Drawing from their unique backgrounds—Daryl's transition from the world of finance to full-time music production, and Mr. Fantasy’s deep connection to Italo disco—they have created a sound that is both nostalgic and innovative.
The EP showcases their mastery of classic synthesizers, with catchy melodies, driving basslines, and smooth, atmospheric textures that transport listeners to a world of neon-lit discos and timeless electronic rhythms. It’s an exhilarating project that marks the beginning of an exciting new chapter in both of their musical journeys.
After the dazzling debut of their first LP "Latin Freaks", the Funkool Orchestra is back with a brand new single that anticipates the release of their second studio album. A pure adrenaline double sider 7" vinyl with two dancefloor killer tracks.
"Tengo che ffà"
A dancefloor where the sun never sets, pulsing with a Mediterranean heartbeat. Funkool Orchestra return with "Teng Che Fa", a vibrant fusion of funk, disco, and Neapolitan groove. Following their sold-out debut Latin Freaks, this Maledetta Discoteca production delivers pure feel-good energy: sweaty, euphoric and made for endless dancing under golden skies. Perfect for global grooves, nu-disco, and upbeat funk playlists.
"P-Funk (Dance with Pezz)"
A rhythm that grabs your hips and won’t let go, while you smile to the world. Funkool Orchestra set the dancefloor on fire with ‘2-P–Funk’, a percussive, Latin-infused groove drenched in funk and soul. This Maledetta Discoteca production is built for shaking and radiating pure joy, packed with irresistible horns and unstoppable rhythm. Perfect for Latin funk, soulful disco, and global grooves playlists.
Zara is the first album of Parus ethno-ambient project from Belarus that combines pagan songs that are sang by ethnographer and folk singer Hanna Silivonchyk on various dialects of Belarusian language and mixture of synthesizers and field recordings that where reordered in national parks of the country by electroacoustic music composer - Anton Anishchanka. The songs where collected during ethnographic expeditions in remote territories by Belarusian ethnographers in different periods of time
"What I choose to sing from the vast amount of authentic material are songs that
somehow feel like mine for all sorts of reasons, but that I love to be inside." - Hanna Silivonchyk
"Soniejka" is a summer song from the Dnepr river region, which sings about the readiness to meet life in any of its manifestations, about acceptance and love. "Zara" is also from the Dnepr river region, depicting the main Indo-European mythological story of the heavenly love between the Moon and the Dawn and their melting.
"Ruzovyja cviaty" is a lyrical song from Dzvina river region, romantic and touching, which sings about the very beginning of love between two people. And the song "Oj luhom idu" is a spring song from the territory of modern Poland, from Podlasie region, which tells about the life of a married woman, about the fate that may befall her and how it can be experienced. All of them are about one's own feeling of the present time, one's life, about personal life
experience, but at the same time - about universal human contents and meanings that exist outside of time.
180 G. BLACK VINYL WITH LINER NOTES IN CREOLE, FRENCH, ENGLISH
Originally released in 1979, "Spiritual Sound" lives up to its name, a soaring, triumphant album, six tracks of spirit magic from Guadeloupe.
Telluric, intense, terribly alive, the gwoka drums of Guadeloupe carry the identity of a painful and fervent island. Marked forever by the crime of slavery, Guadeloupe's créolité cherishes the ka drums and their natural environment: the low-pitched boula drum with male goatskin, the high-pitched soloist makè drum with female goatskin, the chacha, ti bwa, triangle, calabash and other percussion instruments that surround them, and the voices - the fiery, proud, timbred, urgent voices of the gwoka.
This album is also a legend for its voices: in his then dazzling youth, singer Lukuber Séjor was one of the first gwoka artists to largely feminize the chorus of répondè, who converse with his text delivered in a straight and powerful voice.
And everything here sets new standards. In 1979, Mizik Filamonik - Spiritual Sound proclaimed a spiritual patriotism of ferocious intensity. The album by Lukuber Séjor - whose spelling alone is a battle - sets out to give Guadeloupe the intangible weapons of self-respect and self-knowledge, through a singular practice of traditional music.
The genesis of gwoka music is less straightforward than one might imagine... The drums performed the servile task of accompanying the work of slaves in the fields and during the “corvées” imposed by the administration, before being freely practiced by the common people after the abolition of 1848. At the heart of the conviviality of the Guadeloupeans furthest from the cities - geographically and socially - the gwoka drums come out for carnival, funeral wakes and neighborhood celebrations, but also during strikes, fits of anger and armed vigils of the riots and revolts that have punctuated the island's history. For generations, governors of the colony and then the prefects of the overseas department of Guadeloupe have been viewing the gwoka as a potential for turbulence and a threat to public order.
But as the Beatlesmania, “chanson engagée” and rock revolutions unfolded in Europe, young people turned to the drums of mizik a vié nèg (“bad negro music”, in Creole), which Guadeloupeans had learned to despise by following the “assimilation” process advocated by the school system and most of the political class. At the end of the sixties, in a Guadeloupe mourning the deadly repression of the May 1967 social movement, they played traditional music, refusing to wrap it up in tourist prettiness and madras folk costumes. Instinctively, they played a rough and contemporary gwoka, led by the incendiary Guy Konkèt. This was the era of decisive 45 rpm records such as Robert Loyson's Kann a la richès, which brought to light the fieriest words of union rallies.
At his home in Sainte-Anne, Lukuber Séjor played with flautist Olivier Vamur and his brother Claude Vamur, who cobbled together a drum kit from tin crockery and became, a few years later, the most influential drummer in Kassav'.
These were the years of the Bumidom program, when young Guadeloupeans were encouraged to emigrate to mainland France. At the age of twenty, Lukuber Séjor embarked on the liner Irpinia, disembarking at Le Havre and taking the train to the Gare Saint-Lazare - the route taken by thousands of young West Indians who went on to study or looked for work, all the while trying to maintain a link with their homeland. In this case, it's at the Antony university residence, where Lukuber played the drum and participated in a thousand gwoka updates and aggiornamentos, while exile reinforced the need for a spiritual link with the native land.
In 1978, Guy Konkèt played at the Salle Wagram, a historic event for West Indian music. After serving as répondè - i.e. backing vocalist - on one of his home-recorded albums, Lukuber joined his live band. Little by little, he became one of the key artists on a circuit parallel to French show business. At a student party in Caen, he met a young woman from Martinique who, at the time, was more motivated by her ambitions as a visual artist than by her vocation as a musician. Her name was Jocelyne Béroard and, a few years before she plunged into the Kassav' adventure and became the greatest West Indian singer of her generation, she designed the cover of Lukuber Séjor's LP.
This ambition was obvious and imposed its will. A more or less regular band was formed, with Roger Raspail, Rudy Mompière and Éric Danquin on ka drums, Claude Vamur on ti bwa, Olivier Vamur and Françoise Lancréot on flutes and Annick Noël on keyboards. Lukuber Séjor is set on wanting to extend the gwoka palette to other instruments, as the jazz-rock revolution opens a thousand new doors. Annick Noël will play a wide range of timbres and textures on electric piano and synthesizer. Another novelty: the répondè are two men and two women, Roger Raspail, Olivier Vamur, Françoise Lancréot and Maryann Mathéus ...
Mizik Filamonik - Spiritual Sound is a self-production in which the singer and leader sank all his savings, allowing him no more than a single day in the studio. The first side is more of a musical manifesto, with the first two tracks, Éritage and Penn é plézi, being instrumentals. The third, Son, forcefully celebrates the need for Guadeloupeans to connect with the gwoka. In fact, Jocelyne Béroard's cover shows a tambouyé in the shadow of a cloudy sky, against which a radiant sun is rising and whose light will soon flood the entire landscape. The silhouette and face of this man strongly evoke the immense Vélo, master of the ka, rejected at the time on the fringes of society.
The second side of the LP is surprising. Formally, three tracks are explicitly linked like the three parts of a triptych. Primyé voyaj evokes the appalling tribulation of Africans deported as slaves to Guadeloupe; dézyèm voyaj speaks of the Bumidom program and the economic, political and social forces driving young Guadeloupeans towards the mirage of prosperity in France; twazyèm voyaj closes the cycle with the emigrants' return from Europe after years away from their island...
This gwoka, obsessed with the need to save Guadeloupe spiritually, appeals far beyond the politicized audience. Mizik Filamonik - Spiritual Sound instantly became a classic, although Lukuber Séjor never really made a career for himself as a musician.
After all, the album was released in 1980, with no promotional resources in France or Guadeloupe - and therefore no concerts. The thirty-two-year-old author, composer and performer made his own third trip back to Guadeloupe. He set up a small woodworking business, which he lost in Hurricane Hugo in 1989. His other activity, teaching in a medical-educational institute, became the core of his professional life. He continued to be an active campaigner - a campaigner for the Creole language, a campaigner for the reawakening of identity, a campaigner for special education, a campaigner for a thousand causes that he ignited with his generous and perceptive enthusiasm, such as the defense of breadfruit fries...
The echoes of his 1979 album have not died down. Of course, the use of Penn é plézi as the theme tune for Radio Guadeloupe's funeral notices from 1980 to 1992 kept him in the collective memory, but he continues to sing and compose sporadically, as with his all-female
vocal group Vwapoulouéka... Still convinced that music is a means of liberating the spirit, he continues the journey of a young man eager to deploy the power of Creole music and language.
We present you our new Mood Waves tote bag! It is made from 100 % left-over fabrics, and the material is of thick high quality. Perfect for parks, beaches, and of course recordshopping :)
MixCult Records is glad to introduce its new release, deeply curated various artists compilation that will take one journeying through resonant realms within Deep and Dub Techno. It boasts a lineup that features renowned artists such as Kirill Matveev, Genning, TM Shuffle, and Nicolas Barnes. Now this record offers four compelling tracks with rich sonic textures and emotive depths, characteristic of the genre.
A1: Eric Louis - Voice Memo Original: The first track, "Voice Memo" by Eric Louis, is purely an introspective personal record. Soft pulsations of the bass weave in and out of haunting melodic vocal samples to create an atmosphere that is strong and enduring.
A2: Kirill Matveev - Never Losing That Track Genning Remix: The second offering is Kirill Matveev's "Never Losing That Track", remixed with the masterly touch of Genning. The track builds on the core of the original with added layers of rhythm and heavenly synths soaring above the driving beat. It raises the energy a notch without losing the sophistication, with melodic elements perfectly laced into pulsating basslines. A track that makes the listener immerse themselves in the song: upbeat, yet wistful, so that listeners can get lost within the depth of the sound. The track is designed for those who love to dance at sunrise.
B1: TM Shuffle – Artist by the time the B-side gets underway, TM Shuffle brings the past to the present via "Artist", a rock-solid track now pressed on vinyla gain with some of the very best of strong dub techno sound which we love when mood-setters take over the dancefloors. This track invites introspection, drawing listeners into its depths as they explore the nuances of sound that define the dub techno genre.
B2: Nicolas Barnes - Outro: The "Outro" by Nicolas Barnes is a reflective, ambient conclusion to the journey. This track wraps up the listener in a soothing embrace of lush soundscapes with soft melodies. It's a meditation of the experience, with the stillness of quieted moments ringing deep. The spacious nature of the composition invites listeners into their reflection of this auditory voyage they've just embarked upon. Outro" - demurely deep, summing up the release and leaving its memory in a head long after it really fades. For sure, one of those tracks you do not want to forget while performing a warm-up set.
Every track represents a different exploration of sound, all combined to tell one story that resonates deep and with elegance. The vinyl release of the album is a must-have for any lover of immersive music, as it will invite listeners to get lost within captivating soundscapes.
At the heart of this double album, and amid the intense internal struggle between creative instinct an artistic reasoning, Ziggy has identified two key themes: Inspire and Radicalise. It is within this duality that the 15 tracks of this new work, recorded between Berlin and London throughout January 2024, take shape. Throughout its creation, the crew enlisted a familiar pallet of materials, seeking those obscure and vintage music-making machines, meeting a myriad of percussion and drums with the new addition of electric guitar as the band ventures into disco / highlife inspired territories. bring this ambitious project to life, Ziggy enlisted a team of forward thinking musicians across Europe and the UK alongside old friends and collaborators from the grassroots in Melbourne, Australia: Lewis Moody (Energy Exchange Records), Szabolcs Bognar (Abase), Eric Owusu (Jemba Groove), and Tom Varrall (Jamie Cullum) form the core rhythm section alongside a hefty list of guest appearances (from the likes of Oscar Jerome & Tom Driessler) making this truly the most ambitious and diverse incarnation of ZFEX to date.
It is a groove-infused journey designed for those who thrive on the pulse of the dance floor. This slinky, high-energy compilation from NOREPRESS brings together the driving rhythms of Giacomo Silvestri - Paradox, Andrea Giuliani - Hypnagogic, Kirill Matveev & Wiklauri - Fasol, and Nicolas Barnes - Lift It, each track crafted to keep bodies moving and minds locked in.
The essence of this release lies in its intricate drum progressions—tight, rolling, and infectious—laying the perfect foundation for deep, bouncing grooves and hypnotic acid elements to work their magic. The energy flows effortlessly, creating that perfect in-the-moment feeling where time dissolves, and only the rhythm remains.
Whether it’s warming up the room or taking things deeper into the night, NRP004 is made to move a crowd. Packed with room-filling beats and an irresistible momentum, this one is all about embracing the moment, locking into the groove, and stepping into 2025 with pure dance floor delight.
Red Pig Flower brings you her sensational debut album Practice Love, available on Sound Of Vast from 10th April. Her unique sound sits upon the apex of a three-sided pyramid. With Berlin, Tokyo and Seoul as the base, Red is a third culture kid, greater than the sum of her parts. The centre is filled with her incredible appreciation and knowledge of house and electronic music from every pin drop through history.
So taken with Red Pig Flower’s sound, Honey Dijon invited Red to her Southbank Centre show to play alongside her. Moxie loves her that much, that she invited Red to record a mix and to guest on her NTS show. Alan Fitzpatrick, and Just Her are amongst Red’s growing posse of followers.
Practice Love is a culmination of all of Red Pig Flower’s life experiences, brimming with her positive energy and an outlook on life of pure love. Red has collaborated with like-minded artists at every level: the music, the cover art and video all produced with talented friends, who get Red as the wonderful person she is and understand her vision. Her label partner and good friend, Knock in particular helped make Practice Love the incredible album it is. So intuitive is their musical symbiosis, they made 20 tracks and carefully curated and ordered nine of these, making an album of tracks that stand out on their own, yet flow perfectly as an album. Practice Love will make you feel joyous when you play it. By the end, you will feel like you know Red like a friend.
Practice Love kicks off with I don’t care, it makes you feel good: a dreamy, tribal mantra of a track that does exactly what it says on the tin. Next up is I Love To Dance. Red’s beautiful soft vocal is sweet yet poignant, leaving you in no doubt of her sincerity. Thirdly comes Feel Good Music. Are you getting a feel from the track names yet that this is an album of warmth and positivity? You can imagine this one at a Café Del Mar sunset, where those who get the spirituality of Ibiza come together, in the moment to appreciate the beauty of a sunset and understand that no matter how many you see, each is magical and unique.
The three tracks so far have taken you to twilight. The titular Practice Love takes you by the hand onto the dancefloor. There is a double meaning to ‘Practice Love’- The first is to make love your practice. The second is that you need to practice love to be able to become a practitioner of love. The video, shot by her friend Jelly, features Red Pig Flower in Brick Lane, London, wearing a little piggy mask and offering free hugs. The first passersby ignore her sign, but Red isn’t disheartened, spreading the right message, dancing with joy. Her optimism is rewarded, making peoples day better on a cold English afternoon.
Fifth track Sax and Drugs takes things a little sleazier, the beat is filthy and the synths are sexy. Your body starts to move to this one before your brain even realises. The incredible Declan McDermott joins on saxophone, the funkiest synths and Red’s sultry vocal washing your soul with Laurent Garnier inspired sunlight. On Thisiz House Music, again featuring Declan, Red takes you even further back. About Frankie Knuckles O’Clock, with a portal straight to 2025.
By now, you will agree with me that Practice Love flows so, so well. I Wanna Meet Somebody follows incredibly, continuing the feeling that if you close your eyes, you’re dancing with David Mancuso at the Loft. No Money completes this EP-within-an-album. Perfect vocal samples, valve synth riff and 808 drum patterns showing that producers as good as Red Pig Flower make it sound effortless. The best albums finish memorably and No Genre is one of those perfect finishers. Think Andrew Wetherall’s production on Screamadelica. The lights are up in the club, nobody wants to go home, arms in the air wanting more.
Red Pig Flower explains: Practice Love resonates deeply with me because house music has always been a sanctuary—a place for unity, joy, and self-expression. As a nomad and outsider, club culture and house music became my shelter. The cities I’ve lived in—Seoul, Tokyo, Berlin, and London and more—nurtured me and shaped who I am today. That’s why the cover, by the incredible Carlos Sulpizio features their skylines, and the album is multilingual, representing the diverse influences in my life.
Practice Love is like a meal that has been prepared lovingly. They always taste better. And there’s plenty more to come from Red Pig Flower. How was your appetizer?
Unwonted is a recently founded Electro project by the Techno veterans Alexander Johansson & Mattias Fridell, providing us with another massive 5 track EP called Analog Astronaut. This record marks the second part of the two-EP series.
Strictly Ragga is a track that me & Mr Sensi finished together in 2014, but at the time, there was no label interest in it and besides some DJ support from Bailey, Equinox, Double O & a few others at the time, we sort of forgot that it had existed. Recently though, whilst organising my projects folder, I rediscovered the tune and thought it was worth releasing myself now that I'm able to do that on Future Retro London.
FM Dial, I sort of can't really remember the exact process behind it being made. If I remember right, Kid Lib sent me the parts of a tune called Unauthorized around 2013 (I think?), it was quite fully formed but it had no bassline on it. I never made time to work on it, so I think he sent it to Mr Sensi, who did some work on it but also didn't finish it. Then last year, I found a folder that Mr Sensi had sent me years back, which had the parts for a tune that he never finished, which I then finished. I sent the tune to Kid Lib when it was done, having forgotten about Unauthorized and it turned out that I finished a version that Mr Sensi had worked on of Kid Lib's track, without knowing anything about Mr Sensi's involvement in Unauthorized. All a bit confusing I know, but anyway, all that matters was that the tune was finished.
Nice one to Mr Sensi & Kid Lib for their involvement in this release and to Bailey, Equinox, Double O and everyone else that gave Strictly Ragga some support in its initial existenc
Wewantsounds is delighted to announce the release of "Sweet Rebels - The Golden Era of Algerian Pop-Raï" Selected in Paris by Cheb Gero. The set features the raw energy of the Algerian Raï scene from the 80s and early "90s and its young stars Cheb Zahouani, Chaba Zohra and Abderrahmane Djalti. Newly remastered and including liner notes from Raï authority Rabah Mezouane, the compilation brings together eight cassette tracks from the electrifying period when Raï music was evolving from a more traditional sound to the mesmerising electro funk sound of the 80s.
CASABLANCA first started as a party exploring the depths of Arabic grooves from Northern Africa and the Middle East, brought to life by two musical legends...Parisian digger Victor Kiswell, known for his journey through the world’s rarest records and influential NTS radio sets, and Dez Andrés, a Detroit native whose roots in the city's hip-hop and house scene are matched by his love for soul, fun, and jazz. The two artists have stepped into the studio to bring the same energy and ethos from their party to this album.
Synaptic Cliffs is committed to discovering unknown and unreleased music in the future, testing it in the past, and selling it in the present. This is the only way to ensure that art is timeless. The recordings on this cassette, however, were purchased in 2073 from a beautiful woman named pdqb at the Marché aux Puces in Paris for only 0.0000000000000000001 Bitcoin, but on the condition that all the material is distributed on one cassette, namely exactly as described hereinafter: The short tracks from the years 1984 to 1989 are on the A-side, and one of these recordings must be supplemented with vocals by Max Müller, the singer of the infamous Berlin band Mutter. On the B-side, there will be a binaural 16.7-tone music composition from the year 2047. Furthermore, all recordings must be mastered by Mike Grinser. Last but not least, only high-quality chrome tape may be used for production. In August 2027, the music magazine Melody Maker, which will be published again from 2026, will write: " ' Vor dem Punkt ist nach dem Punkt' is a surprisingly singular work with a creative force of near-unprecedented degree. It is one of the most beautiful and best-sounding post-punk albums of the last 40 years, and it is certainly the main reason why we are currently experiencing a huge comeback of post-punk, shoegaze, and goth rock."
Unspecified Enemies, the project led by Louis Digital (Numbers, Counterattack, Arcola) present their debut album Romance in the Age of Adaptive Feedback.
Written and produced by Louis Digital, the album incorporates fragments of music data generated by long-time collaborator CiM (Ann Aimee, Delsin). Describing the title track, Louis Digital states:
“It’s the microelectronic sound of a city playing strange light games with itself, evoking bitcrushed desires and floating images, an urban phantasy stored on the broken circuits of an Ensoniq ASR-10.”
The origins of Romance in the Age of Adaptive Feedback trace back to 2006, when Louis Digital launched Diamond Sea, a series of events at London’s ICA that introduced the Unspecified Enemies project and a label called City of Quartz. The vision was to merge the hi-tech electronic textures of contemporary R&B with the sampling and sequencing techniques of pioneers like Anthony Shakir and Soundhack. However, the music was lost in time, and City of Quartz never released a single record.
Yet, the story took an unexpected turn. At one of these events, Spencer from Numbers received a CD containing early recordings. Years later, Numbers encouraged Louis Digital to reconstruct the lost music for an album. The result is a work resurrected from the past and reimagined for the future—retrieved in fragments from a broken Iomega Jazz SCSI Drive.
Expanding on the album’s themes, Louis Digital reflects:
“By the late ’90s the cinematic image of Los Angeles and the sound of Detroit techno had crystallised a new style of living in time and space. In 1997 Mike Davis — the political activist, urbanist, writer and historian of Los Angeles — suggested that it all had “something to do with a microelectronic aesthetic of very transient and decaying states”. It was a romantic vision — one where the city’s glass surfaces reflected a musical desire for futurity not yet dominated by data-driven corporate life. These were strange days to live through. This album evokes the embers of this fibre-optic moment, when urban revolution in an age of digital reification still felt possible.”
The album features full sleeve artwork and a poster designed by Ben Drury. In support of the release, an NTS show titled Romance and Reification will explore the cinematic and electronic music influences behind the album.
Last year saw the release of portuguese electronic folk odyssey Soprem Bons Ventos on Soundway Records - this year Pedro brings it home to house. Pedro's House 002 is a hot and heartfelt ode to the hi-tech jazz universe, and the solar winds are blowing with a force. See you on the dancefloor space cowboy...
Khen has landed on All Day I Dream with his new My Pure Soul EP, a sentimental three-track collection that marks his first release on the beloved electronic label.
Written in dedication to his father, My Pure Soul explores themes of introspection and transcendence, blending organic percussion with lush synth work to create an emotive sonic journey. Offering a robust medley of dynamic rhythms and mesmerizing melodies, Khen’s hypnotic house grooves envelop listeners as the EP progresses from the titular track through its accompaniments ‘Lyup’ and ‘Uchi Mata’. A wondrous debut from Khen, My Pure Soul embodies the entrancing soundscapes synonymous with the label’s curation for more than a decade.
The fifth album from H. Hawkline (Huw Evans), ‘Milk For
Flowers’, is released via Heavenly Recordings.
Following the 2017 album, ‘I Romanticize’, and 2015’s ‘In
The Pink of Condition’, the album was produced and
features musical contributions from long-time collaborator
and celebrated solo artist Cate Le Bon. Artwork is
designed by H. Hawkline.
Recorded at Rockfield Studios in Monmouthshire, the
album features a host of musical collaborators - Davey
Newington (Boy Azooga) on drums, Paul Jones (Group
Listening) on piano, Tim Presley (White Fence, DRINKS,
The Fall) on guitar, Stephen Black (Sweet Baboo) and
Euan Hinshelwood (Younghusband, Cate Le Bon) on sax,
Harry Bohay (Aldous Harding) on pedal steel and John
Parish (PJ Harvey, Aldous Harding) on infrequent bongo.
The record was then engineered by Joe Jones (Aldous
Harding, Parquet Courts) and mixed, after an unlikely and
fortuitous crossing of paths, by the Grammy-nominated
Patrik Berger (Charli XCX, Robyn, Lana Del Rey), and
mastered by Heba Kadry (Deerhunter, Cass McCombs,
Cate Le Bon).
‘Milk For Flowers’ is at once visceral and enlightened, its
soundscapes verdant yet delicately rendered, and with this
latest, most intimate work, H. Hawkline bares his blood,
bones and soul beautifully. And quietly, along with the
entrails and rubble held in ‘Milk For Flowers’’ reliquary,
there hides a small, green kernel of life; hope, perhaps,
that today’s decay might nourish tomorrow’s blooms.
Available on CD and LP with rigid ‘tip-on’ sleeve with antiscratch matt lamination and digital download code.
Mita Gami & EREZ join forces for collaboration ‘Where’s My Voice?’ Uniting the rich sounds of Tel Aviv and NYC via Los Angeles, Mita Gami and EREZ combine again for their latest collaboration, ‘Where’s My Voice?’. Marking their first collaborative appearance on Damian Lazarus’ esteemed Crosstown Rebels, the single follows their previous work together on Borders Of Light while welcoming EREZ to the label for the first time.
A mainstay within Tel Aviv’s thriving scene, Mita Gami returns to Crosstown Rebels following his acclaimed remix of Parallelle & Nicolas Masseyeff’s ‘Renegade’ alongside Adam Ten. With prior releases on labels such as Diynamic, REALM and his own Maccabi House imprint, he continues to showcase his artistry while pushing boundaries. Meanwhile, EREZ, an artist known for seamlessly blending her mesmerising vocals and intricate production, makes her label debut after recent standout material on Get Physical Music and Discotexas.
‘Where’s My Voice?’ is a driving composition that pairs EREZ’s intoxicating vocals with hypnotic rhythms. A journey through tension and release, the track builds a captivating and trippy atmosphere that showcases the duo’s ability to craft evocative trips for the late hours. On the flip, Brussels-based DJ/producer and Sanctuary Music founder Samer Soltan adds his own take and steers the original into deeper territory, guided by commanding stabs, brooding melodies and intricate textures.
Mita Gami’s artistic vision extends far beyond the studio, curating ‘Sunrise Kingdom’ at Midburn Festival and performing on global stages such as The Brooklyn Mirage, Lightning in a Bottle Festival, and Hï Ibiza. Similarly, EREZ’s dynamic live performances—effortlessly transitioning between instruments—have earned her spots at Coachella, Outside Lands, and The Brooklyn Mirage. With ‘Where’s My Voice?’, the pair explore sound, emotion, and rhythm, adding to their places as innovating talents in the electronic music sphere.
Techno legend Cari Lekebusch debuts on Mind Medizin with an 8-track double pack of underground Techno.
Stockholm-based sound architect Cari Lekebusch has helped to shape the sound of the underground over the last two-plus decades. He has long been at the heart of his native scene alongside peers such as Adam Beyer and Joel Mull and heads up his own H. Productions label while also serving up his timeless sounds on cultured outlets such as Drumcode and Planet Rhythm.
Opener 'Mind and Matter' opens with quick, compelling drum programming and trippy synth details peeling off thebeats. Muttered vocals bring a dark intensity as the percussion also adds layers of tension. The fantastic 'Freakout' isanother classically inclined and linear techno banger with thudding kicks and futuristic synth lines weaving in and outof the beats. There is no let-up in the pressure with the excellent 'Ninguno es Uno' keeping it deep, driving and late night, this time with squelchy acid lines adding character. 'Heritage' shuts down with a hypnotic blend of shimmering
cosmic synth lines and pulsing deep techno drums that keep the mind and body fully locked in.
This second half kicks off with 'Cause and Effect', a bustling blend of scuffed-up kicks and snares, glitchy hits and jangling synth sounds that bring great looseness to the driving grooves. The funky 'Handkante' delivers flailing percussive patterns and wisps of synths that spit out of the mix next to a drunken synth lead. 'Strulgubbe' keeps the pressure on with more muscular drums, this time underpinned by darker bass and unsettling synth twangs. The fantastic closer 'Tuli Taivaalla' offers up a serene sound that is backed with sustained chords and marbled with edgy vocals.
The multi-talented global traveller Shawn Lee starts the new year 2025 with "Lost", the first album by Shawn Lee's GPS Band. The story behind the album is best told by the artist himself: "Inspiration can come from the most unlikely places. In this case…Italy. While on tour there in 2024, I found that I never knew where I was or where I was going. For that matter, I affectionately dubbed it 'The Lost in Italy Tour'!"
Shawn Lee continues: "While listening to music in the car barreling down the open road, GPS voice directions kept barking instructions over the tunes. Suddenly, the full musical concept of the 'Lost' album smacked me right between my ears. Instrumental tracks equipped with GPS voices on top robotically guiding me to my various destinations. Sometimes it was a venue like the Parasdiso in Amsterdam. or record label like Légére in Hamburg - and for goodness' sake, even a pizza restaurant in Italy! The possibilities were infinite.
"I lovingly explored the sounds of the late 70s & early 80s delicious brew of Post-Punk, Post-Disco, Krautrock, Punk-Funk, old school HipHop and No Wave. Armed with a P bass,Madcat Telecaster, a handful of synths and a few choice effects, the album was both a minimal and focused affair. Sometimes less is more… The world on the other hand, is way more than less and a very big place to get 'Lost'. So this is just the beginning of a long journey and with my GPS Band, I will always arrive at my destination."
For their third release Ethos Records invites DimDJ. The well-established Greek artist digs deeper,
matching the label’s previous releases, delivering an unfiltered & raw sounding EP.
This will be sent to the record shops.
The release will be a limited pressing with each record featuring a hand stamped number on the label. Ethos Records is a vinyl only record label based in Athens, GR. It’s aim is to present music from carefully curated artists that are consistent & true to their sound regardless the current trends or hype.
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.
A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan. Genre: Alternative / Post-Punk / Cold Wave
The Berlin based Kashpitzky is back on Be As One with "Elevate EP", showcasing once again his well crafted signature grooves and structured melodies with 3 original tracks.
Backed up by a straight forward raw remix by the english Matador Phase
Promising new talent Joolmad is quickly becoming a name to watch out for, his latest body of work comes in the form of the “Perspective” EP, the third release from the thriving English producer, off the back of his sought after EP on TSOL. Although young Joolmad’s refined taste and years of tweaking his sound enabled him to construct tried and tested underground material, meaning his music and the PILLZ label could not be better suited. Gritty, straight edged peak time action from a producer on the rise. The new school showing their hand here as Joolmad shares his interpretation of mysterious sounds of modern times, melding electro and techno genres as he moves.
Following the release of the single Maqlab, the Marseille-based duo Caïn و Muchi presents their debut full-length album Dounia دنيا.
This takes listeners on a journey through a rich tapestry of industrial gloom woven of dubstep, grime, and contemporary hip-hop. In this album, these ‘labels’ matter as much as they don’t, given the heavy mutations they undergo, in a That’s Hara Kiri fashion (RIP Sd Laika).
At the heart of this record lies a dense yet harmonious sound palette, featuring meticulous vocal processing of lead singer Vanda’s voice, which engages reflection on their shared and individual lives.
As the album progresses, the lyrics reveal layers of stress and trauma linked to colonial experience, intertwined with multiple references to North African ghost stories and legends.
The result is a resonant experience, where the wraithlike and glacial instrumentals crafted by the duo encapsulates the introspective act of witnessing the turmoil of our current world.
Source of an all-time 'Breaks and Beats' classic, Mr Bongo reissue Herman Kelly’s timeless 1978 album Percussion Explosion!. Immortalised in hip-hop folklore, when the anthemic 'Dance To The Drummer's Beat’ was featured on the influential Ultimate Breaks & Beats compilation series in 1986.
Percussion Explosion! was the brainchild of drummer, percussionist, producer and arranger, Herman Kelly and his percussive disco-funk group from Miami, 'Life', that featured Aaron McCarthy, Oliver Well, John DeMonica, Michal Cordoza and Travis Biggs. The album houses a collection of disco, funk and Latin-inspired cuts that were destined for greatness. Nestled within the grooves is the B-Boy and B-Girl’s anthem, 'Dance To The Drummer's Beat’, which contains a now legendary break. A cursory glance at Whosampled will show that it has been sampled in over 125+ songs. These include Double Dee & Steinski on their groundbreaking 1985 production 'Lesson 3 (History Of Hip Hop Mix)', as well as by DJ Shadow, N.W.A, Masters At Work, Run D.M.C. and a whole host of heavyweights across hip-hop, dance and pop music.
When the album was released in 1978 it came out on two different labels, Alston Records and Electric Cat. Each label pressed different versions of 'Dance To The Drummer's Beat’, with the former featuring a 4:12 version and the latter a longer 5:09 version that has a different structure, crowd noise at the start and overdubbed percussion.
For this Mr Bongo reissue, we have chosen the classic 4:12 version from the Alston Records release, which would later find its way on to the illustrious Ultimate Breaks & Beats compilation. To make matters even more confusing the Alston version art on the back cover also states the track length as 5:09, whilst the centre label lists it correctly as 4:12.
Aside from the much celebrated 'Dance To The Drummer's Beat’, the album includes a range of other fantastic overlooked cuts. From the percussive soul stepper 'Share Your Love', to the beautiful Latin-flavoured 'A Refreshing Love' or the party disco-funk groover 'Who's The Funky D.J.?'.
This wonderful and inspirational record features an important piece of hip-hop heritage and deserves a place in every collection.
UDG Turntable dust cover made from high quality material with exclusive UDG logo's printed in plastisol ink will be the best choice to protect your gears from dust and liquid drops.
Specification
Specification
Weight 0,12 kg / 0.264 lbs
EAN 8717228276170
Color Black
Outer Dimensions (W x H x D) cm: 49 x 39 x 16 | inch: 19.3 x 15.3 x 6.3
Inner Dimensions (W x H x D) Not Applicable
Material Water Resistant Nylon 210D
Protection Various equipment
Extra's UDG logo printed in plastisol
Fits Turntables
19" mixer
The record captures an expansive performance in Poitiers, France in November 2023. First working together in an unpredictable trio with minimalist legend and eccentric extraordinaire Charlemagne Palestine, Ambarchi and Thielemans quickly established a remarkable musical chemistry that led to an ongoing series of duo concerts, including the performance documented on their LP Double Consciousness (Matière Mémorie, 2023).
Kind Regards finds the duo refining their shared language while continuing to take risks, allowing the music’s gravitational pull to lead them from meditative calm to unexpectedly expressive passages of melodic invention and rhythmic drive.
Recorded in sparkling fidelity and carefully mixed by Ambarchi’s longtime collaborator Joe Talia, the LP contains a single unbroken performance, stretching out for over 45 minutes. Guitar and drums weave together into a symbiotic whole that nevertheless affords us ample opportunity to marvel at the highly personal approaches these two musicians have developed to their chosen instruments through decades of diverse collaboration and prolific performance. The set begins with Thielemans’ hypnotic tom patterns, around which Ambarchi’s wavering, shimmering guitar tones—achieved with the help of the rotating speaker of a Leslie cabinet—flurry and swirl. Thielemans’ drums play subtle tricks with time and perception, adding and dropping beats within repeated patterns to create an effect at once rhythmically insistent and liquified. Growing at first into a rapidly pulsing texture of brushed drums and flickering harmonics, the music builds momentum into an irregular groove over which Ambarchi’s guitar is transformed into haunting, monumental electric organ chords, strikingly recalling the Wurlitzer work of Alice Coltrane, before settling into a section of gentle portamento melody embedded into the tactile clicks and clangs of Thielemans’ percussion.
When Thielemans adopts a more traditional jazz approach to the kit in some of the set’s second half, the results are stunning, demonstrating a feel for shifting accents and sensibility to the touch of the stick on the drum or cymbal that recalls greats like Jack DeJohnette or Billy Hart (one of Thielemans’ mentors). And when Ambarchi turns up the heat, he does so in an unexpected and delightful way, letting loose a swarm of jittering delayed tones straight out of Henry Kaiser’s classic It’s a Wonderful Life, with a more active use of the guitar’s fretboard than his usual approach to the instrument allows. As the performance draws to a close after a climactic episode of distorted harmonic groans and crashing cymbals that manages to be at once thunderous and carefully attuned to detail, it is clearer than ever that, for these two serial collaborators, this is a very special pairing.
Kind Regards shows us the kind of magic that can happen when two masters who have dedicated decades to reimagining their instruments simply begin to play, following the music wherever it goes.
As 2024 unfolds, DBB008 emerges like a breath of clarity amidst the noise. “Fresh Air” by Ober Dada—an alter ego of Keyn Acid—is a journey between the mechanical and the organic, the familiar and the unexplored. Out both digitally and as a 200-limited vinyl edition, “Fresh Air” invites listeners into a world where space expands, time is unbroken and every beat matters.
Limited 200 copies!
Pacific Rhythm’s “Rhythms Of The Pacific” series returns with a 12” sampler of material that will be included as part of a larger 10-year anniversary compilation later this year. Tunes from LNRDCROY, Khotin (under his Waterpark alias), Active Surplus, and Kennedy are on deck to set the tone. Limited and downright essential for enthusiasts of the sound Pacific Rhythm has cultivated since 2013.
From an artist in their seventies, you probably wouldn’t expect to hear an album like this. But Brazilian drumming legend Ivan ‘Mamão’ Conti has been experimenting and innovating for the last half a century. As one third of cult Rio jazz-funk trio Azymuth, Mamão was at the root of the group’s ‘samba doido’ (crazy samba) philosophy, which warped the traditional samba compass with jazz influences and space age electronics. Even with his lesser known jovem guardua group The Youngsters, Mamão was experimenting with tapes and delays to create unique, ahead-of-its-time sounds, way back in the sixties. More recently Mamão recorded an album with hip-hop royalty Madlib under the shared moniker ‘Jackson Conti’.
With his first album in over twenty years, and the first to be released on vinyl since his 1984 classic The Human Factor, Mamão shares his zany carioca character across eleven tracks of rootsy electronic samba and tripped out jazz, beats and dance music. Featuring Alex Malheiros and Kiko Continentino on a number of tracks, the Azymuth lifeblood runs deep, but venturing into the modern discotheque (as Mamão would call it), Poison Fruit also experiments with sounds more commonly associated with house and techno, with the help of London based producer Daniel Maunick (aka Dokta Venom).
Take a bite of Mamão’s psychoactive Papaya and join the maestro on a weird and wonderful stroll through the Brazilian jungle.
United by a love for the music of Mamão and Azymuth, the CD and digital edition also feature the previously released remixes and dubs from some of today’s most forward-thinking producers with a penchant for percussion, including IG Culture, the 22a crew, Max Graef and Glenn Astro.
Released in September 1978, a mere two months before YMO’s debut, Cochin Moon is a clear precursor to the groundbreaking synth and sequencer-dominated sounds that would come to define the iconic trio. Huge tip!
Credited to Hosono and Pop Art legend Tadanori Yokoo (who created the cover art), Cochin Moon is a fictional soundtrack to a journey into unknown worlds, inspired by Hosono and Yokoo’s trip to India.
The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO).
Released in September 1978, a mere two months before YMO’s debut, Cochin Moon is a clear precursor to the groundbreaking synth and sequencer-dominated sounds that would come to define the iconic trio. Credited to Hosono and Pop Art legend Tadanori Yokoo (who created the cover art), Cochin Moon is a fictional soundtrack to a journey into unknown worlds, inspired by Hosono and Yokoo’s trip to India. Initially the album was to be a kind of ethnographic musical document, using found sounds and field recordings made by Hosono himself. Instead, after Yokoo introduced Hosono to the sounds of Kraftwerk and krautrock during the trip, Cochin Moon became something much stranger. Created almost entirely on synthesizers and sequencers with the help of future YMO collaborators Ryuichi Sakamoto and Hideki Matsutake, the music on the album is the perfect encapsulation of Hosono’s concept of “sightseeing music,” transporting the listener to an exotic place that may or may not exist. This highly sought-after album sees its first-ever official release outside of Japan.
2025 Repress
Echospace Detroit’s cv313 aka Stephen Hitchell joins forces with Federsen for the second instalment on the latter’s newly minted Alt Dub label with the ‘Skyspace’ EP. Over the past decade and a half San Francisco based artist Federsen has been making his mark on the dub infused techno and house sound, delivering his vintage tape delay and analogue gear driven sound via the likes of Mixcult, Greyscale, Lempuyang and Ohm Series among others. In May this year Federsen inaugurated his own Alt Dub label with a split EP from himself and Hidden Sequence, and here the story continues following the split format with more original material from himself and cv313, accompanied by both artists remixing each other to run alongside their originals across the 12’’. cv313’s original mix of ‘Skycrossing’ opens the release and in typical Hitchellfashion treats us to eight and a half minutes of deep soundscapes, spiralling dub echoes, muted drums and a subtly unfurling feel throughout. Federsen’s ‘Dub’ remix of ‘Skycrossing’ then follows, offering a more refined and reduced feel with subby pulsations and crisp drums intertwined with dubby fragments of the original tracks. On the flip-side Federsen’s original ‘Skyway’ leads, employing a sturdy rhythm section with nuanced dub echoes and rumbling low-end swells. To conclude the release cv313 offers up his ‘Dub’ interpretation of ‘Skyway’, stamping his mark on things with phasing atmospherics, intricate oscillations and fluttering percussion
The Magic Movement proudly presents Bosquemar's new EP "Manco"
The title track is a remarkable showcase of Bosquemar’s distinctive sound, combining field recordings as the main ingredient, acoustic instruments, electronic rhythms, and dub influences. Rodrigo Gallardo, a key figure in the South American downtempo scene and ex-member of the renowned band Matanza, adds his well known vocal presence to the track. His contribution infuses Manco with authenticity and depth, creating a rich, multi-layered listening experience.
On his new EP, Bosquemar invites listeners on a profound sonic journey, transcending typical boho aesthetics to explore deeper psychedelic territories. This single reflects his mastery of folktronica, blending traditional and electronic elements to craft a transformative sound that resonates deeply with the listener.
With Manco, The Magic Movement continues its tradition of curating innovative music that pushes the boundaries of organic and electronic fusion. By merging traditional instruments with modern production techniques, the label showcases the soulful depth and creative vision that define its releases.
Parade Ground march back to Dark Entries with The Hidden Side, a compilation of B-sides and unreleased material. Brothers Jean-Marc and Pierre Pauly started Parade Ground in Brussels in 1981. Their Dada-laced brand of post-punk fuses propulsive drum machines and icy synths with skeletal guitar riffs and Jean-Marc’s distinct and powerful voice, pioneering the subgenre of emotional body music. The brothers met Daniel B. and Patrick Codenys of Front 242 in 1982, marking the beginning of an enduring collaborative partnership. In 2011, Dark Entries released The Golden Years, a compilation chronicling the band’s A-sides and exposing them to a new generation of EBM enthusiasts. The Hidden Side continues this mission, illuminating lesser-known facets of the band’s oeuvre. The tracks here were written between 1982 and 1989, and showcase Parade Ground’s range of styles - all cold, dark, and brooding. Tracks like “Riddle in the Stain Glass Window” and the previously unreleased “Looking Through Keyholes” see the band in menacing coldwave mode, rocking chorus-drenched bass guitar and blasts of analog synth. The band’s dancier proclivities shine elsewhere, like on “Off-Balance” or the supremely funky “Hollywood (The Sexiest Fish),” a floor-filler driven by bass guitar and thumping digital drum machine beats. Also included is “Marble Mind,” a previously unreleased latter-period track from the band recorded by Patrick Codenys at 242 Studio. The Hidden Side includes liner notes featuring lyrics and a photo of Jean-Marc and Pierre Pauly. Additionally, a newly remastered edition of The Golden Years will be released along with The Hidden Side.
In ihrer bisher zwölfjährigen Band-Historie veröffentlichten Nicolás Jaar und Dave Harrington, zusammen bekannt als DARKSIDE, die beiden Alben ""Psychic" (2013) und ""Spiral" (2021). Mit ihrem langjährigen Freund und Kollaborateur Tlacael Esparza als neues Bandmitglied und Schlagzeuger kommt jetzt ihr drittes Album ""Nothing". Das Ergebnis ist faszinierend und vielschichtig. DARKSIDE schmücken ""Nothing" mit prägnanten Rhythmen, verzerrten Vocals und kreieren eine ganz eigene, wie ungewöhnlichen Ästhetik.
Um die Entwicklung zu verstehen, muss man die Hintergrundgeschichte kennen: Jaar und Harrington lernten sich in den frühen 2010ern während ihrer Schulzeit in Providence kennen. Während der Tour zu Jaars Solo-Debütalbum fand eine spontane Aufnahmesession an einem freien Tag in einem Berliner Hotelzimmer statt. Die Session war wortwörtlich brandheiß, denn sie endete mit durchgeschmorten Lautsprechern. Der Raum füllte sich mit Rauch und der an diesem Tag entstandene Song wurde ihre erste gemeinsame Single ""A1", DARKSIDE war geboren.
Zwischen den ersten beiden Alben legte das Duo eine sechsjährige Pause ein. In dieser Zeit verfolgten Jaar und Harrington jeweils eigene kreative Wege: Jaar etablierte sich als Solokünstler und Produzent, während Harrington als innovativer Gitarrist und Experimentalmusiker die Underground-Szene in L.A. aufmischte und die Rock-Band Taper"s Choice gründete. Die Geschichte setzt sich dann im Herbst 2022 in Los Angeles fort als das Duo eine Reihe von Shows buchte, um sich nach acht Jahren erstmals wieder als Live-Band zu vereinen. Esparza kam als festes Mitglied hinzu und veränderte grundlegend den Klang und die Energie der Band. Die Idee von ""Nothing" entstand während der Suche nach Achtsamkeit und Harringtons stillen Momenten mit seiner neugeborenen Tochter, in denen er Schönheit im Nichtstun fand. Für Jaar wurde ""Nothing" zu einem Symbol für die allgegenwärtigen, wie überwältigenden Probleme, unausgesprochene Gefühle und den Stillstand in globalen Krisen wie Klimawandel, politischer Heuchelei und wiederkehrender Gewalt.
Refracted's "In Veil" materialises as the third emission in the Titrate series. A gradual unfolding across six passages, each step a study in the dissolution of boundaries.
Here, time becomes elastic - synthetic textures breathe alongside captured moments of reality, neither demanding prominence nor seeking refuge in the background. Percussion appears as memory rather than rhythm, while drones hover like fog over unknown lands.
Cut to 180g vinyl and embraced by 350gsm reverse board, "In Veil" doesn't announce its presence but rather seeps into awareness.
The album SATO was made by the Ukrainian Crimean Tatar pianist and composer Usein Bekirov.
SATO was created during the difficult wartime for Usein’s motherland Ukraine and for the author himself.
Despite circumstances, the compositions of SATO express the ideas of the beauty and revival of Ukrainian music, a part of which is Crimean Tatar folklore.
The uniqueness of the release is caused both by the concept of the album and by the performers' star crew.
The jazz sound of the compositions of SATO is directed to the stylistic course of ethno-jazz and world music.
Rhythms and melodies of colorful Crimean Tatar folk music became the main source of inspiration in the creation of the album.
We can find both Usein's original author's themes, skillfully stylized to the oriental sound,
and referenced to the classic jazz vocabulary in its juicy riffs and grooves with features of fusion and funk music.
The name of the album reflected the inheritance of generations through music.
Sato is not only a folk instrument but also the name of the first Crimean Tatar jazz band, which made the first jazz arrangements of Crimean Tatar songs.
The music of this band became the basic musical experience of Usein Bekirov, because one of the members of the group was his father Riza Bekirov, to whom the album is dedicated.
The author and producer of the album is Usein Bekirov - Ukrainian pianist, composer, arranger, sound producer, and author of music for a number of films and theater performances.
Usein Bekirov cooperates with both foreign and Ukrainian musicians of the highest rank.
This is evidenced by the participants of the album Sato: Dennis Chambers, Randy Brecker, James Genus, Mike Stern, Ada Rovatti (USA), Hadrien Feraud (France), and Cenk Erdogan (Turkey).
Each performer reinterprets the author's material of Usein Bekirov through the prism of his own experience, character, and manner of performance, which was expressed in the daring stylistic combinations within a jazz style.
A special role in the creation of the album was taken by the participants of the recordings, especially, legendary jazzmen Dennis Chambers, Randy Brecker, James Genus, Mike Stern.
Their ideological and creative support became an important part of the creativity process.
Musicians expressed their impressions in small addresses for the audience.
One of the reviews of the musicians:
"The process of recording compositions was really exciting! This music reflects Usein's national origin and sense of his native culture.
It is full of real emotions. Actually, this music is quite difficult, but it is very well written and produced!
I sincerely hope you will notice this album, which also took part in Dennis Chambers, James Genus, Mike Stern, Ada Rovatti, and others.
I think it's going to be a really special album, can't wait to hear the final version.
When you hear about the premiere, I highly recommend listening to this new album created by Usein Bekirov.
It will be great!" Randy Brecker
Over three years in the making, Needle Mythology Records is delighted to announce a super deluxe, expanded remastered reissue of The Lilac Time’s 1991 masterpiece, Astronauts. Released as a triple vinyl, triple CD or single vinyl, only 1000 copies of each format will be produced, there will be no further pressings. Both the 3LP and 3CD editions will come with an extensive 11,000 word oral history of Astronauts and liner notes by Needle Mythology co-founder and longtime Stephen Duffy fan, Pete Paphides.
All three albums including a 2024 remaster, a collection of works in progress entitled‘Softened By Rain The Making Of Astronauts’ and a live compilation ‘Any Road Up The Lilac Time Live 1990/91’ have been mastered for vinyl by Miles Showell at Abbey Roadand will be housed in a triple gatefold sleeve with a colour inner sleeve and new artwork for each disc, which has been especially created by designer Mike Storey. The main sleeve for Astronauts itself will replicate the original artwork but with the four distinctive “blobs” rendered in a red “foil” texture. In addition to these three disc sets, 1000 single vinyl remastered copies of Astronauts will also be made available, in a cherry red vinyl edition to match the outer sleeve.
With the shoegaze and baggy movements at their zenith, The Lilac Time’s fourth album was released at a moment when the left-field music zeitgeist was shaped by the nascent shoegaze, baggy and grunge movements. Whilst Astronauts conformed to none of those trends, neither was it the record Stephen had in his head when he finally finished working on it. We’ll never know how that record would have sounded, but it’s hard to imagine a better version of the album he did end up making. The songwriter who brought ‘A Taste of Honey’ and ‘Hats Off, Here Comes The Girl’ into the world envisaged the sort of choruses that would jump from the single speaker of your favourite transistor and lodge themselves into the collective memory bank.
But while he really was writing some of his most beautiful melodies, Astronauts is a family of songs that demands to be kept together in the sundazed cloud of inspiration that created it. It constitutes a partial retreat from the outwardfacing utopianism of its predecessors, choosing instead to dwell on the journey taken to get to this point. That this is an audibly different band to the pastoral expeditionaries of the group’s previous releases is almost entirely down to the departure of Nick Duffy and the arrival of Sagat Guirey. Suddenly, accordions, banjos and mandolins are out; jazz guitar is in. Sagat’s filigree work on the outro of ‘A Taste for Honey’ acts as a sublime parting shot to a lyric which acts as a wiser, wistful companion piece to Stephen’s 1985 solo hit ‘Kiss Me’, something tantamount to the camera retreating to reveal the years elapsed between the time depicted and the present day. The distance between the carefree youth of pop stardom and the first intimations of mortality can be measured between the first and second verses of the quietly devastating ‘Madresfield’; from the depiction of the deserted cricket pavilion obscured by fresh snowfall to the sudden shift in perspective from subject to protagonist: ‘No one ever told me/That killing time is harmful/For time cannot recover/What soon the ground will offer.’ For all of that, however, the resulting album didn’t correspond to the vision its creator had for it. At a loss as to what to do with it, Stephen surrendered Astronauts to Creation with no plans to promote or draw attention to it. The consciousness shift of which Stephen had hoped The Lilac Time might be a precursor hadn’t happened. Or, rather, it had – but it had happened elsewhere, in the Haçienda and Shoom and in Ibiza. Not on the hills of Herefordshire. In a nod to that sea change, Stephen handed over one song, ‘Dreaming’ to Hypnotone, who
The NOW Yearbook series continues with the ultimate soundtrack to one of pop’s most dynamic years: 1998 - out February 14th! This collection brings together the biggest and most iconic tracks from the year, presented across three stunning coloured vinyl discs, pressed in neon violet with 43 tracks from the era and two CD editions available as a standard 4-CD set, and as a special edition 4-CD set in ‘hardback book’ packaging, which includes a 28-page booklet packed with notes about all of the 80 featured tracks that capture the unforgettable sounds from the year. Whether you’re reliving the hits or discovering them for the first time, this collection brings you the best from the singles charts of 1998.. Whether you're revisiting these unforgettable hits or discovering them anew, NOW - Yearbook 1998 brings you the best from the singles charts of 1998!
"Mix made with 95 % exclusively prev unreleased original materials - edits, outtakes, versions, takes + oneoffs from recording sessions over the past few years.
Made with stems from recent projects and collaborators, including: raw nug tape recordings + snippets Jordan playing flute in a waterfall cave (the one i used in 'Night') + drum edits, live recordings from decks mixing sessions, Róisín's harp and vocal takes from upcoming project, track with Mari, remix for Felipe’s well frozen piano album, Etienne de Lavaulx zither improv mixed from youtube, demos, outtakes and voice memo type field recordings, unreleased track with Joel, unreleased edit of guitar part from JQ,+ outtake from Planet Inc sessions.
peace and blessings
x"
- Florian TM Zeisig
Professionally duplicated at a carbon-neutral facility
Edition of 120
Oversized custom cut LP jackets (13” / 33.02 cm width)
Silkscreened with bespoke iridescent citrus green ink by Mark Rice
Short story by Natalia Zuluaga
Flexi 7”:
steaming mescaline (extended mix by bad lsd trips)
Citrus green metallic foil stamp
Pressed in full stereo
Edition of 150
I.
bad lsd trips is the collaborative duo of makers doris dana and domingo castillo flores. Respectively the two have fostered practices that have sprawled out through various approaches and, whether in the lanes of the musical or the contemporary arts, the phenomenology of the social and inclusive prevails. On ultrafest, this motif continues through the psychedelia of its eight time-defying recordings, welcoming the listener into an open temporal architecture of the stereo field as a signifier of environment. It is worth noting that the group began collaborating in Miami, Florida with longer form improvisations recorded to a stereo cassette deck. In these recordings, the paved geographical sprawl and oceanic view permeated the approach to amassing long swaths of sound material. Listening back on that work at the time of this writing, each track feels as though one is walking into an active space, arriving to an event already in full swing and finding your place inside of it. On ultrafest (this album) something different occurs. The space and events are built around you as you move through the record.
II.
The name of the album is ultrafest, which should effectively provoke your mind's eye the imagery of young people dancing, salivating, grinding, and imbibing chemical compounds to the perversely formalized musical genres of “Electronic Dance Music” and latter-era Dubstep often heard in European Uber rides and energy drink commercials. A far distance from the icy and machinic reverie of Techno’s finest rave eras or the notable historical contributions of Miami’s cerebral producers to IDM’s global output, ultrafest is a libidinal catharsis as festival scaled to a multinational corporation of hedonistic excess. The festival has been a hallmark of Miami cultural industry production and optical enticement for tourism, purportedly bringing in nearly a billion dollars in revenue to the city since 2012. Scores of documentation exist wherein this decadent escapism leaves the concertgoer, usually in some neon garment on a near nude body potentially adorned with fluffy faux fur leg warmers, facing a comedown from the combination of volume, sun, dehydration, and methylenedioxy-methylamphetamine. This MDMA experience characterizes an aspect of the way bad lsd trips employs vocals and pitch on this album. The detached, high octaved longing of a high pitched vocal is decoupled from its typical auditory body of song. High-pass clicks and pops touch the (h)air on the back of the neck, promising goosebumps and teasing towards euphoric rushes of dopamine, yet also exist decoupled from the body of song. As the dopamine depletes and the sun imposes itself, Miami’s downtown of skeleton real estate is your company as you meander towards your parked vehicle to rest your fatigued senses, elevated heart rate, and quench the need for air conditioning on your skin. The immediacy of bombastic social immersion to architectural alienation palpable here.
Throughout the 1980s, Michael Antener, born and raised in Bern, Switzerland, initiated an array of sonic endeavours in the realm of industrial, dark, aggressive music. Of his times as a post-apocalyptic hunter, he says today: I found a musical niche where I could express myself, along with other people who were not afraid of dark themes. It would have been hard to sing about love in my music, so I included sounds and cries of pain taken from horror movies.
It was a fortunate coincidence to come across one of his self released records, the 1986 EP Strangler of the Swamp, which marked the beginning of our quest to find this all but forgotten musician whose work seemed nowhere to be found. Eventually, we got in touch with Michael, who is still living in Bern, and began the process of searching through all his surviving musical and visual material.
The triple vinyl release is all about documenting Michael Anteners adventures during that intense 1980s period. We tried our best to select the most interesting material from his two earliest projects, The Strangler of the Swamp and Bande Berne Crematoire, comprising materials from vinyl records, cassettes, and live recordings, some of it unreleased. The release also includes a deep dive into Michaels visual archive of posters, photos, and sleeve artworks.
The disjointed, tumultuous body of work presented here marks the testament of a fringe musician who was disruptive and confrontational, keen to shock and alarm people (much to our liking), and who could easily have been lost in oblivion.
Since launching her own club night, “Motivation,” back in 2018, B.AI has played a key role in bringing the underground’s club sounds to her home country, China. While introducing some of the scene's most exciting artists to her local audiences, she emerged as one to look out for as well: first as a DJ and quickly thereafter as a producer. Her original takes – a sensitive, highly personal approach to melody and a knack for playing with expectations – crystallized in a slew of A+ releases and a couple of international tours. This trajectory, shaped by taking matters into her own hands and self-empowerment, now sees a logical next step, with the inception of a label that will also operate under the “Motivation” banner and features her own “Hope” EP as its first release.
Sparkling mallets, with synth-pop quality catchiness, open the title track. Rather than further evolving, their two-bar arrangement gets looped over and again, serving as the foundation for a slick FM bass rhythm and a variety of hooks. Although these incline to the bright, the overall vibe is melancholic. In vintage B.AI style, the aptly titled “Hope” is more ambiguous than its patches suggest. Similarly, the vocal this type of palette would call for ultimately comes in the form of aloof, covert musings. A bit buried in the mix, they are most efficient – just like the tension that keeps brooding underneath the surface.
“Murderbot Diaries 1991” turbocharges four-to-the-floor synthetic drums with an arpeggiated rolling bass. The blue note melody on top feels sequenced via a pocket calculator, and the dissonant, electroclash-reminiscent stabs that follow might sound even more angular. The tune is frantic, sinister – and perhaps above all tongue in cheek. It reaches fever pitch with the arrival of a tubular bell theme between the two breaks.
“Once”’s slomo cutoff modulation on the 16th note mid-bass instantly creates a sultry atmosphere that meshes greatly with the pastel cool of the gently delayed DX7 leads. The energy drifts between effortless control and uncertain outcome. These contrasts are amplified as the drums alternate amidst moderation and beat-repeat rendered havoc.
On “Only We Know,” a progressive sine lead lays out the central motif. Yet as briskly as it appears, it makes way for detuned, gliding square waves taking on the same theme. This outlines the track’s structure: as slightly morphed repetitions keep getting introduced almost haphazardly, a dreamlike, mesmerizing ambience unfolds. Techy drum rhythms and a 101-type bass make sure everything stays fuelled. Within the ingenious tapestry of melodies and new twists, it never loses touch with the dance floor. It illustrates B.AI’s club savvy neatly and is therefore a perfect closer for this EP.
Departing the Wasteland, the new album by Finnish pianist and composer Alexi Tuomarila, marks the beginning of a new creativeflowering for him and also 20 years of playing with the trio that’s at the heart of the album: Mats Eilertsen on bass and OlaviLouhivuori on drums. Portuguese guitarist Andre Fernandes and guest players add richness and texture to the trio sound whichincorporates electronics and synthesised moods and tones.For more than 15 years Alexi Tuomarila has been quietly building a considerable reputation as one of the finest pianists of hisgeneration in Europe. In 2003 he signed with Warner Jazz France, releasing the album ‘02’ ’, which brought him worldwideattention and critical acclaim. He shared the stage with some of the biggest names in jazz, his international career and talent fastdeveloping when, without warning, Warner Jazz ditched their jazz and classical department. He then worked for a decade withPolish trumpeter legend Tomasz Stanko, playing piano on the acclaimed album Dark Eyes for ECM Records, and collaborated withhis current drummer Olavi Louhivuori (Oddarrang) with whom he continues to record for Edition.Alexi Tuomarila has three highly successful albums on Edition, Seven Hills (2014), Kingdom (2017) & Sphere (2019).
Devilish edit duo Duane Harriott and Sean Marquand aka Devin Dare are back with some fresh flips for the new year! Kicking off with feel good classic NYC disco, DANCEMUZAK spins a familiar tune into something hypnotic and driving, while ITSDISCOTIME takes some mind-blowing holy grail source material and loops and builds to perfection. The flip side launches with the cheeky uptempo soul of LOOKINGGOOD that seems almost predestined for a Theo Parrish set, and finishes slow and low with the Clavinet driven funk of 1HEATER4SASHA. DD show once again why they are some of the best editors in the game!
Last May, Hard Times captivated us with The Lost D.A.T.S (Part One)—a remarkable collection of unreleased and freshly unearthed gems from the vaults of NYC legend DJ Romain. But the story didn’t end there. To our surprise and delight, Romain had delivered an even larger treasure trove of beats—too many to reveal all at once.
Now, Hard Times is proud to present the next chapter: DJ Romain – The Lost D.A.T.S (Part Two).
"1996-97? Yeah, that’s when New York was still NEW YORK!
That was around the time we really started to get hold of exotic herbs. Copper Haze, hydroponic! The vibes in the studio were always lovely. I had hair at the time! Dread-Locs down to my shoulders... I was still rockin’ the Wallabees, or British Walkers as we called them - representing for Brooklyn and my West Indian roots!
There was no social media, no supervision, nobody all up in our business… It was classic "mind your own business" NYC Vibes! I was DJing at a lot of the hot clubs and THE hottest afterhours in the city. There were nights when I saw Micheal Douglas roll into the afters with Grace Jones - they were there to party and unwind and I was there dropping the dope tracks for the people.
When it was studio time, with my homie Matt Echols...I was probably setting things off with some quality herbage, a big ass bag of Funyuns and my trusty SP-1200, lol. I had picked up some tips and tricks from Todd Terry and by '96-'97 I was a Shaolin with it myself! This was around the time tracks like "Flowers" and "Only Love Can Break Your Heart (Dub)" were tearing up the clubs. I wanted to be able to get my ideas out with no problem, and by then I had a lot of confidence...
Being able to Dj in some of the hottest NY hot spots at the time, I was able to really see what worked and what didn't on the dancefloor. The best House Dancers from around the world and around the Tri-State area would be at my jams. I'm talking Ejoe, Voodoo Ray, maybe kids from the Mop-Top Crew... I was definitely taking note of the kind of rhythms and sounds that would make them go crazy on the dancefloor!
And that's how we went about it - I laid down the rhythms that made it happen in my sets and translated the vibes I was picking up from NYC itself. Matt threw down musically and we were just being as creative and inventive as possible! But we always kept in mind that our job was to make the people on the dancefloor jump!
A lot of the jams from those days got signed to various record labels, we dropped a lot of them on our own label...and some of them ended up in the archives - until now!"
1. Watermelon Man
This track version actually came from an improvisation that Allesandro IIona (Keys) made on a live show at RonnieScott's at the start of the year. I think we were were having some issues with one of the monitors on stage and it juststarted making this beeping sound. Then I remember Alleh just came in with that piano riffat the start and the rest was history. This one of thefirst tracks we recorded for the EP and I'm super pleased with how this one turned out. Afterseeing Herbie Hancock live for thefirst time the year before, this felt like the perfect tribute to him!
2. Mandible
The majority of the writing on this album was done at my studio space in Hither Green, where I am every tuesday! I usethis space to record but mainly a space to develop my art. So this EP all came from a few sessions there. We all haveour own creative things going on so it was really great to collaborate as a band and trash out some ideas we had.Mandible is one of my favourite tracks on the EP. It's very simple but leaves us a lot of space to explore some more freeimprovisation. I think in some of my previous recorded music I was more focused on creating well crafted music withgreat melodies and harmony. Whereas here there's a bit more focus on playing as a group and being more explorative inimprovisation. We also didn't have a melody for this track until a week before the recording! Sometimes it just takes awhile tofind that melody or it might just pop into your head one day.
3. Slum
This is a tune that was actually written by myself in 2017/18. Round about that time, I had been playing at a jam night ata warehouse unit in Limehouse called Unit 31. The night was ran by Pianist Raffy Bushman and Drummer Sam Michnikand was focused on hiphop and Jazz fusion. We would usually play a set of instrumental music before it opened up forvocalists and other instrumentalists to come and jam. It was a great place to try out new ideas, so I wrote this tune for itbut we never recorded it. It was really nice to revisit this tune and get it recorded properly at 'That SoundStudios' (Seven Sisters). This track is all about dynamics and a slow build throughout. Descending to more chaos at theend!
4. Red Pistachio
For thefirst two sessions we wrote with a different bass player to Edmondo Cicchetti who is on the recordings. A greatbass player and friend of mine Tom Driessler. This track started kinda exactly how it starts on the record, with that basshook. I'm very influenced by Christian Scott Atunde Adjuah and his melodic writing. Particularly on his album 'StretchMusic'. So this felt really inspired by that album. The chords don't really move around too much until the solo sectionwhere it becomes more like a blues. Then Allesandro get's a bit more loose at the end with the descending sequence.
5. Jerome arrived Late
Quite simply we started writing this tune before Jerome (Drums) arrived late. In the recording session we were a bitundecided about what to do in the solo section. We tried out a few different options before we eventually landed onfeaturing Gabriele Pribetti on Sax. I'm really into his solo on this as it's rhythmically and dynamically really exciting. As Imixed the record it was also a great solo to mess with and run through lots of different plug-ins. There's some weirddelays and phasing going on that and I added some octaves too in places.
New Order are delighted to announce the release of the definitive edition of their 1985 studio album Low-Life. The collection includes an LP (180g), x2CDs, x2DVDs, a book and features unreleased rare material across the different formats and new sleeve designs.
CD 2 contains previously unreleased mixes and alternative versions, including Love Vigilantes and Sub-Culture instrumentals, Sooner Than You Think Full Length Unedited. The two DVDs include an unreleased performance from The Manhattan Club, Belgium and rarely seen footage from Rotterdam Arena (Netherlands), International Centre (Toronto, Canada) and a BBC filmed Whistle Test at The Hacienda, 1985.
The 180g vinyl LP will be wrapped in its original ‘heavyweight tracing paper’, designed by Peter Saville. In addition the CD will also be wrapped in the same way for the first time ever. Also included in the set is a beautifully presented hardback book featuring rare photos and a new interview with all band members.
Marketing to promote the release include:
• National press and radio promo campaign – reviews, features, and interviews TBC.
• Organic and promoted content from the New Order official socials and Warner Music owned socials.
• Promotion of singles pre-release with BBC 6 Music support.
• Far-reaching online advertising campaign.
LP 180g Vinyl
Side one
1. Love Vigilantes
2. The Perfect Kiss
3. This Time of Night
4. Sunrise
Side two
1. Elegia
2. Sooner Than You Think
3. Sub-Culture
4. Face Up CD1
1. Love Vigilantes
2. The Perfect Kiss
3. This Time Of Night
4. Sunrise
5. Elegia
6. Sooner Than You Think
7. Sub-Culture
8. Face Up
CD2: Extras
1. Love Vigilantes - TV Pitch Instrumental Edit (mono)
2. The Perfect Kiss - Writing Session Recording
3. Untitled no. 1 - Writing Session Recording
4. Sunrise - Instrumental Rough Mix **
5. Elegia - Full Length Version *
6. Sooner Than You Think – Album Session Unedited Version
7. Sub-Culture - Album Session Early Instrumental Version
8. Face Up - Writing Session Recording
9. Let's Go – Album Session Instrumental
10. Untitled no. 2 - Writing Session Recording
11. Sunrise - Writing Session Recording
12. Love Vigilantes - Writing Session Recording
13. Sooner Than You Think - Writing Session Recording
14. Skullcrusher – Demo
All tracks previously unreleased except * and ** (previously unreleased on CD and Digital)
DVD1
Live in Tokyo
The Koseinenkin Hall, Tokyo, Japan 1985
1. Confusion
2. Love Vigilantes
3. We All Stand
4. As It Is When It Was
5. Sub-Culture
6. Face Up
7. Sunrise
8. This Time Of Night
9. Blue Monday
Live in Rotterdam
The Rotterdam Arena, Netherlands 1985
10. As It Is When It Was
11. Everything's Gone Green*
12. Sub-Culture*
13. Ceremony*
14. Let's Go*
15. This Time Of Night*
16. The Village
17. The Perfect Kiss*
18. Age Of Consent*
19. Sunrise
20. Temptation*
21. Face Up*
Live in Manchester
Whistle Test, The Hacienda 1985
22. As It Is When It Was
23. Sunrise
24. Face Up - Restored version using available footage from The Hacienda Dec ‘85 and July ‘85.
DVD2
Live in Leuven
The Manhattan Club, Leuven, Belgium 1985
1. Let's Go*
2. The Perfect Kiss*
3. Age Of Consent*
4. State Of The Nation*
5. As It Is When It Was*
6. The Village*
7. Sub-Culture*
8. Atmosphere*
9. Blue Monday*
Bonus Tracks
10. Thieves Like Us*
11. Temptation*
12. Confusion - Restored version from damaged tape with mixing desk audio.*
Live in Toronto
Filmed by Paul Boyd
The International Centre, Toronto, Canada 1985
13. Elegia*
14. Sub-Culture*
15. The Village*
16. Sunrise*
17. We All Stand
18. As It Is When It Was*
19. Love Vigilantes*
20. 586*
21. Age Of Consent
22. Temptation
23. Ceremony*
24. The Perfect Kiss*
The Perfect Film
Rehearsal Room, Cheetham Hill, Manchester 1985
To celebrate the 10th anniversary of Biffy Cyro’s sixth studio album ‘Opposites’, the band are releasing the four EPs from the era ‘Black Chandelier/Biblical’ and ‘Opposite/Victory Over The Sun’ on vinyl for the very first time. These LPs will also be the first 12” to be pressed on sustainable ‘BioVinyl’ material globally by WMG. BioVinyl is an innovative product using bio-based PVC in the production process, without losing any of the acoustic quality of a conventional vinyl record. This release features the singles ‘Opposite’ and ‘Victory Over The Sun’.
Berlin’s Moses Yoofee Trio have confirmed details of their first new material since their 2023 mini-album, Ocean. ‘WHIP.wav’ will be released digitally on October 18, 2024, and represents the first taster for their debut full-length, MYT, set to be released by Nils Frahm’s LEITER on February 7, 2025. The German group recorded much of the album over ten days in April 2024 at Glaswald Studios, in the countryside outside Stuttgart, before returning to Berlin to polish the results and record two further tracks at LEITER’s Funkhaus studio. Available on vinyl and via all digital platforms, the album was produced by the trio with long-time collaborator and mixing engineer oh.no.ty. ‘WHIP.wav’, the original version of which was previously shared to social media to great response, is a perfect showcase for the band’s unique brand of sophisticated jazz, its laidback summer grooves lit up by Moses’ fluid piano lines, while drummer Noah Fürbringer’s deft rhythms lock in with Roman Klobe-Barangă‘s understated bassline. At just 100 seconds long, it’s also as succinct and straightforward as MYT’s title – and indeed many of its tracks – which reveals a lot about the Moses Yoofee Trio. The new album’s tracks display a remarkable determination to distil their work to its essence, allowing their prodigious talents and graceful versatility to flourish in uncluttered surroundings. Their goals, they state concisely, are “emotions, moments and bangers”, and careful attention was paid to arrangements to ensure nothing superfluous made the cut. Before coming together as a band, all three members were already deeply involved in the music scene, touring, recording, and producing for a wide range of artists and bands. They connected in 2020 when Moses met Roman at Berlin’s Jazz Institute, and it was the latter who suggested they jam with his friend Noah, who was living in southern Germany at the time but frequently visited Berlin. Amid the extended lockdowns of the Covid-19 pandemic, the trio embraced the chance to fully immerse themselves in the creative process. Since then, Moses Yoofee Trio have cultivated an extraordinary reputation for their shows, and this year they won the German Jazz Prize’s prestigious Live Act of The Year award. Recent highlights include a 2,500-capacity Elbjazz Festival booking beside Hamburg’s harbour, a riotous appearance at London’s Jazz Festival, and an intimate gig before 200 people at the German capital’s now redundant Tempelhof Airport on the rooftop of an air traffic control tower. Despite their own work as a trio, all three musicians remain busy elsewhere, with Moses, like Roman, often working with chart-topping Berlin-based Peter Fox, a frontman for reggae/dancehall/hip hop crossover act SEEED, and accompanying him on his extensive solo tours. Noah, meanwhile, plays with another renowned artist, German-American rapper Casper, as well as Sweden’s acclaimed Petter Eldh and German comedian / actor / musician Teddy Teclebrhan.
Can anybody think of anyone in contemporary House hustle more adequate to remix an Uncle Waffles tune than Keinemusik’s Rampa? Exactly. We find him attending to Waffles’ Amapiano anthem Tanzania to accentuate its onomatopoetic tone even more, to straighten it out and elicit all the style and peaktime potential Tanzania’s source material conveys. Out now on vinyl!
Konstantin Sibold makes his debut on Adam Beyer’s revered imprint with compulsively danceable, highenergy, abrasively dark yet, in Sibold’s expert hands, somehow upbeat three-tracker ‘Lost In Space’. Previously releasing on Afterlife, Running Back, Aufnahme + Wiedergabe and Innervisions, the German producer eschews any genre straitjacket with his underground roots and mix of very diverse sub-genres. As a DJ, Sibold plays iconic venues worldwide inc.
Panorama Bar, Fabric, Tomorrowland, Awakenings and is famed for his marathon B2B sessions with artist inc. Solomun, Kobosil, Kerri Chandler, Kevin De Vries, and his remixes of such differing luminaries as Vintage Culture, Rebuke, Adriatique, Lana Del Rey, Laibach, Royksopp & many more. For the title track, Konstantin collabs with rising 20-years-young Brazilian talent KAF3R who aims to bring ‘sentimental and memorable experiences’ to all, creating a maelstrom of yin & yang. ‘Lost In Space’: This Peaktime Mainstage Melodic Techno monster efficiently resets the dance floor and turns it upside down at the same time.
A spacey robot vocal riff predicts a massive synth orchestrated shutdown. Konstantin Sibold debuted this beast at Tomorrowland Winter Mainstage. Heavily supported by Kolsch, Vintage Culture, ANNA, Kevin De Vries, Innellea and many more. ‘The Arrival’: This catchy stadium singalong hymn unites the dance floor with its Hands-Up hook, gated vocals and rolling baseline. Feels like a retro futuristic classic you already seem to know from a distant euphoric memory. ‘Dark Matter’: A hypnotic, recurring melody transcends between light and darkness. Referring to Konstantin Sibold’s old melodic techno hits such as 'Mutter', but with the addition of a trippy, alarming vocal fragment.
Tearra’s “Just Loving You” on it’s original U.S Midtown label due to its quality and desirability continues to regularly achieve four figure sale prices on the rare occasion that a copy comes on to the open market. Soul Junction through a licensing deal with Emandolynn Music first reissued this modern soul anthem back in 2017 as part of a dual 45 package that included the previously unissued Delights track “Listen To Me Girl” with the limited 500 copy pressing run selling out in a matter of days. Since then, copies of that Soul Junction release have regularly sold for circa £60 a copy with sales enquiries still being received for either side of this 45 to this day. Therefore, we at Soul Junction have decided to fulfill this continued demand by reissuing “Just Loving You” for the second this time paired with Teeah-Louise’s “You Happened To Me” as the featured flipside (reissued for the first time).
Tearra, real name Teeah-Louise a native of Mobile, Alabama was offered a recording contract by Philadelphian Record Producer/Label Owner Manny Campbell Jr during 1980. Campbell himself had relocated his Emandolynn Music operations from the city of Brotherly Love to Atlanta, Georgia some two years earlier. Campbell had planned to record a whole album on Teeah-Louise under the working title of “Great Love”. He firstly released a lead 45 single, the mid-tempo “You Happened To Me/Got To Keep You Mine” on his Coastal label logo with the artist credited as Teeah-Louise. Teeah’s fiancé didn’t share his future wife’s ambitions of a recording career and her prospective album project faltered and was never completed. Although as a further two tracks had been recorded this allowed a for second 45 release to follow “Ooh Let This Feeling (Last A Long, Long Time)” backed with the desirable “Just Loving You” these were released on the Midtown label, with Midtown by then being Coastal Records main record distributor. This second release was credited under the artist name of Tearra, due to Teah-Louise by now not wishing to use her real name. Both the Coastal and Midtown releases were only ever pressed in 500 promotional copies runs. Teeah-Louise left the recording business for good soon after her marriage.
In addition, a later 12” Coastal Records single issued on the group ‘Tomorrows Wish’ featuring the song “My Love For You” which shares the same backing track as Tearra’s “Just Loving You”. All four of Teeah-Louise’s songs were wrote by Manny Campbell, with Manny sharing the songwriting credits on “Ooh Let This Feeling (Last A Long, Long Time)” with his cousin, Keith “Toppie” Hill notably a former group member of the aforementioned ‘Delights’.
LP on blue coloured vinyl in printed inner sleeve.This is country as it was meant to be: raw and honest. Not perfect-and it doesn't need to be. The beauty lies in the off-note, the stumbling rhythm, the simplicity of three chords that tell you everything you need to know.
The West is crumbling. It's values, once unshakable, have buckled under the weight of a world spinning ever faster and growing ever more hollow. Revival Of The West, Blue Gene's debut album, is his exploration of this collective malaise-a call to rediscover meaning in a world that has grown estranged from itself.
On his debut, Blue Gene gives voice to the contemporary themes that keep him awake at night: consumer hysteria, the numbing grip of social media, the solace found at the bottom of a bottle, the crushing weight of taxes, and the paralyzing complexity of a world where humanity seems to have been reduced to a cog in the machine. Yet, despite all the despair, his songs always carry a spark of hope: after the fall, you can rise again. These stories are wrapped in the sound of classic country music-music about life as it truly is: bent, battered, but full of resilience.
This is country as it was meant to be: raw and honest. Not perfect-and it doesn't need to be. The beauty lies in the off-note, the stumbling rhythm, the simplicity of three chords that tell you everything you need to know. Blue Gene's country music is the song of a man wrestling with life and himself, infused with humor, sharp lyrics, and anecdotal musical moments. Because sometimes, we just need to remember to laugh. In short, it's a mirror showing us our demons, but also a reassurance that teaches us how to live with them.
And yet, the question lingers: who is Blue Gene? Is he just a country singer putting strugglesto music? Or is he a modern Robin Hood in cowboy boots, a voice trying to do justice to lost ideals? Blue Gene exists in the grey area where music and meaning meet-and it's precisely there that he finds his strength.
Revival Of The West is no nostalgic longing for a bygone era. It's an invitation to reinvent the values we've lost. It urges us to return to a place where life can be honest again-where music doesn't aim to please, but to say something real. Because sometimes, a song is all it takes to make sense of the world around us.
Blue Gene (vocals & rhythm guitar) is joined on Revival Of The West by his loyal band of outlaws: Nathan Ysebaert (lead guitar & vocals), Tijl Van de Casteele (drums & percussion), and Tom Vienne (bass guitar, saxophone & vocals). The record is further enriched by guest appearances from Bart Vervaeck (pedal steel), Nils De Caster (violin, mandolin), Mathijs Steels (piano), Ciska Dhaenens (vocals), and Harry Descamps (vocals). Recorded in spring 2023 by Michiel Renson, mixed by Jan Chantrain and Michiel Renson, and mastered by Uwe Teichert. Produced, composed, and written by Timotheus De Beir.
Revival Of The West will be released on January 24, 2025, via On The Level.
10, 9, 8, 7, 6… the countdown to blastoff has started! Paris-based band Setenta is preparing for their upcoming 20th anniversary by releasing their sixth album, Apollo Solar Drive. The record is poised to be their best yet and is the culmination of an odyssey of artistic discovery. Setenta has been constantly striving for illumination through the years, yet also exploring the dark side of the human condition along the way. As the band describes it, this record is an Afro-Latin retro-futurist tribute to the sun. If their previous album, Materia Negra, launched the Setenta space shuttle crew into the void of “dark” matter and black holes, they now change course and valiantly approach the sun at full warp speed, taking us from darkness into the light. Miraculously, Setenta manage to bring some of the rhythmic and harmonic material they’ve explored on Earth with them, yet boldly dare to go where no one has gone before, challenging themselves to take their music, and their audience, to uncharted dimensions and new realms of existence.
In keeping with the themes of Materia Negra, FIP (Radio France) selection in 2020, Setenta’s sixth mission to explore “the great beyond” of “inner space” is aptly titled Apollo Solar Drive, emphasizing the band’s turning to the life-giving light of the sun for inspiration while playfully echoing the title of Eddie Palmieri’s Latin funk and social commentary masterpiece, Harlem River Drive. The overall vibe is warm and positive, propelled by the dual energy thrusters of funky, fierce beats and deceptively complex arrangements, yet going down smooth in the best sense of the word, like your favorite tropical cocktail or classic jazz dance fusion record of the 1970s. Of course this delicious treat is served with a special Setenta flavor all its own.
This time around, Apollo Solar Drive celebrates the trajectory of the band’s unique interstellar journey by deploying a resolutely jazzy, “funkadelic” angle to their beloved Afro-Latin music. Setenta’s band members tell their truths as a collective, with an emphasis on instrumental sections, focusing on the interweaving of multiple keyboards and guitars, while condensing the vocals to group choruses, as opposed to the solo voices of the past. The overall approach is more futuristic in its conception and realization, from the arrangements to the sonic engineering, although the rhythmic base still remains rooted in Afro-Cuban traditions as well as those of other Caribbean nations.
Pablo E. Yglesias (DJ Bongohead) of Peace & Rhythm (USA)
Piska Power presents Hazardous Marine Creatures.Techno with constant modulations that will make your room vibrate. Movements that envelop you and capture you at all times. Includes remixes from Squaric, a Techno version for the dance-floor and an Electro-classic version from Ilektrolab to travel to another dimension. Printed cover!
DIG CURATED the infamous four of this EP in an omnivorous fashion, allowing vinyl wizard Louis the 4th to take us on a ride of stylistic adventure between old and new-school techno wickedry.
Olivia Mendez (the curator behind this EP) picked these gems according to the way she would build her sets; each track corresponding to a distinct part of a blazing journey. Each track being a different color on a powerful, vibrant palette, attesting to the versatility of an artist whose emblem is anonymity - remember Detroit? - and reinvention. The man behind the bandana doesn't shy away from paying homage to the old school while at times enveloping us into a computerized sound chaos - classy as it is.
This selection reveals a side of LTF that hasn't been shown before, catching the ears of a great number of peeps, who could easily find their match here.
"Dilatation" is a chugging techno zinger, with a groove that feels minimal yet keeps expanding through punctured breaks and urging synth enveloped into a sustained air- a kind of tool that mounts the energy to near combustible.
"Almost There" decompresses space into a light-weight, energy saver atmosphere, that fleshes out a brand-new compartment in LTF`s music wallet. Threaded through driving rides and a rhythmic zeal, it wobbles gently between sustain and release.
On the flip side, "Kurrikulum Vitae" flexes LTS mechanics, with rascal shifts in a groove that feels simultaneously ancient and totally new, amassing a depth of textures and tones towards a skanking peak.
"999" seals the deal with multilayered distortions enveloped into ghostly undertones and reverbing crunches, half-step of being a techno-artefact and a dazzling sound puzzle, made of a loopy melody edging towards poise.
Follow-up album to cult-classic debut, Mantra Moderne.
‘Melodi’ is the second album from captivating duo Kit Sebastian (aka Kit Martin and Merve Erdem). Those familiar with the band's cult classic 2019 debut record 'Mantra Moderne' will instantly recognise their unique sound that blurs boundaries of world music, jazz and psychedelia. Not to be content replicating the same album, sonically the feel of ‘Melodi’ is a maturation. It is more diverse and provides glimpses into many different worlds from the Italian Riviera to the mountains of the Caucasus, the beaches of Bahia to the city streets of Istanbul and Paris. This joyous merging of soundscapes evokes a borderless planet with music as an international language, belonging everywhere and nowhere.
‘Melodi’ is imbued with Kit Sebastian's love of vintage records and world cinema, but it is not a retro homage. It celebrates its influences but is very much a modern record, being simultaneously brand new and retro. This is a credit to the duo's craft as musicians and songwriters, presenting their influences as a circular interaction between the present and the past rather than a linear one.
The music was written during the first UK lockdown and recorded that summer, a time of opening up that only briefly existed. In a world with a slower pace than before the Covid crisis, the band were able to spend more time experimenting in the studio. The album’s range of instrumentation has expanded from the previous record to include zithers, harpsichords, congas, bongos, bulbul tarang, and a mock-up choir on top of the synthesizers, balalaikas, organs, and saxophones. Session musicians and friends were also booked to introduce trumpet and string sections giving the album an added depth and orchestral texture. Despite the added complexity, the album was recorded using the same techniques employed for the previous album with various tape machines, bouncing back between cassette and ¼” tape for practicality and sonic abstraction. To pierce through this abstraction, the vocals are intentionally more expressive. Merve took cues from the Turkish singers of her youth, adding a slightly more melancholic, darker and more reflective style than 'Mantra Moderne’. Rooted in observations from everyday life, they speak often about the worlds and thoughts that arise from the end of the night.
Like with many of the best albums, the record seems over all too soon and has you instantly wanting to play it again. On each listen you decide on a track that you think is your favourite from the album only for it to be replaced with a different one on the next listen. The songs and production have hidden depths that seem to evolve and morph the more you devour them. Moments of pure pop, moments to fall in love, moments to contemplate. This journey is rich in musical vitamins and nourishment, but like all the best things still leaves you wanting more.
Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics, overlooked gems and never heard before material, mined from the last 30+ years of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond. Mint Condition have got their digging hats on to bring you exclusive heat and those rarer than rare jams that have been in your wants list for years. Dig in....
Tobias Menguser, AKA Leon De Winter, was a very influential figure in the 90's Frankfurt techno scene, releasing around 100 records under various aliases, including collaborations with Ricardo Villalobos, but it was his Leon De Winter alias that really caught the ears of legendary London label Eukahouse, who originally releases this 12" all the way back in 1997. A one-off, it is not only unique in its sound design but also genre defying, spanning deep house, tech-house, techno, electro and breaks.
A-Side 'Apollo Jazz' is truly that, sounding like it was composed from a freeform jam on a trip to the Moon. Opening with emotive chords, the track lifts off and builds, melodies effortlessly twist and turn, superbly pulling together a variety of well crafted synths, bass and percussion whilst keeping the energy to the fore. Over to the B-Side, 'Metamat', is bold and more playful in its execution, more sonic trickery abounds as the opening riffs and breakbeat percussion give way to a solid 4/4. The bass is as memorable as it is quirky, but again it's the strength in the way all the elements build and combine that creates some real tripped-out musical moments without ever losing its dance floor appeal.
This is one of Tobias's most sought after releases and it's no wonder his collaborative work with Ricardo Villalobos is legendary. The tracks themselves have remained exciting and relevant, achieving cult status amongst the most discerning DJs, record collectors and music heads alike. Legitimately re-released with the full involvement of Tobias Menguser, lovingly remastered by London's Curve Pusher from the original DATs especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition!
First Word Records is very proud to present a brand new EP from Yazmin Lacey - 'When The Sun Dips 90 Degrees'.
This EP follows on from her two recent singles, '90 Degrees' and 'Something My Heart Trusts', both of which are included here, along with three previously unreleased tracks, 'Heaven', 'Body Needs Healing' and 'Burn & Rise'. This set illustrates again Yazmin's candid songwriting delivered in her uniquely laidback soulful style, whilst a glorious fusion of neo-soul and jazz performed by Pete Beardsworth and her trusty band rides throughout.
In recent times, Yazmin has made live appearances on Jazz FM, BBC Radio 4, 1Xtra and NTS, & received widespread acclaim across the airwaves, including BBC Radio 2, BBC 6 Music, Worldwide FM and Mi-Soul, plus Spotify love from the likes of The Independent and heavy support from DJs such as Gilles Peterson, Jamz Supernova, Tom Ravenscroft, Huey Morgan and Jamie Cullum. Yazmin appeared heavily in The Guardian / The Observer's recent extensive feature on the UK's new Jazz movement too.
Initially a Brownswood 'Future Bubbler' graduate, Yazmin self-released her debut EP, 'Black Moon', last year. This lead to a Maida Vale session late 2017 with Jordan Rakei, Moses Boyd, Oscar Jerome and now label-mates, Children of Zeus. She kicked off the year with a performance at the Worldwide Awards with Skinny Pelembe, and has recently done shows with artists such as Ezra Collective, Tall Black Guy and Fatima. Yazmin has a UK tour scheduled for later in the year, as well as several festival appearances across Europe locked in. There's a lot more to come from this Notts-based Londoner yet.
In Yazmin's words: "'90 Degrees' is about that time of the day / night when there's a shift in pace and energy. When you decide to lock off from the 'outside' world and create your own atmosphere, take some time to give thanks for what's breathing love into your life and smoke off the fuckeries. Everyone needs a little routine for self preservation."
Spiritual jazz fans are going to rather excited about this new one from the hard working people at P-Vine over in Japan: Chicago saxophonist Prince Billy Marge Wright's finest work, 'Summer Love', is now arriving on its own 7" for the first time ever. It is previously lost material that showcases his next level sound though here featuring mainly keyboard instruments as opposed to his more usual saxophone, but that only makes it all the more uplifting. On the flipside is a remix that is just as rare so this one really is an essential record for your collection.
La Matta Records proudly presents the first official reissue of Io Sono Io (Eu Sou Mais Eu), the rare Italo-Brazilian track by multi-instrumentalist and composer Ana Mazzotti.
Originally recorded between the legendary Estúdio Haway in Rio de Janeiro (1973-1977) and Rede Tupi’s studios (1978), where the Italian version first appeared released by GTA – Gravações Tupi Associadas S/A, this reissue captures a pivotal moment in Ana’s career and also includes collaboration with the Azymuth band. With its characteristic blend of jazz, bossa nova, and funk, Ana’s voice stands out in the groove with unique precision and emotion. Renowned for her experimental approach and praised by figures such as Hermeto Pascoal—who referred to her as a “super-musician”—this fully remastered gem is now available for collectors and enthusiasts on vinyl and all digital platforms. It also includes a killer extended mix and the 1977 version with horns.
Following up on the 2024 released remix album You Are Dreaming! Random Numbers continues its presentation of La Serpiente’s immersive output with Elaphe Dione: The first full-length album of the multifaceted producer and a matured imprint of his distinct sound. The record includes five tracks and a digital bonus exhibiting a sonorous marriage between post-industrial esotericism and club-ready psychedelia; A labyrinth of elaborate sound design coiling around sharp rhythms, adorned by fractured voices spawned in obscure worlds. With sensibility towards granular detailing amidst a powerful cascading flow, La Serpiente’s versatile sonic arrangements coalesce into music that always breathes – A drifting current of enchantment materializing as a release that is both ornamental and symbolic in its vision.
Complete your collection with NEOACID14 and its 5 outstanding tracks; now carefully materialized on a premium and visually striking vinyl, crafted with love and precision to delight your ears as much as your living room.
"Slim Media Player returns to Pacific Rhythm with a wonderfully original EP, Quicksand, his first new material since 2016's Rhythms Of The Pacific Volume 3. The EP is the product of Slim Media Player & DJ D.DEE culling through 20+ hours of live jams recorded in Vancouver at Deep Blue Studios from 2016 to 2018.
The EP opens with the records namesake Quicksand, a playful piece of peak-time material that's quirky, uplifting, and dare we say a touch heart-warming. Mouthfeel comes through swinging but plays a touch more koi than the opener, serving as an effective tension-builder on the dancefloor that builds into a thoughtful groover with some light at the end of tunnel.
On the b-side S.M.P explores deeper territory with Memory Bias (Nostalgia Mix), an aquatic roller blanketed with warmth and a contemplative aire that stretches for nearly 9 minutes. The EP fades out with the gentle drift of Tschüs, a warm swaddle that will quell your anxieties and affirm that there are indeed some things that are right in this world, this track being one of them."
Embarking on a 50 minutes journey through the ethereal, TRANSCEND by Moonglade Sound is a meticulously curated double-sided compilation, mixed and compiled by Kirill Matveev, that unveils a realm of sonic exploration.
Featuring a diverse lineup of artists—such as Cousin, Dub Tribe Sound System, Vision of 1994, Nice Girl, Molez, CosineVi, Gyu, VTL One, 99HP, and Angus Mills—the album highlights the allure of the rare and the extraordinary.
Each track radiates a subtle, enigmatic charm, intricately blending avant-garde nuances with deeply resonant soundscapes. The selections are masterfully restrained, yet rich in emotional depth, offering serene moments of reflection alongside vibrant, soul-stirring beats. TRANSCEND delivers an immersive listening experience, bridging the tangible and the transcendent.
This release transcends the boundaries of a traditional compilation; it stands as a musical gem, crafted for discerning collectors who value the exceptional. A true treasure for those looking to elevate their record collection, it serves as a timeless homage to the art of sound.
Mike Inzinger trades with a wide array of sounds, intersecting Ambient, Techno, Electro, House and Acid elements.
The upcoming 4-track EP "Final Report" nods to Netherlands' west coast electro bents, varying from surreal 808-driven groovy acidic realms to immersive atmospheric, spaced-out pads and repetitive percussive wanders.
Throughout the past decade Paris-based producer, DJ and label owner Dj Steaw has gained widespread recognition as a bastion of raw, authentic music in the contemporary scene.
His material has found its way onto the likes of PIV Records, Hot Haus, Meta and of course his own Rutilance, Steaward and House Puff imprints.
Here we see him joining Kerri Chandler’s Kaoz Theory with his latest release and the title-track ‘Colour Of Mind’ opens the package with shuffled, dynamic drums and hypnotic vocal chants alongside bumpy stabled bass, squelchy acid licks and airy dubbed out chords.
‘Dance To The Rhythm’ follows next, stripping things back to low slung drums, echoing stab sequences, subby swells and breathy vocal cuts.
‘I Can’t Feel It’ follows on the flip-side next, heading back to a more classic house aesthetic with a gritty bass hook, organ lines and ethereal textures running atop crunchy drums.
‘Star Ready’ finally concludes the EP on a deeper tip, bringing circling synth swells, elongated bass tones and skippy percussion into the limelight.
Upfront DJ Support:
Kerri Chandler
Dennis Quin
Chris Stussy
Fabe
Cinthie
Franck Roger
Ben Rau
Jimpster
Ruff Stuff
Julietta
Chrissy
Demuir
Compilation selected from the etiopiques CD series.
"A few years ago the world discovered a unique sound coming from the distant Ethiopian capital Addis Abeba. The emotional blow was only matched by the brightness of this original and magnificent discovery. The Ethiopiques series directed by Francis Falcetto and edited by Buda Musique provides a comprehensive landscape of this subtle musical universe where local and western cultures do magnify each other. This new Ethiopian Urban Modern Music release follows the first Soul & Groove installment and keeps revealing some essential parts of the modern Ethiopian puzzle. An unequalled soul funk signature until today."
DJ Support: Sharam, Hot Since 82, Cid Inc, Groove Armada, Shadow Child, Technasia
In 2015, two remixers on their respective thrones in techno and house were contacted to rework the classic.
Matador and Shiba San both delivered compelling renditions that capture the original's darkness, paired with their unique styles of delivery.
Matador's remix extends the dark subversiveness of the original, incorporating sweeping, reverb-drenched textures and ominous synth patterns. The looming mix is a sure-tobe room filler at this year's ADE.
The second remix is exactly what you'd expect from Shiba San a distinctly G-house groove built around gigantic bass and a distinct sexiness that will resonate with crowds regardless of their appreciation for house music.
Bushwacka’s first release for Radio Slave’s Rekids, the ‘Heaven On Earth’ EP, is out on October 11th 2024 and sees the UK House and Breakbeat innovator deliver two tracks complete with versions.
Title track ‘Heaven On Earth’ is a slice of low-slung House in which a drawling spoken-word vocal about love for music dominates. It’s a track with the sort of cast-iron, funky groove that has permeated Bushwacka’s music since day one. The ‘Instadub’ dubs out the vocals and takes ‘Heaven On Earth’ in a heady direction.
On the flip, Version One and Version Two of ‘Roger That’ see Bushwacka drop finely tuned funk-infused Deep House, with the former treading an earthy heads-down path while the latter ups the melody, chord and vocal sample prominence, creating a restrained euphoria throughout.
Bushwacka, aka Matthew Benjamin or Matthew B/Just Be/Makesome Breaksome and countless other aliases, has been a pivotal part of the electronic music scene for over 30 years. While his wildly successful project with Layo Paskin as Layo & Bushwacka! is his most prominent, this former London School Symphony Orchestra percussionist’s roots go much deeper. A pioneer of the nascent Rave and Acid House scenes who went on to be one of the progenitors of Tech House and UK Breakbeat scenes, Bushwacka’s influence is huge but far from static, with releases on the likes of Classic, Aus and NuGroove in the past few years alone.
Nous'klaer Audio proudly presents Paerels III (aka Pearls 3), the third and final edition of its beloved 3x12" compilation series. This release brings together a refreshing splash of sounds, unbound by genre, blending deep-listening pieces with driving techno, rave-tinged house, and a few playful surprises. Contributions come from both familiar faces and new voices on the label, with some tracks pulled from the archives and others fresh out of the studio - curated by label-head Oberman. Featuring artists like Megan Leber, Mattheis with a remix from Pye Corner Audio, Marie K, Mattias El Mansouri, Cooper Saver, Kems Kriol, Martinou, Human Space Machine, Koraal, Eversines, Erik Luebs, Mathilde Nobel with an Oceanic remix, Mary Lake, and lastly Gotu Jim.
Santos’ first release for Matt Edwards’ Rekids imprint, the four-track ‘We Were All Kids Once’ EP, is a continuation of the experienced producer’s output on his own Let Me Understand Records, which has seen a staggering amount of support from DJs since it’s launch in 2018.
Traversing rugged, tracky, Relief-influenced House/Techno (‘One Day’), drummy grooves (‘Don’t Touch’ and ‘Rollercoaster’) and cosseting beat-down Deep House (‘Someone’), ‘We Were All Kids Once’ is one of those genuinely essential EPs that provides exceptionally consistent dancefloor ammunition across it’s breadth.
With the likes of Ryan Elliott, Honey Dijon, Ame, Raresh, Luke Slater, Enzo Siragusa, Ben Sims and more supporting his output over the past few years, Santos is in the form of his career. While releases like the breakthrough ‘Camels’ and the anthem ‘Hold Home’ mark Santos as a producer of note at the turn of the century, his four solo albums and, most recently, his Let Me Understand Records EPs have proved he’s an artist that is constantly pushing forward.
Santos’ EPs regularly fall into the ‘if you know, you know’ category of various tastemakers across Disco, House and Techno and ‘We Were All Kids Once’ neatly displays why.
The recently released Nineties styled slow jam NEXT MOVE, on which Jarrod Lawson is joined by Los Angeles-based R&B rising star Raquel Rodriguez, is now available on 7inch vinyl.
The track is co-written by Jarrod and Raquel together with Raquel’s producer Sam Brawner and Andris Mattson of Moonchild. And Moonchild (featuring vocalist Amber Navran) also join Jarrod on the B-side for I’LL BE YOUR RADIO, one of the most-streamed favourites from his album Be The Change.
The limited edition release will tie in with Jarrod’s visit to the UK and the Netherlands for concert dates, including London’s O2 Shepherds Bush Empire and LanterenVenster in Rotterdam.
The recently released Nineties styled slow jam NEXT MOVE, on which Jarrod Lawson is joined by Los Angeles-based R&B rising star Raquel Rodriguez, is now available on 7inch vinyl.
The track is co-written by Jarrod and Raquel together with Raquel’s producer Sam Brawner and Andris Mattson of Moonchild. And Moonchild (featuring vocalist Amber Navran) also join Jarrod on the B-side for I’LL BE YOUR RADIO, one of the most-streamed favourites from his album Be The Change.
The limited edition release will tie in with Jarrod’s visit to the UK and the Netherlands for concert dates, including London’s O2 Shepherds Bush Empire and LanterenVenster in Rotterdam.
DJ Support: Enzo Siragusa, Chris Stussy, Toman, Mateo Dufour
In mid-2020, we proudly introduced Key Records, a platform for exceptional artists like Mennie, Mateo Dufour, Cosenza, Local Dub, Sidney Charles, Locklead, and Laidlaw, to name just a few who have been part of our journey.
With 25 digital releases under our belt, we’re now ready to embark on the next chapter. Our first vinyl release will feature Jesse Maas, alongside a remix by T. Jacques, the mastermind behind Nuances De Nuit.
Thank you for your ongoing support. Enjoy the music!
Fantastic Planet returns with its sixth release, "Survival Mode," a statement dedicated to the ongoing struggle for freedom in Georgia. This electrifying compilation brings together a diverse lineup of visionary artists, each channeling their own unique sound to amplify the message of resilience and resistance. Survival Mode - is a mindset, a relentless fight for existence when all other options have been stripped away. It's about the raw, primal instinct to keep moving forward, even when every door seems closed, and there's no way back. In this mode, every moment is a battle, a test of endurance and resilience. For the people fighting for freedom in Georgia, survival mode represents their unwavering determination to push through oppressive forces, refusing to be silenced or broken. It's the point where compromise is no longer an option, where you either rise or fall-but surrender is not part of the equation. This struggle is about more than just survival-it's about carving out a future, no matter the cost. Design Giorgi grdzelishvili
DJ Support: Danny Howard, Annie Mac, Mistajam,Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne,Todd Terry, Alex Preston, Full Intention, GW Harrison,DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos,Johan S, David Penn, Sam Divine, Riva Starr, Claptone,Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KCLights, Friend Within, Dombresky, Gorgon City, ChrisLake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, LowSteppa, Mat.Joe, Raumakustik, Eskuche
Coming out the traps strong, our next 4-track vinylsampler series kicks things off with Toolroom’s very own Mark Knight who continues his impressive string of collaborations with Darius Syrossian appearing alongside him for the first time on the label. Mark and Darius, along with studio maestro James Hurr,stumbled on this classic ‘Let’s All Chant’ sample and together proceeded to write a peak-time, tech house slammer around it. With relentless energy and lush vocal licks and that all-familiar 90’s sample, this one works a treat on the dancefloor.International House don Low Steppa is next for a special release with Malta’s finest, Jewel Kid. Their track ‘Big Busta’ oozes ATTITUDE! Slamming tech house drums, an insatiable groove and a tongue-in-cheek vocal that will raise many a smile on the dancefloor. Another certified club weapon for sure! CASSIMM kicks off the flipside on the vinyl with another peak-time club weapon as he returns with ‘Say Yeah’ alongside vocalist Mahalia Fontaine. The Italian born House music maestro is on fine form as always here, hot on the heels of his ‘Love Desire’ record that went stratospheric in late 2023 on Claptone’s ‘Golden Recordings’ label. With a big bassline and oodles of dance floor energy alongside Mahalia’s rasping, diva style vocal adding that classic house vibe to proceedings! Finally, we round things off with the once mysterious but now ‘unmasked’ house duo ‘Wh0’ with a rip-roaring club banger! Remixing for the likes of The Prodigy, Basement Jaxx, Calvin Harris and Meduza whilst collaborating with Armand van Helden, Nile Rodgers and David Guetta under his Jack Back alias.This track is a heads down, no-nonsense, tongue-in-cheek club weapon! Seriously powerful drums, aplayful acid line and a very cheeky vocal that will cause a stir on many a dance floor!
Countless radio plays on Radio 1 from Danny Howard,Sarah Storie, Pete TongOther notable radio plays – Kiss FM, Toolroom Radio,Sirius XM, Data Transmission Radio, Radio 1 DanceAnthems, Radio 1 Party Anthems, Rinse FM, SelectRadio, Tomorrowland Radio
As always Kling Klong gives space for new artists and supports upcoming talents. This time Martin Eyerer & Rainer Weichhold had no doubts signing this debut release from Stuttgart's dj/producer Ninetoes as 'Finder' is obviously a massive stand-out track which has the words 'summer hit' written all over it. So it was just easy to convince Leon and Re-UP from Italy to do the remixes and help to make this release even more oustanding.
Support from:
Matthias Tanzmann, Loco Dice, Adam Beyer, Nick Curly, Butch, Riva Starr, Popof, Kaiserdisco
DJ Feedbacks:
Adam Beyer: like the leon mix!
Loco Dice: Will try. Please send me the WAV. Thanks
Nick Curly: schöner release....leon remix gefällt mir am besten, danke!
Matthias Tanzmann: woher kenne ich denn die Melodie Coole Tracks auf jeden Fall.
Davide Squillace: Nice one..
Monika Kruse: der leon remix rockt.
Tiefschwarz (Ali): nice nice :) re-up rmx is my favorite.
Butch: leon rocks
Riva Starr: leon rmx for me thx
Claptone: supersonniger tune das original
Ramon Tapia: Leon mix is cewl !
Gregor Tresher: Leon mix sounds cool.
Chus: Leon and Re-Up mixes for me.
Popof: Great remix from re up ! love it
Kaiserdisco: Original mix is nice, will try it out.
Wally Lopez: Leon remix are huge!! Support
Shinedoe: I'll try it out.
Dublin City, 1998. Prepare to be transported back in time to the vivid streets of Dublin. A city in social, economic and artistic transition.Set against an evocative sonic backdrop of jungle, drum and bass and breakbeat, SK83 weaves an elaborate narrative that captures the essence of adolescent life in Dublin in the late 1990’s.Delve into a captivating sonic journey that explores the bevy of emotions and events that colour a teenagers journey to adulthood - from love and loss, first-time experiences, the pitfalls of peer pressure and the unmistakable pull of the city's intoxicating rave culture.''My ambition for SK83 was to create an immersive musical and visual universe that brings the listener on a journey that captures the essence of adolescence. I wanted to reflect and re - live my own teenage experiences, and bring to life what is a shared universal experience for us all - but in this instance is told thru the lens of a young man in Dublin in the late 1990’s.'' — MathMan
‘The Gods We Can Touch’ is an elegant and celestial but provocative album about shame, desire and morality, all seen through the narrative prism of Greek mythology. In each of the album’s fifteen songs we meet a different god. In AURORA’s own words, “With every album I try to figure out what music means to people and why it’s so important,” she says. “I ask myself: ‘What would people wish to hear right now? What words do they need to hear? What could do good?’” In answering that question, she’s recorded an album that celebrates how spectacular each of us can be, by reminding us how unspectacular we also are.
Philadelphia producer DJ Matpat delivers his third release of the year with a 12” on NYC's Off Track Recordings. Dropping November 21th “Lucky Strike” is a 4 track raw house EP that delivers a timeless feel full of club-ready grooves that are made to keep energy high on the dance floor. From Deeper Love’s belting vocals to ‘Lucky Strike’s’ chunky drums, ‘Falsettos’ minimalist approach this EP hits a few different sounds for any house music head.
True Sneaker Social die-hard Etch returns with a monumental new album. Scream of the Butterfly shows the depth and breadth of one of the illest producers operating across the many spheres of club music with a distinct “you ‘kay?” slant.
From the moment the low-end pressure and loaded samples rear their heads on the opening track, Zak Brashill demonstrates his intent to sculpt Scream Of The Butterfly as a proper album — an end-to-end listening experience full of peaks and troughs which focus on sonic storytelling much more than club functionality. Throughout his imperious output to date, the man like Etch has displayed an affinity for sound design to match his instinct for what bangs on the spectrum of dubstep, garage, jungle and hip-hop, but now he’s gone postal on soundworld-building, with a grip of heavyweights drafted in to help set the scene.
Fellow Sneaker alumnus J-Shadow lends his maverick footwork science to ‘Star Fallen’, while UK rap anti-royalty Lee Scott brings his unmistakable Runcorn drawl to dusky head-nodder ‘Not Surprised’. UK bass-synth-ambient enigma E.M.M.A drops in for the moody, meandering midpoint ‘Stepford Lives’, and Killa P and Emz deliver blazing bars to the double dose of ‘Prayer Wheel (Left You Fi Dead)’ and ‘Heat Map’ respectively.
Elsewhere Brashill follows his own razor-sharp instincts into warping stop-start drum science, widescreen downtempo with teeth, seasick synth studies, moody-but-cosy 140 and lots more besides. Nothing comes as standard, but Scream of the Butterfly is ruff when it wants to be, subtle and spacious if the vibe demands it, and consistently packed full of the detail and intrigue that we’ve come to expect from one of the most inventive and reliably sick producers in the contemporary bassweight firmament.
Matthew Dear's Black City Can't Be Found On Any Map. It's A Composite, An Imaginary Metropolis Peopled By Desperate Cases, Lovelorn Souls, And Amoral Motives. Like Most Literary Gothams, Black City Is A Place To Love And Hate, As Seedy As A Nightclub's Back Room And As Seductive As The Promise Of Power. Matthew Dear, The Musician, May Live In New York City, But The Matthew Dear Of Black City Inhabits A Sound-world Unlike Any Other: A Monument To The Shadowy Side Of Urban Life That Bumps And Creaks, Shudders And Wakes Up Screaming In The Middle Of The Night. Black City Is Matthew Dear's Third Album On Ghostly International, And It's His Darkest And Most Engrossing Work To Date.
From The rst Notes Of Album Opener "honey", It's Clear That The Love-obsessed Matthew Dear Of 2007's Asa Breed Has Given Way To A More Existentially Paranoid Entity, As Creeping Tempos Dominate, Cavernous Atmospherics Envelop The Listener, And Strange Distortions Crackle On The Horizon. In Black City, Nothing Is At It Seems: Leadoff Single "little People (black City)" Is A Nine-and-a-half Minute Disco odyssey, subverting its gleaming electronic lead with eerily giddy backing vocals and cryptic, ominous lyrics ("a frozen wasted heart / has died", "love me like a clown"); "You Put a Smell on Me" is a sordid sex romp set to hysterically chattering percussion and a serrated synth line that will set your teeth on edge; "More Surgery" at rst recalls the barely-there Krautrock of Harmonia in its burbling minimalism, until Dear's chanted chorus of "Alter genetics / to make my body glow / I need more surgery / there's so much more to know" sends the track hurtling into a dystopian future.
And yet, for all the foreboding moods on Black City, it's the album's sweeter moments that illustrate Matthew Dear's growing maturity as a songwriter. "Slowdance" is a futuristic lullaby in which Dear articulates a lover's helplessness ("I can't be the one to tell you everything's wrong") over breathy, Arthur Russell-esque cello swishes; the album-closing "Gem" is an achingly simple, reverb-drenched piano ballad that ends with a long, slow fade. Even in Matthew Dear's Black City, there is hope.
Vinkepeezer’s third album is a meditation in sound, inspired by the merging of spirituality and conspiracy theories. Guided meditations, esoteric voices and a plethora of samples from the most paranoid corners of the internet are combined with organ sounds and electronic pop music.
Plunging his listeners in apparent chaos, Dutch artist Vinkepeezer (Ivo Bol) leads you through a wild and varied soundscape with many unexpected turns. Vinkepeezer reworks found sounds, old and new electronics, and excess sounds from vinyl records and tapes into a new musical future, that can be as soothing as it is funny, chaotic and devastating. Everything is a frequency includes guest appearances of Raphael Vanoli, Ties Mellema, Udo Moll, Tom Aldrich, Jayne Bordeaux and Esther Mugambi.
The 180 grams Green Vinyl ® LP is made in an energy efficient way from less toxic materials. Sounds just as amazing. Cover art is by Ben Giles.
Claudio Mate introduces from the Italian headquarters a new label from the Ottagono family. Influenced by his sister Vala, which she introduced Claudio in the early 90s, in club music and club culture. Ottagono Retro is a new fashion retro vintage outlet record label, inspired by Vala’s fashion, vintage clothing, and handmade accessories shop called Ottagono Retrò. You can visit the physical store on the first floor of Ottagono’s historic place in Nocera, close to the beauties of Naples, Sorrento, Pompei, Salerno, and the Amalfi Coast in southern Italy .
Hansol Oh is a South Korean singer, songwriter, and multi-instrumental electronic musician, currently living between South Korea and Germany, proudly representing Gyeonggi (State) Province as its promotional ambassador. She first captured the spotlight as the Korean representative in the 2017 MTV Aloft Star competition, marking the beginning of her journey as an electronic musician and also becoming a Korean Ableton testimonial under the name Uza. In the last few years, during the COVID-19 era, she earned international attention as one of the most interesting indie solo K- wave artists. She is renowned for its robust philosophy and a distinctive, hard- hitting sound rooted in synthesizers with a retro analogue feeling. More recently, she introduced to the music world her new figure as Tova Oh.
A side: S.O.S club extended, for the fans of k-wave music since the COVID-19 has been a true sensational song. Club extended mix is exclusive for this vinyl release, keeping the original sounds which are a crossover mixture between 80s new wave, electro-pop, techno, house music, playing like a club anthem from deep to dark rooms to Balearic dance floors.
B side: Suitable Kimchi mix sounds like music coming from Netflix, Stranger Things show as the perfect soundtrack for any late-night party. It strikes the perfect harmony between EBM, new wave, electro, and techno, converging with disco soul music. The outcome is a cosmic journey reminiscent of the ’80s, both fiery and flavourful like Kimchi !!!
Saturne is the new project from ASC & Sam KDC. It came to life a few years back, as a non-specific genre approach to writing music. The first outing from the pair under this guise focuses on Grey Area compatible deep hypnotic techno cuts. 'Trace Elements' shows the pairs intent to deliver intricate, atmospheric, genre-fusing tracks of a standard that has come to be expected for their output over the years.
Parsley Sounds was the glorious debut album for Mo Wax by Parsley Sound. The album was one of the iconic label’s final releases before it closed in 2003 and locating a clean copy has been extremely tricky of late, unless you're flush enough to drop 150 notes on it. Mercifully, the Be With reissue, put together with invaluable assistance from the group, should remedy this situation. It's a lo-fi, bass-heavy, blunted beat treat, warped with heat haze and dreamy soft-psych and has been criminally under-heard for far too long.
As with most cult-like records, Parsley Sounds has many influential fans, far and wide. From Four Tet and Caribou to NTS's modern day breakfast hero Flo Dill, its reputation has only grown in stature. At the time, the notoriously hard-to-please Pitchfork garlanded it with a scarcely achievable 8.8 whilst, just recently, the Numero Group's Rob Sevier described it as a "visionary bit of proto-Salvia Palth (or Steve Lacy)" via a Ghostly International missive.
Parsley Sound comprised super-talented duo Preston Mead and Dan Sargassa. They released an early single (the perfect "Twilight Mushrooms", featured here) on Warp Records as Slum, before signing to Mo Wax. Hidden behind a wall of sound - fuzzy layers of beats, bleeps and symphonic synths - they were convinced they made mainstream pop music. And, in many respects, Parsley Sounds really is a beautiful pop album. It overflows with memorable, gorgeous melodies and inspired songcraft. As the contemporaneous Pitchfork review correctly had it: "Parsley Sounds is one of those rare records that manage to sound modest while frequently pushing the sonic envelope."
Killer opener "Ease Yourself And Glide" is a thing of aching, soft-psych, wonky beat-beauty. A melodic masterpiece, part Crosby, Stills & Nash, part proto-Koushik, it presents a melancholy falsetto, surging bass and blunted lead guitar. As it climaxes, gorgeous strings are ushered in to see us out. Sublime. "Twilight Mushrooms" is up next and it's an acid-drenched, strung-out acoustic-led campfire wonder. Amid layers of tape-hiss and beautiful, sun-dappled strings, its understated vocal track provides a haze of wistful innocence.
The breezy "Spring's Near" is a krautrock-inspired chiming instrumental of heavenly excellence, its warm, skipping, motorik groove and dreamy synths completely infectious. Another total highlight, the technicolour "Yo Yo" initially presents itself as a more abstract, bleepy offering but as it organically swells into ever more beautiful places, with the addition of a choppy insistent drum loop, flute bursts, horns and sweeping strings, it puts one in mind of early Manitoba and Four Tet releases. Shimmering, blissed-out greatness.
The celestial harmonies and glistening harps of the wonderfully beatless, serenely sullen "Ocean House" are very much in conversation with late-60s meditative psych whilst, closing out Side A, the jaw-dropping, lushly experimental effort "Find The Heat" comes on like Arthur Russell meets Brian Wilson. Yep, *that* good.
Side B opens with the warped, bleepy "Stevie", a brief but beautifully wonky, soulful and intricate instrumental. The more upfront vocals that propel the fuzzy "Platonic Rate" have a refreshing swagger to them, the heavy bass and neck-snapping in-the-red beats too much for any system to deal with whilst the guitars and strings have a sweeping, cinematic feel which just beguiles. The slow, urbane soul of "Candlemice" will stop you in your tracks, no matter what you're doing. It carries a delicate sadness, as does much of the album in that classic "down lifting" style we so love here at Be With.
The fuzzing, buzzing "Templechurchmansions" is a searing, soulful dubwise detonation. Heavily stoned with slow-burning jazzy snatches and a tense, moody atmosphere, it's a Tricky-adjacent gem. The album rounds out brilliantly with the ominous instrumental "Neon Breeze" before giving way to the propulsive, almost incongruous punk-funk / disco-dub of secret "untitled" track "Caution", a scratchy, smacked-out groove-fuelled workout with a female vocal dripping with 'tude. Just sensational.
Under the watchful eye - and attentive ears! - of Parsley Sound themselves, the audio for Parsley Sounds has been carefully mastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland.
Preston and Dan always thought the colours on the first vinyl pressing looked a bit "washed out" vis-a-vis the original artwork which was way more vibrant. We feel we've got it popping back to the original intention with the restoration work here at Be With HQ. So with the audio and artwork now approaching completeness after 20 years, this long overdue re-issue could be considered its definitive vinyl release.
Musician and Zoitrax record label owner ZOiD, also known as Daniel Jacobson, announces the release of his sixth album, ZOiD Vs Musicians Vol 2.
Featuring thirteen tracks digitally, seven of which will be released on a 12” purple marbled translucent vinyl album distributed by Rubadub, ZOiD Vs Musicians Vol 2 will be available in record shops and on all streaming services and Bandcamp starting Friday, 22 November 2024.
ZOiD Vs Musicians Vol 2 is an electronic music album showcasing ZOiD's global collaborations with jazz musicians, creating a unique form of electronic jazz. Notably, his work with jazz drummer and brother Matthew Jacobson shines on the first single “Fit In Tree” debuting on September 13. Building on this momentum, the second single, "Module Bone, " featuring jazz trombonist Colm O'Hara, will be released on September 27, followed by the third single, "ZVSW, " featuring saxophonist Steve Welsh, on October 11. A special REMIX EP by Kirk De Giorgio, Sunken Foal, Americhord, and TR-One will be out on October 25.
Expanding the album's diverse sound, ZOiD collaborated with Dublin vocalist, composer, and jazz improvisation specialist Jenna Harris on “ZVJH” and with Niwel Tsumbu, a Cork-based Congolese guitaristwho tours with Rhiannon Giddens on “ZVNT.”
ZOiD Vs Musicians Vol 2 is further enriched by the talents of Shane O’Donovan (H-Ci), who combines electronic and jazz elements, Australian saxophonist Daniel Rorke, US-based free improviser Catherine Sikora, Galwegian multi-instrumentalist Matthew Berrill, Dublin saxophonist Matthew Halpin (flute), and trumpeter Bill Blackmore, a key figure in Dublin's jazz scene.
ZOiD released his debut album, ZOiD Vs The Jazz Musicians of Ireland Vol. 1, in 2007. Production of ZOiD Vs Musicians Vol 2 began soon after, taking nearly 17 years. For Vol. 2, some musicians recorded their parts independently, while others recorded in Arad Studio with Les Keye and ZOiD's Dublin studio.
The album artwork is by New York-based artist Shane Ingersoll. The front cover displays black-and- white illustrations of Dublin in the year 2116, a city at war centred around a bold purple "ZOiD" logo, with the title "ZOiD Vs Musicians Vol 2" on the upper left. On the back cover is a 12-panel comic book story (originally written by ZOiD using stick figures) and a glowing robotic hand.
The third chapter in CLIKNO's MAT (Music / Art / Text) EDITIONS series features four extended deep Minimal Techno tracks by Dr.Nojoke, titled wrongwrongrightright.
This release is accompanied by Dana Widawski's SelfMade 1-4, a series of four fayence-style plates created using traditional techniques to convey unconventional, socio-critical themes, and a text, solo moral judgement, by Marianne Klausen—a manual for a performance on moral judgment that explores the meanings and values of concepts like good, bad, wrong, and right—fusing auditory and visual art with writing into a unified experience.
At the core of Dr.Nojoke's wrongwrongrightright lies a deep, hypnotic quality, woven through layers of rhythm, melody, and noise, creating a transcendental pulse for the dancefloor. Notone on the A-side takes a more straightforward, acidic approach, while Cornips on the flipside is a deep minimal groover with a funky interplay of sounds. The second record dives even deeper with two more obscure tracks, Volasuri and Jilimuz, appealing to fans of Voices From The Lake and similar artists.
Through emotive ambient textures, granular synths, and field recordings, rousay reimagines the Slovak animated fairy tale with a brand-new score. The Bloody Lady stands as a stunning masterpiece of Slovak animation.
A release show is scheduled in De Minard (Ghent, Belgium) on November 13.
Electroacoustic composer claire rousay (US) has announced her upcoming album, ‘The Bloody Lady’, featuring the reimagined score she wrote for Viktor Kubal's 1980 eponymous animated film. Kubal (1923-1997), a pioneering Slovak animator, is considered one of the most influential animation filmmakers of the 20th century.
Known as a singular artist who challenges conventions in experimental and ambient music forms, rousay crafted the score in her home studio immediately after moving to LA over the course of 2023.
The inaugural performance, a screening of the film accompanied by rousay performing the score live, took place at Videodroom / Film Fest Gent 2023 in Ghent, Belgium. The project has since been developed into an 11-track album with alternating themes that evoke the film’s atmosphere while standing on its own as a distinct sonic work.
‘The Bloody Lady’ is set to be released on November 8 via VIERNULVIER Records, the label known for its audiovisual collaborations with artists like Miaux, Hieroglyphic Being, and Mattias De Craene.
The record comes with an extensive booklet including liner notes.
Mona Lee aka Lissa Callens and WPH label man Red D go a long way back. Red D always knew it was a matter of time before Mona Lee would come up with some music he could not refuse. A gig together and the first notes of ‘The Reason’ and that was that.
Classic house that would make Kerri Chandler proud is the order of the title track. A bright piano melody, a good vocal hook and rough and ready beats in a crisp production that will shake up any dancefloor. Red D himself delivers a dub that focuses on the hooks and makes them shine even more on top of a killer funky bass line. For good U.S. house measure Atlanta’s finest Stefan Ringer steps up to deliver his trademark dusty twist on things. As a bonus you get ‘Spaces & Places’, a delicate organic deep house beauty with Mona Lee scatting ever so subtly to make you go out of your home and out of your head.
It’s house, it’s good and it will make you dance and sing.
‘I Gotta Limit’ was the first new music shared from Matt Berry’s forthcoming album “Heard Noises”.
The track sees Matt trading lines with Kitty Liv, over a Sly Stone-inspired arrangement that is part Northern Soul, part Psych.
With an immediate incredible response for the track among fans - long ahead of the album release in January 2025 - Acid Jazz has decided to make the single available as a limited edition, picture sleeve 7”.
It is backed by a previously-unreleased remix of ’Summer Sun’ by Bond composer David Arnold.
Damian Lazarus returns to Crosstown Rebels with new single ‘Sunrise Generation’, featuring Fink. Including a remix from Norwegian talent and up-and-coming Crosstown family member Meera, the single marks Lazarus’ first material on his iconic label in over a year.
Visionary DJ/producer and Crosstown Rebels founder, Damian Lazarus, makes his long-awaited return to the label with his new single ‘Sunrise Generation’, featuring the voice of acclaimed and celebrated singer-songwriter Fink. Set for release on 8th November 2024, the highly anticipated production marks Damian’s first material on Crosstown since his collaboration ‘Revolution’ with Dennis Cruz in October 2023, his Grammy-nominated single ‘Don’t Be Afraid’ with Diplo & Jungle, and his first solo release since his ‘Beijing Spring’ project on sub-label Secret Teachings in April 2022.
An emotive, captivating and uplifting track, ‘Sunrise Generation’ is not just a return to form but a heartfelt homage that celebrates the magical moment and euphoric energy of sunrise.
The release also features a return for Norway’s Meera, an exciting artist whose recent outing on Crosstown Rebels with her ‘Stikk’ EP made notable waves, building on her debut on sister label Rebellion last year in style. Her remix brings fresh energy, layering deep textures and rhythms over Fink’s haunting and heavily processed vocals to create a stirring counterpart to the original.
A sonic celebration of unity and renewal, ‘Sunrise Generation’ once again affirms Lazarus’ status as a true leader within the electronic scene. The single follows a series of high-profile remixes, including reinterpretations of tracks from Josh Wink, Jamie Jones, Bedouin, Totally Enormous Extinct Dinosaurs (TEED), and Made By Pete, along with his acclaimed collaboration ‘Don’t Be Afraid’ with Diplo and Jungle. As always, Lazarus’ ability to craft atmospheric, emotion-driven soundscapes shines through here as he continues to innovate and inspire with another cherished anthem crafted for special dancefloor moments.
The busiest beavers in the edits game, the Patchouli Brothers sink their teeth in to some novel material for their second outing on RNT’s lauded white label series. The Brothers’ usual disco fodder gives way to some masterful reworking of 90s house, 80s electro boogie, Euro dance, and Freestyle on this 4 tracker that shows their crates run even deeper than we knew. From the opening chords of Male Dans La Peau, to the arpeggiated soulful pulse of See You Tonight, the over-the-top cheekiness of Mista Hasta La Vista, or the earworm vocal refrain of All Nite, this is a special record from beginning to end and an unexpected surprise from Toronto’s finest edit practitioners.
Late-night jams in their new studio sees Jazzbois return to their beat-tape roots on Still Blunted
Having established themselves as one of the leading live bands in Europe grooving in improvised jazz motifs and hip-hop beats, Budapest trio Jazzbois return with their fourth LP Still Blunted that sees them touch base with their beat-tape roots.
Now situated in the heart of Buda at their new studio above a club, the Hungarian trio of Bencze Molnár (Rhodes/synth), Viktor Sági (bass) and Tamás Czirják (drums) take a more considered approach to Still Blunted and offer a snapshot into the jams, sessions, and shows they have played over the past year. The new album comes after performing at the legendary Montreux Jazz Festival this summer and will be followed by a European tour in October.
Inspired by contemporaries Domi and JD Beck, Kiefer, Nala Sinephro, and the sounds of Radio Juicy, Jazzbois have been more critical of their track selection for the sequel to their Goes Blunt albums. They’ve ripped up their playbook of producing records in a matter of days and took their time to approach the record through reworking their favourite tracks recorded over the past year.
“We’re trying to keep the same formula but there was a lot of thought gone into the process of making an improvised jam sound like a song. It has to be good in the moment, and we chose the ones we felt were expressive and resonated the most with us musically. We focus on our feelings in the moment and have trust in our own taste and music visions.”
The trio’s new studio has offered them the space and time to get the best out of their creativity. “This new spot is a Jazzbois headquarters. It’s above this club, sometimes there's a DJ playing outside on the street – everyday there's something on and lots of people coming and going. We hang out for the whole day and just record anything or edit.”
Jazzbois are a part of the rich, underground jam scene in Budapest, and those improvised-led sessions have fed into Still Blunted. One of their late-night jams turned after-parties produced sketches for tracks they selected for the album.
“It was the end of a wild night celebrating getting the album done. We’re having a jam and we looked around while we were recording and there was twenty people smoking and drinking around us – half of them we didn't even know who they are. It turned into an open after-party where people were coming to ours from the club. It was very spontaneous and unexpectedly, we made five or six new songs we ended up using for the album.”
The ethos of those unplanned, open jams is something they carry through into their live shows, as they never rehearse so their music can develop freely. Their trusted fourth ‘live’ member DomBeats joins them on Still Blunted adding saxophone to some of the psychedelic-tinged beats, such as on singles Shangri La and Chrome. After recently digging back into 70s and 80s jazz, discovering more hip-hop sampled tracks, and absorbing the breaks and high-energy of footwork and juke, these influences come through strong across Still Blunted.
The footwork sound is replicated in the shuffling, busy drums of Shangri La, with the echoing guitar twang reminiscent of a sample you may hear on an MF Doom beat. “Shangri La was a catalyst for the new album. It reflects on our trip to America and SXSW. We played at this venue Shangri La. The Texan air and sun are in that track.”
Chrome takes on a much more furious style of playing that allows for the drums to cascade and flow along with the pulsating, chromatic bass line, with the synths and saxophone spiralling into an engrossing frenzy. The liquidy keys and synths glides over the bass on Flute Thang, creating a 70s jazz-funk vibe that stands out from the rest of the album.
With hundreds of thousands of monthly listeners across Spotify and Apple Music, they have become a playlist staple that has earned them millions of streams since their debut release Jazzbois Goes Blunt in 2019. As more live dates are booked for the Hungarian trio, Jazzbois continue to transform the traditional jazz trio sound into deep, groove-led beats on Still Blunted.
Two stonecold classic UK Garage songs from 1997 are thrown together for this extremely limited colour 10” release.
Tumblin’ Down – Bass Organ Mix, is a previously unreleased version taken from the Tuff Jam vaults.
Dangerous – ‘2 In 1’ Remix, is brand new for 2024 and sees Karl and Matt back in the studio to deliver a fresh take on one of their biggest tracks.
Elektorni, based in Oulu, Northern Finland, lands with their second release, this time with three original cuts from the singular Finnish legend Mesak (Klakson, Orson) and a mesmerising remix from Århus-based Picture (Help Recordings, Kalahari Oyster Cult), who you might know from many different aliases as well.
The a-side opens with Mutella, a slapping electro track dripping with gothic emotion and powered by a growling bassline. Next up is Ei Damagea, a smooth slice of electrohypnotism calling to you from an otherworldly dimension inhabited by floaty rhythms and quirky synth stabs. Flip the record, and Mesak flexes his versatility with the 155bpm piece Musantropia, cruising top down and top speed somewhere between IDM, d&b and electro. Fresh! The journey ends with Picture’s remix taking Musantropia deep into an eight-minute techno meditation reminiscent of Basic Channel material, but with an Århusian take on the sound.
A bass heavy record with intricate detail, this is a release as ready for the club as it is for your home hi-fi system.
LP + insert with extended liner notes and download code including extra bonus track 'Movements of The Mind'.For his second album on the Belgian leftfield imprint Cortizona, Devin Brahja Waldman gathered a group of insanely gifted and talented musicians to start a new and highly moving musical chapter titled 'Nebulizer'.
From the first moment the pulsating tone of Devin's synth blends with the whispering voices of Earth, Wind and Choir and the menacing bells Naima Karlsson set in motion this record you just know and feel immediately 'Nebulizer' will be a soul-searching journey, soaking you deep into an unknown and very personal musical world.
Devin Brahja Waldman is a New York saxophonist, drummer, synthesizer player and composer who leads the group BRAHJA. He has performed with Patti Smith, William Parker, Nadah El Shazly, Malcolm Mooney, Thurston Moore, Godspeed! You Black Emperor, Charles Hayward, Luke Stewart and Yoshiko Chuma. Waldman is also a member of NYC's Heroes Are Gang Leaders (led by poet Thomas Sayers Ellis and saxophonist James Brandon Lewis), of Sam Shalabi's Land of Kush, and of the Norwegian hardcore group MoE.
In 2022 BRAHJA released the critically acclaimed album 'Watermelancholia' on the Belgian leftfield imprint Cortizona. For his second album on the same Cortizona label, Devin Brahja Waldman gathered a group of insanely gifted and talented musicians to start a new and highly moving musical chapter titled 'Nebulizer'.
Together with Adam Kinner, Georgia Wartel Collins, Earth, Wind and Choir, Luke Stewart, Kenichi Iwasa, Naima Karlsson, Alexis Mercelo, Janice Lowe, Watson and Damon Hankoff, Devin forms a slow-burning fireball unity.
A devotional séance channelling unknown powers proving music is a healing force of the universe.
Rejoicing the Holy Jazz Spirit.
Ready to nebulize the world and bring light out from the darkness. Head cleaning the world in 4 musical parts: Geological Drum, Nebulizer, Bushido and Movements of The Mind. Nebulizer is an elevating meditation on our estrangement of nature.
Interstellar sonic stardust from a mindblowing collective that will leave you flabbergasted.
Be prepared and hear it to believe it.
For fans of: Art Ensemble of Chicago, Archie Shepp, Pharoah Sanders, John & Alice Coltrane, Kamasi Washington, Shabaka Hutchings, SAULT, Ill Considered, Jamie Branche, Angel Bat Dawid, Mackaya Craven, Matana Roberts, Sun Ra and other good music.
In the world of electronic dance music, Âme stand apart. Since 2003, the duo of Frank Wiedemann and Kristian Beyer have cut a singular path through techno, house, minimal, ambient and more with their anthemic singles and mixes. But 2018 reveals their finest achievement yet, their debut full-length album Dream House. It both sounds unmistakably like Âme and unlike anything you've ever heard from the duo, an evocative home listening journey enacted after 15 years spent crafting dancefloor weapons.
Written, Produced, and Mixed by: Antoine Eole (aka In da Woods) Vocals on Tracks A5, B1, B2 by: Alex Catrine Le Thomas de Selve Track B1 contains a sample of: “And Birds Are Still” by Takashi Yoshimatsu Mastered by: Stephan Mathieu at Schwebung Mastering Original Artwork by: Barbara Orsingher Layout by: Riccardo Piovesan Limited Edition of 100 copies transparent In da Woods is the sonic project of Paris and Berlin-based composer and sound designer Antoine Eole, formerly of the electro-rock band Bad Pilot. Known for his work across TV series, documentaries, theater productions, and major ad campaigns (MTV, Disney, Hermès), Antoine blends cinematic soundscapes with the raw edge of experi- mental and future garage music. With Nuit Blanche, Antoine explores atmospheric and bassdriven compositions, featuring the ethereal vocals of Alex Catrine Le
Thomas de Selve
12th Isle revisit the various artist compilation format first explored with 2019’s ‘Inkosi’ and assemble a veritable mixtape of sorts unfolding across six tracks aimed with the club in mind. Echo Party get things started with a dub heavy, studio alchemy excercise in discipline that appears in an extended mix to the original form on Murray Collier (Dip Friso) & Hannan Jones’s self-released CD-R. Italian newcomer Guizzi features with a thunderous downtempo excursion with tight conga percussion in a DK/RAMZi vein that feels very at home on the label. Der Opium Queen pulls off a propulsive, video game OST style dancefloor hit that brings to mind that Les Aeroplanes project on Jamal Moss’s Mathematics label from way back when whilst on the Side B a freak-folk skit from Memotone sits next to heads-down motorik from Lo Kindre and a bleep-infused dub techno piece by Toronto via Bangladesh real one Raf Reza. More V/A's to come.
Belgian independent label De:tuned, founded by Ruben Boons and Bert Hermans, celebrates its 50th release with the long-awaited 10-track studio album 'Analog Days' by Swedish electronic music pioneer Robert Leiner. During the first years of De:tuned, Robert Leiner (aka The Source Experience) played a vital part in kick-starting the label. He also graced the De:tuned parties with his outstanding dj sets and captivating live acts.
Continuing the label's 15th anniversary celebrations, De:tuned and Robert Leiner mark the occasion with an extraordinary collection of mostly hardware productions recorded between 2005 and 2015. These diverse jams have now been mixed and completed for this momentous milestone. On offer a unique interplay of rhythmic movement and soothing sounds, each presenting Robert's distinct characteristics. Enjoy the trip. It has always been there, you just have to discover it!
Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!
After a string of ambient and experimental releases across labels such as Bedroom Suck, Best Effort, Ken Oath and Analogue Attic, Matthew Hayes - veteran bassist of Z*F*E*X, welcomes his latest project Xpress Point, designed to keep your hips moving rather than kicked back on your couch. Born out of jam sessions and collaborations with artists such as Dreamcastmoe, Jitwam, Ziggy Zeitgeist, Finn Rees and Allysha Joy and an obsession with reclaiming the nostalgic sound sounds of the Korg M1 and Yamaha DX7, Xpress Point, which takes Its name from a local surf break off the coast of Phillip Island, draws heavily from the boogie tradition with a nod to vapourware, downtempo, balearic and funk breaks.
Assembled in 2023 across Melbourne/Naarm, London and Berlin, from surf breaks to crusty drum breaks, Xpress Point is a vehicle for Hayes to search for the perfect bass line, explore funk minimalism, continue nurturing longtime musical relationships with close friends and offer his own take on music to make you move.
The eight track journey begins with Timothy Smith of 90s American darkwave band Lestat along with Pat Berdysz and Mekena Berdysz under their View So Cruel guise, “Corpses” is the blackened offering. A blend of styles and voices coalesce in this bright and burnt work. Colombia’s Ravetop follows, rich textured rhythms support scaling synthlines and distant vocals. Acid squawk and looming menace are the ingredients of Ruksby’s romp before Dragée presents an insurmountable wall of string and reverb in “Chapter VI.” The flip brings old friends back into the fold as well as welcoming new names. Canada’s Red Mass conspires with Lieutenant Freebase with unsettling results while Croatia’s Honored Matres returns with the bent and buckled bars and beats of “Sisterhood.” Diana Berti delivers a powerful psychological soundtrack, “Neptune”, before 80s band Simbolo from Brazil closes proceedings with the absorbing analogue abstraction of “For A Better File.” Eight pieces from far and wide, eight tracks that transcend borders and genre tags.
Tanukichan, the musical project of Oakland, CA’s Hannah van Loon, has been a prominent figure in modern shoegaze music since 2016, when she first collaborated with Chaz Bear of Toro y Moi. Together, they released an EP and two full-length albums under Bear's Company Records, culminating in 2023's GIZMO. With her new EP Circles, out September 20th, 2024, via Carpark Records, van Loon ventures into new territory by teaming up with a new producer for the first time – Franco Reid.
The genesis of their partnership dates back to the GIZMO campaign, when Reid noticed van Loon wearing an Incubus shirt in a press photo on Instagram. Intrigued by whether or not van Loon was a genuine fan, he sent her a DM. Their shared musical interest sparked a dialogue that eventually led to the creation of the single "NPC" in 2023.
Lead single “City Bus,” offers a reflection on van Loon's childhood bus rides in San Francisco, evoking the stop-and-go rhythm of commuter life through hard-hitting drums and heavy guitar feedback phasing in and out of the mix. Themes of self-reflection and societal belonging permeate the track, echoing van Loon's ongoing personal journey.
While much of Circles delves into internal struggles, “It Gets Easier” takes on a more celebratory tone as van Loon realizes she’s developed a heightened sense of maturity when dealing with hardship. “It feels easier to let go of situations or people that don’t serve me,” reflects van Loon, “Or if they can’t be avoided, at least I don’t have to dwell on the sadness or discomfort I feel when letting someone down.” Introduced by Reid, nu-gaze sensation Wisp, contributes a verse in her similarly ethereal vocal style.
There is a notable shift on Circles when you consider the first three Tanukichan releases were produced by a pioneer of the chillwave genre. With van Loon’s consistently dreamy songwriting and Reid at the helm, Tanukichan enters new sonic territory that feels larger, arena-ready, and more like a highspeed night drive than the hazy summer dream of its predecessors.
First Word Records is very proud to bring you the 10th anniversary edition of Tall Black Guy's debut LP '8 Miles to Moenart'!
It includes two brand new jazz interpretations ('From Home To Work, And Back' and 'Running The Motor'), recorded with a live band, as well as a new intro cut ('Black Detroit'), and an alternative mix of the single 'Mon Amie De'troit', previously only available on 7" vinyl.
The original vinyl LP release was a one-time limited edition pressing; this being the first time this project has been available on wax since then, and also includes entirely new artwork and photography.
From humble origins in Detroit, raised on a healthy diet of Motown, jazz and hip hop, Terrel Wallace (aka Tall Black Guy) has become a standard bearer for the hip hop beats scene. Through a steady stream of soulful productions filled with incredibly clever sample flips and deft production chops, he has won fans across the world, including Gilles Peterson, Benji B, Don Letts, Lefto, Tom Ravenscroft, Lord Finesse, Huey Morgan, Anthony Valadez and countless others, along with sessions for Boiler Room and more.
'8 Miles To Moenart' literally brought Tall Black Guy full circle, and proceeds to do so once again. Detroit was where he started making music, and it's to his hometown he took inspiration for this debut album. Taking in low-slung hip hop, downtempo house and jazz-tinged street soul, it's a record of rare focus. It encapsulated the musical heritage of Detroit, through the looking glass of Tall Black Guy's own signature sound.
Follow up releases included his sophomore First Word album 'Let's Take A Trip' (which also featured the likes of Masego, Daniel Crawford, Miles Bonny and Moonchild), and records on Ubiquity, Bastard Jazz and Street Corner Music, to name a few, along with a steady slew of limited self-released edits amd productions, most recently with his #7DayVaults series.
He's worked with a number of formidable artists worldwide, including recent extensive work with Zo! (Little Brother), Ozay Moore, Deborah Bond and Dee Jackson (80's Babies), as well as collaborations with 14KT and First Word label-mate Allysha Joy, to name just a few. He is also an integral player for DJ Jazzy Jeff's infamous PLAYlist Retreat sessions, along with more First Word family, Kaidi Tatham and Eric Lau, as well as artists like James Poyser, Ali Shaheed Muhammad and Questlove, and he was a core contributor to First Word's 'Nothing Leaves The House' series, along with Eric, Mr Thing and kidkanevil.
Tall Black Guy has firmly established himself to be one of the most influential producers working today.
Terrel says "I made the bulk of this album back in Detroit around 2012/2013, before I relocated to the UK. I've been back living and working in the States for a while now, and it's great to look back on this project. But while it's nice to reminisce, it's important to look forwards, so I wanted to include something new here to represent my progression as an artist, so there's some new versions included, that I created with the help of some jazz musician friends of mine."
'8 Miles to Moenart' (10th Anniversary Edition) will be released on digital & vinyl on October 18th 2024.
c 03: Funeral Biz / Welcome to Detroit (Interlude) feat. Malice & Mario Sweet
e 05: Mon Amie De`troit (7" Version) feat. Ozay Moore
The third outing from the Do It Now Recordings crew looks to Pigsie's 'Haunted'. It's a perfectly zoned-out slice dreamy and organic deep house for open-air dancing under the sun - the sort of thing that you'd hear at an All Day I Dream party. After that sublime original comes three remixes starting with DJ Jauche who adds some distinctive Afro-house flavours before J. Axel keeps the airy, light melodies and supple drums in place but brings some extra twinkling keys. Last of all is Mattias Vogt whose version is a hypnotic roller with pads smeared across the face of the tune and delightfully innocent melodies floating about the mix.
"Diving Solo" is the debut album of an artist who, after years of recognition under a different alias, has now redefined himself as "sr²." Central to this project is a deliberate departure from self-staging—shifting the focus entirely onto the art itself.
The album emerges from a deeply rooted vision that took shape over a decade ago. It navigates the fundamental questions of existence: the inevitability of impermanence, the search for meaning, and the quest to carve one's own path. Each track draws from formative experiences—from the electrifying pulse of countless club nights to the quiet, introspective moments that challenge our understanding of everyday life.
The tracks on this 9-track double LP transcend mere functionality; they evoke profound emotions and offer space for personal reflection. "Perpetuated on Canvas..." delves into how the first encounter with mortality can profoundly shape one's perception of life. "Diving Solo" inspires a break from conventions to seek what truly matters—even if that journey must sometimes be taken alone.
While the album weaves a coherent narrative, every listener is invited to discover their own nuances and shades of meaning within it. For, in the end, the artwork always extends beyond the artist.
Wilson Tanner’s 69 returns to Australian soil for a new season. A uniquely provincial take on ambient music, Andrew Wilson (Andras) and John Tanner (Eleventeen Eston) assembled their prized debut over a shared love of seafood, wine and LPG. Recorded in a Perth backyard, these two new friends reached for the tools at hand and made the best of the fine weather. Instrument and implement combine in a languorous bricolage of synthesizer, clarinet and building materials - interrupted only by the occasional flutter of pigeon wings or a call to lunch. Back in print for the first time since 2017, Wilson Tanner hop into Efficient Space’s expanding pot.
Born and raised in the Swedish province Dalarna, Stockholm resident Jo Bubbles (aka Jonas Dahlström) has previously released music on Parkway Records and put out several selfreleased titles, most recently on the cassette venture Makemake tapes.
On his first outing on Västkransen Records, Jonas opens his toolbox of subtle grooves and tweaking melodies. A journey into electro, dub and italo-infused house, “Hidden Place EP” features three original club cuts and a mind-bending DnB remix from Stockholm’s hardware veteran Parallax Deep. As one of the tougher releases in Västkransen’s catalogue to date, this record doesn’t just offer solid dancefloor material, but a genuine musical treat.
Bridging the gap between past and present, Framboisier lands
on Gestalt Records with a jacking 4-tracker where tech and
hardgroove lay the foundation for a new type of club sound.
Following appearances on our first three releases and on Chez Damier's latest label 'House Of Chez', El Kazed is back with his first solo EP !
Over the years, El Kazed's sound has become more refined, but you can still recognise his own touch.
On that matter, the A side is a prime example : DeePulse and Yunni perfectly blends that famous FM bass with dreamy pads and a strong 90s Italian house influence.
On the B-side, The Positive stands out with a more club-friendly vibe. Our friend Lea Lisa did her own version of it, driving it even more in that direction.
Paddan's Sigtryggur Baldursson and Birgir Mogensen are lifelong friends from Kópavogur, Iceland, who started as mates on the local football team, then graduated to making music together as teenagers, and even later as young men doing time in the experimental punk collective KUKL, from 1983 - 1986.
KUKL was populated by survivors of the post-punk scene in Iceland in the early 80s, which is well documented in the film Rock in Reykjavik from 1982. The band was released by the Crass collective in London and featured members, apart from Birgir and Sigtryggur, like Guðlaugur Óttarsson, Einar Melax, Björk and Einar Örn, some of whom would become better known later in outfits like the Sugarcubes and their respective solo work and other collaborations.
Sigtryggur has a long career in music, having worked with among others, Emiliana Torrini, Howie B, Les Negresses Vertes, Tomas R. Einarsson, Petur Ben, KK, Kaktus Einarsson, and many many others. He also produces an award-winning documentary music show for RUV called Hljómskálinn.
Birgir Mogensen is a classically trained classical guitarist and bass player who has worked through the years with artists ranging from KUKL to Killing Joke to Spilafifl and Inferno5.
Birgir and Sigtryggur formed Paddan during the 2010s, and are now preparing to release their EP Fluid Time, which has been inspired by their perception of time and space. Birgir Mogensen says, "As a duo, we trusted our musical intuition and were guided by allowing the first idea to remain unchanged during the recording process"Recorded, produced, and arranged by the pair, Sigtryggur and Birgir play basses and drums along with various other instruments.
All recordings are played on live instruments except a modular synth which is programmed in the background of two tracks The duo is joined by the great harmonica and lap steel player Gaukur Davidsson on "Vaguely" and "Bug," and trumpet player Eirikur Orri Ólafsson on "Splash," not to mention the mixing expertise of Vaccines bassist Arni Hjörvar Árnason on "Bug," "Splash," and "Kokka," and sound-mixer Albert Finnbogason on "Vaguely."
More brutal sounds from the thriving UK scum/noise rock underground.
LOUSE: purveyors of the finest cellar-dweller scum rock since 2020; a disgusting cocktail comprised of 4 parts Foot Hair (Box Records) and 2 parts The Shits (Rocket Recordings), served over a capsized cruise-liner.
Described as wielding “damp and sticky instruments”, being “rotten from the inside” and sonically “stinking drunk, shirtless with no shoes, crawling around in your head”, LOUSE gleefully pummel one riff into oblivion, deranged howls & punishing buzzsaw guitars growl over driving disco beats and slide bass. A carnival in an open sewer.
Creep Call – LOUSE’s debut LP, after various tapes, live recordings and a split 10” lathe cut with The Shits – is a true statement of intent. Presented by the magnificent Riot Season, the record is the result of a (wasted) life’s work honing and toning the platonic ideal of single-riff noise rock, all wrapped up in a grindhouse, Giallo-flick package.
Briefly elevated from the basement, Creep Call was recorded with James Atkinson at The Station House Studio in 2023 and mastered by S. Bishop, so the carnage has never sounded better. Perfectly balanced ugliness drenched in feedback, pumped up with Stooges keys and sax (honk honk) - the closest thing to experiencing the deafening, goofy, beer-soaked-undergarment chaos of a LOUSE show first hand.
Creep Call features wholesome ruminations on perpetual home invasion, road-side pornography addiction, perfecting a cannibalistic diet, and an unmistakable cowboy/line-dancing anthem. Do the wrong thing, and answer the call.
We proudly present the first release under the Statica imprint “M2-9: Wings of a Butterfly”
STATICA001 comes in the form of a split ep from two extremely unique & talented artists.
With two dance floor ready, techno driven tracks full of unpredictability and excitement from the prolific Central Intelligence on the A side.
Followed by a B side of reflectionism within the 4/4. Two emotional, energetic tracks, from madrid based producer Victor Reyes.
A contrast of sound that showcases everything that Statica sets out to encompass…”Forces in Equilibrium”
Minkowski 2-9 (M2-9) is a planetary nebula that was discovered by Rudolph Minkowski in 1947. It is located about 2,100 light-years away from Earth. This bipolar nebula takes the peculiar form of twin lobes of material that emanate from a central star. Its form also resembles the wings of a butterfly.
Credits-:
A massive thank you to Central Intelligence & Victor Reyes for their Contributions. Distributed by Deejay.de. Mastering by Justin Drake. Design and Curation by Alix
Occasionally an album comes along that seems to capture the mood of the time. "The K&D Sessions" was one. In the late 1990s no afterparty, smoking session or languid Sunday afternoon was complete without Kruder & Dorfmeister blasting from the Bang & Olufsen. Now approaching it"s 25th anniversary the lore around this iconic release, steeped in a silvery cloud of smoke, retains a star quality which only shines brighter as time hurtles on. With the original having sold well over a million copies by this point in time, it"s hard to imagine a mix or remix compilation being able to inform a movement like "The K&D Sessions" has. To celebrate this monumental milestone, we"ve created a limited boxset in 6LP and 3CD of "The K&D Sessions", mastered and cut by LA luminary Bernie Grundman for a luxurious listening experience, with newly designed inner sleeves using unseen photos from the original photo shoot. Inserted in the box is a forty-page booklet containing multitudes more never before seen photos from the same shoot and notes which recount humorous tales surrounding the duo and the people who spent time with them in this epoch. Included on the 6th LP is their legendary 11 minute shimmering remix of Madonna"s "Nothing Really Matters". The 6th LP also contains Peter Kruder"s Powercut Mix of Roni Size"s "Heroes" and K&D"s remix of U.F.O, "L.O.V.E.". In addition there are two cerebral alternate remixes of Lewis Taylor, one being completely dubbed and the other the using the vocal line for this beautiful gem, "Lucky" and a special remix of "Speechless" by Count Basic. These have been staples in K&D"s sets and now take their rightful place collected in the canon of "The Sessions".
Music From Memory is thrilled to introduce Dead Sound, the collaborative project of Marco Sterk (aka Young Marco) and Berlin-based pop-auteur John Moods. Both artists are no strangers to the label; Sterk forms one third of the trio Gaussian Curve, while Moods released the 2022 album ‘Hidden Gem’ with The Zenmenn.
Their collaboration was both planned and spontaneous; Sterk initially reached out in 2022 expressing his desire to work with Moods. The pair finally got together in 2024 to produce ‘Into The Void’, an album that burst into life over the course of a few creatively charged days in each other’s company.
Moods’ dream-like, emotionally charged music wears its heart on its sleeve; its very human vulnerability makes it a perfect match for Sterk’s strong sense of melody and textural sonic visions.
‘Into The Void’ carries these psychedelic traits in its DNA, but they exist layered deep amongst the shadows. Painting on a wide canvas that effortlessly skips between genres, the pair weave anything that inspires them into a truly unique tapestry; a bold attempt to touch at the beyond.
Exploring the space between perception (level of the mind) and the nature of the universe (actual level of reality) seems traditionally like an impossible task. But there’s gotta be a time and a space for the profound and this album invites the listener to go deep, letting go of concepts such as love and opening oneself up to one’s own authentic journey. This transformative force of healing is a central theme of ‘Into The Void’, a path that is lined with light and darkness in equal measure. But, as Moods says, “do not skip the darkness, let that door open and swallow you. And maybe you’ll find, it's not as dark as you perceived at first."
”Dischi Spranti - vol. 2" is the second official release for the independent label Dischi Spranti. After the first volume with some of the best producers of electronic music in Salento, "vol. 2" continues its research into the local groove, by collecting six tracks mainly dedicated to the dancefloor. The watchword is 4/4, no matter if it is house, techno, acid, tribal or deep, with an ambient finale that appeases bodies and sweat. Marco Santoro, Buck, Giorgio Luceri, Mhadan aka Daniele Marzano and the two founders Max Nocco and Marco Erroi invite you to follow their disjointed dances and, as always, to get lost in Massimo Pasca’s amazing artwork. All you have to do is turn up the volume and argue with your neighbor.
”Dischi Spranti - vol. 2" is the second official release for the independent label Dischi Spranti. After the first volume with some of the best producers of electronic music in Salento, "vol. 2" continues its research into the local groove, by collecting six tracks mainly dedicated to the dancefloor. The watchword is 4/4, no matter if it is house, techno, acid, tribal or deep, with an ambient finale that appeases bodies and sweat. Marco Santoro, Buck, Giorgio Luceri, Mhadan aka Daniele Marzano and the two founders Max Nocco and Marco Erroi invite you to follow their disjointed dances and, as always, to get lost in Massimo Pasca’s amazing artwork. All you have to do is turn up the volume and argue with your neighbor.
(incl 40p fanzine written by Matt Annis with photographs by Simon Pyke and Ian Brodie) Postpunk Theory is a meticulously curated compilation by the legendary Tony Thorpe, known for his work with The Moody Boys, 400 Blows, and The KLF. These classic tracks were played at parties by Thorpe at the time, making them his personal classics. The compilation features 16 rare and sought-after tracks from the post-punk era, including works by Mark Stewart and The Maffia, Basement 5, 23 Skidoo and more.
Defining post-punk is no easy task. While punk was defined by a raw, rebellious simplicity, post-punk (1978-1986) expanded into a diverse array of sounds and ideas. It maintained punk's independent spirit but embraced experimentation, incorporating influences from various musical and cultural traditions, resulting in a movement far more eclectic and fragmented than its predecessor.
At its core, post-punk broke away from traditional rock structures, blending genres like industrial, goth, and punk-funk with emerging dance music cultures. This era's spirit of innovation and defiance against musical norms continues to inspire, making post-punk a pivotal moment in music history that defies easy categorization.
Tony Thorpe presents Postpunk Theory - Alpha ? is a meticulously curated compilation by the legendary Tony Thorpe, known for his work with The Moody Boys, 400 Blows, and The KLF. These classic tracks were played at parties by Thorpe at the time, making them his personal classics. The compilation features 16 rare and sought-after tracks from the post-punk era, including works by Mark Stewart and The Maffia, Basement 5, 23 Skidoo, African Headcharge, and more.
Growing up in a vibrant musical environment in South London, Thorpe was deeply influenced by the eclectic sounds around him, from jazz-funk to Brit-Funk, and later, the post-punk records he discovered. As Thorpe recalls, "Post-punk was a mishmash of different cultures and ideas. Out of post-punk came dance music culture. That period was the most creative time because the culture was in its experimental phase." This compilation captures that innovative spirit, offering a glimpse into the era that shaped Thorpe's musical journey.
The album comes as a limited 2xLP set, accompanied by an extensive 40-page fanzine. The fanzine, written by Matt Annis (Join The Future), dives deep into the post-punk movement, offering insight and context enriched with striking photographs by Simon Pyke and Ian Brodie.
Four club cuts from the recent Cold Blow 5th anniversary CD compilation. Featuring Matti Turunen of the world famous electro outfit Morphology, a electro-funky collaboration by Qwerty & Ed DMX, a true minimal techno banger by the legendary Mono Junk, as well as an introduction to a mysterious new producer called Sleep Mathew.
Expansion’s most successful and longest running compilation series returns with its 2020 collection. It’s the 20th Anniversary edition. The concept remains, the tracks better than ever, fifteen must-have modern soul room gems telling the story of the past 12 months. Tracks here have topped UK soul charts including many that have not been available in all formats. Participants this year include Charlie Wilson (biggest dancefloor spin before lockdown), Tower of Power, Will Downing, Randy Hall, JB Rose The Weather Girls, and Sam Wills all prolific on soul radio through the summer with other artists delivering signature songs of 2020. Then there’s the biggest revival track of the year from Johnny Baker, “It’s Your Night”, the 300 copy limited edition 7” pressing now exchanging hands upwards of £50 a copy.
Soul, funk, jazz, Brazilian, Latin music... P-VINE's Groove-Diggers series has unearthed quality records that transcend genres, nationalities and ages since the series was launched in 2006. Now, we have decided to release a compilation album containing a selection of great sound sources from our vast collection. It is no exaggeration to say that this compilation, which includes a wide selection of previously overlooked finds and popular tracks that everyone has probably heard at least once, would not have been possible without the Groove Diggers team.
Limited Edition! The "LaBush - Temple of House" Volume 2 Vinyl Box Set for the 30th Anniversary of the Legendary Club!
Barely six months after the phenomenal success of the first box set, La Bush - Temple of House makes history once again, celebrating its 30th anniversary with the release of Volume 2 in a limited edition 10x12" vinyl box set. A true must-have for collectors and electronic music enthusiasts!
This exclusive box set features no less than 35 tracks, an incredible number for a vinyl collection, offering unparalleled pressing quality that guarantees an exceptional listening experience, perfectly suited for any turntable. Each track has been meticulously remastered, preserving the essence of the original versions while enhancing every sonic detail.
The deluxe packaging of this box set is a work of art in itself, designed to captivate the most discerning vinyl lovers. Moreover, with tracksfrom legendary artists like Paul Kalkbrenner, Paul van Dyk, David Guetta, Tomcraft, Oliver Lieb, Matthew Herbert, and La Bush resident Mr. Sam, this box set is an essential treasure.
For those who already own the first box set, this new volume is the perfect opportunity to complete your collection in the best possible way, adding a new centerpiece to your La Bush ensemble.
Don't miss this unique opportunity to add a masterpiece to your vinyl collection. Order now before it's too late!
Locked-In returns with its eighth vinyl release, showcasing the talents of DOTT in a four-track EP.
The A-side opens with "Shock FM", setting the EP's tone. DOTT's masterful sound design is fully displayed, building tension and release through intricate percussion. The track's progression is sure to captivate dancefloors and headphone listeners alike.
"The Helper Returns" follows, diving deeper into atmospheric territory. Swirling synths intertwine with a driving bassline, evoking vast, subaqueous landscapes. The track's subtle evolution reveals new sonic details with each listen.
Flipping to the B-side, "A Bit of Dis & Dat" presents a more stripped-back approach. Its minimalist structure allows each carefully placed element to shine, from crisp hi-hats to a rumbling low-end. This is DJ material to maintain energy while adding depth to their sets.
The EP closes with "Sine Bass Runs Deep." Here, undulating rhythms and shimmering top-end create a sense of constant motion, perfect for those early morning hours when the dancefloor is locked in a collective trance.
