Suche:matt mor

In a sharp-angled, fiercely inventive reflection on the nature of club culture and digital fatigue, Simo Cell and Abdullah Miniawy reunite to deliver their new album, Dying is the internet, to Dekmantel's UFO series.

French producer Simo Cell has blazed a singular path from his dubstep-influenced origins to become a leading light in contemporary leftfield club music, twisting up adventurous rhythms and flamboyant production in pursuit of a perpetual freshness for the floor. Egyptian singer, poet, producer and composer Abdullah Miniawy has become equally omnipresent in the past 10 years, straddling the arts world and leading with his piercing Arabic lyricism while maintaining an eternally curious spirit that leads into open-ended, experimental music from the abstract to the propulsive.

Following up on their 2020 EP for BFDM, Kill Me Or Negotiate, Miniawy describes their sharply focused new album as "a playful prophecy about the triggers of a new global revolution." Cell considers the title, Dying is the internet, to be a mantra about "how the internet lost its soul," becoming "less about sharing ideas and more about surviving in a digital business ecosystem." Deliberately at odds with the reel-ready two-minute attention span of the average social media surfer (i.e. everyone), the pair set out to make an album that takes its time to reveal nuanced ideas and expressions. Rather than one-note despair for the modern malaise, Cell and Miniawy offer a philosophical reminder that this present moment in the human experience is a temporary phase, no matter how overwhelming it feels.

Dying is the internet finds Miniawy experimenting with auto-tune across the record, while Cell has developed his voice design chops and compositional instincts, moving closer to fully realised song structures without losing the fundamental 'clubbiness' of each track. The result is a cohesive, wildly original kind of heavyweight dance music that slings out hooks left right and centre, from Miniawy's laconic trumpet looming through low-slung 'Reels in 360' and 'Travelling In BCC' to the persistent handclaps that bring 'Living Emojis' to life. Miniawy's poetry explores the power of insistent, repeated phrases in a break from his more typically structured form.

Kenyan powerhouse Lord Spikeheart adds extra snarl to stripped-back, slow-burn opener 'I See The Stadium', but otherwise Dying is the internet is purely the work of Miniawy and Cell casting their considerable chops out into unexplored territory. The results are electric, bound together by a consistent economy of sound that burrows into a shroud of bass-heavy minimalism barely masking Cell's incredibly detailed studio flex. Even the beatless flourish of the Miniawy-produced 'Tear Chime' comes loaded with physicality — a sensory rush at the mid-section of the album bookended by some of the most idiosyncratic club music in recent memory.

Both Simo Cell and Abdullah Miniawy have already proved themselves as fearless innovators across different fields. The strength of their partnership lies in their ability to make space for each other while letting their distinctive sonic identities ring loud and true. Dying is the internet has immediacy and physicality to translate over a soundsystem, but its intricacies are purpose-built for repeat visits and contemplation, unveiling hidden dimensions the deeper you dive into it.

The definition of the word 'fado' is technically 'fate', though the Portuguese meaning bound up with this term is more complex. The music itself can be fairly closely compared with that of Greek rebetika - also the American blues or the original working-class tango music of Argentina and Uruguay - and similarly takes it's common subject matter from the various cruel realities of the world. Though perhaps what distinguishes fado in character is it's often poised acceptance of the pains of life rather than protestation or resistance - as writer Paul Vernon says "It speaks with a quiet dignity born of the realisation that any mortal desire or plan is at risk of destruction by powers beyond individual control"

Death Is Not The End compile here a spine-tingling collection of fado recordings, taken from records issued in the mid 1910s through to the 1930s. The fado's Lisbon and Coimbra variants are presented here by some of the music's earliest recorded stars - spanning a time period leading up to the emergence of the fado's all-conquering star, Amália Rodrigues.

London quartet The Leaf Library return with their bold new album After The Rain, Strange Seeds. A luminous collection of pastoral indiepop, drawing inspiration from suburban isolation, unreliable memories and the surreality of the weather. Their most immediate and melodic work to date, the richly evocative songs brim with chiming guitars, buzzing organs and warm, dulcet strings, evoking Yo La Tengo’s more contemplative moments, The Clientele’s autumnal jangle pop and early Stereolab’s motorik melodicism. The sound of the album is defined by mixer John McEntire, whose work with Stereolab and Yo La Tengo (as well as a member of Tortoise/The Sea And Cake) have been major inspirations to the band.
The album explores themes of memory and place, albeit through an abstract haze – returning again and again to specific moments frozen in time: midsummer bright hot days in the Chilterns (“Sun In My Room”), meteorology and the strange movement of the weather (“Colour Chant”), red kites circling over suburban motorways (“Some Circling”), and the uncanny feeling of dusk and nighttime creatures on “The Reader’s Lamp” (titled by celebrated film director Peter Strickland). The lyrics are vivid yet elliptical, strung with abstract ideas and imagery, conjuring a gently unsettling, though never unwelcoming atmosphere. Not quite trusting your own recollection of things, while marvelling at the oddness of the natural world, the album’s title a good summation of the mix of strangeness and hope contained within.

As on past albums the band - founded by singer Kate Gibson and ex-Saloon guitarist Matt Ashton in the mid 2000s, and now completed by drummer Lewis Young and bassist Gareth Jones - have involved their extended musical family, including guitarist Mike Cranny (of fellow drone pop travellers Firestations) and keyboardist Irina Shtreis, both members of the Leaf Library live band. The album also sees the return of James Underwood’s Iskra Strings, a quartet that features on 4 tracks, with sumptuous arrangements by Daniel Fordham, as well as regular contributor Melinda Bronstein on vocals and Will Twynham (Dimorphodons) on harpsichord. They also welcomed Paddy Milner (on Hammond organ) and Scott McKeon (guitar) – both current members of Tom Jones’ band – for a startlingly delicate rolling crescendo to closing track “There Was Always A Golden Age”.
After The Rain, Strange Seeds is their 4th studio album. The result is The Leaf Library’s most accomplished and affecting work, John McEntire’s mix bringing a bold clarity to the band’s meticulous arrangements – closer to how they sound live than anything they’ve done before.

Since the label resumed activity last year, this is already the fourth release on Mars Assault Limited, the sub-label of Mars Assault dedicated to faster and/or more industrial music.
This time we have tracks from Pardonax, (remixed by Matt Green) and Biscanna, as well as an extra "secret track" from an undisclosed artist, for a total of 4 tracks, all in the Hardcore-Techno style, and yet all different from each other.
Cut in 33/45 rpm for optimal sound quality by the legendary Hervé @ DK Mastering, who managed to fit all tracks on a 10" vinyl for extra cuteness.
Final release to be pressed on "winter gold" vinyl colour, with a smaller 85mm label to fit more music on each side.
300 copies limited.

Often cited as the strongest Tribe 69db live recording, this cassette emerged from a tense and pivotal moment in the early 90s free party scene.
At the time, Techno Import was the largest electronic music shop in Paris, and arguably in France. The shop planned to release a CD compilation titled Sound Of Teknival, featuring Spiral Tribe. As the project progressed, disagreements over money, copyrights and control led Spiral Tribe to withdraw their approval.
Despite this, Shark Records, the label linked to Techno Import for the project, proceeded with the CD release without full artist consent. In response, 69db released a tape titled "Fuck Techno Import". This cassette stands as raw testimony to the clash between underground culture and commercial structures, capturing both the sound and spirit of an era when autonomy mattered more than compromise. Originally released in 1997, specially remastered for tape.

Representing a more analog sound than before, Itken jos mua huvittaa was recorded in Gothenburg in the autumn of 2025. The album was produced by Gustav Ejstes, known as the leader of the band Dungen, and engineered by Mattias Glavå, renowned for producing Håkan Hellström's albums. Counting among the most popular bands in Finland, Maustetytöt also enjoy international cult fame and have toured extensively across Europe over the past two years, performing headline shows in England, Germany, France, Italy, Spain, Switzerland, the Netherlands, Greece, the Czech Republic, Poland, and throughout Scandinavia.

Warehouse Find! Test Pressing!

Andre Lodemann is a highly regarded producer from Berlin whose debut release dropped in 2004 on Mike Grant's legendary Moods & Grooves label.
Last year saw Andre Lodemann release his Innervisions debut Leaving The Comfort Zone EP.
He has remixed for labels such as Innervisions, Buzzin' Fly, Poker Flat and Rebirth.
Squares is a brand new side-project from Fish Go Deep, focusing on completely hardware-based productions and slightly more experimental, left field deep house.
Tony Lionni continues to impress following his Osgut Ton smash Found A Place (which continues to drive dance floors into a frenzy worldwide) with releases on Versatile, Mule, Wave and Madhouse.

Having transitioned between London, Lisbon and back again as a DJ and producer, as well as across the world as the drummer in beloved pop group, Metronomy, Anna Prior remains an essential and independent force in alternative and electronic music culture. The current epicentre of this creativity is undoubtedly Prior’s own label, Beat Palace. Established in 2021, it has showcased the talent and diversity of FLINTA producers carving an esoteric space within alt-pop and electronic music.

Returning to the imprint for the first time since its inception, Anna Prior utilises this vital platform to refine her own craft across the five-track ‘Firefly’ EP, exploring new moods and styles, balancing playfulness with vulnerability, shadow and light. Prior describes ‘Firefly’ as, “a collection of moments - some fleeting and some stubbornly lingering.... Each track came together almost by accident, but now feels to me like they've always belonged together.”

Lead single ‘True For You’ pulsates with soft euphoria, as Prior weaves softly cascading synths with her own earnest declarations, composing a sensual, sophisticated drama about “letting other people's differing truths sit alongside your own” that nonetheless carries a distinct club energy. In contrast, title track ‘Firefly’, written alongside co-producer Matt Karmil, unfolds as a spoken-word piece, investigating memory, “the tricky mirror that reveals more than it conceals”. Throughout, Prior’s inquisitive, native Yorkshire accent anchors a wide-eyed soundscape that gradually, impressively escalates into the cinematic.

Centerpiece track ‘Silence’ turns this approach inside out, escalating the tempo and revealing a DnB-influenced shade of Prior’s work that is certain to surprise and impress, scattering elegant syllables amongst serious soundsystem pressure as Prior navigates the feeling of being ghosted; by friends, lovers and even her own work. ‘No More Drama’ returns to pop, presenting a bold cover of Mary J. Blige’s classic that inverts the original’s unmatched intensity for a more serene, but no less affecting rendition.

Finally, ‘Beside You’ delivers one last, sublime blend of Prior’s songwriting and sequencing instincts, a simple pop incantation that coaxes dancers into a soft trance while concluding with a reminder from Prior that “amid life’s unanswered calls and fleeting highs, there is always space to feel safe and unjudged.” Concluding this sublime EP, Prior finds new ground to settle into her talents.

8-page lyric / drawing booklet, glossy poster, download card (inc. mp3s), white inner paper bags, sticker on cover.

After 7 strange years of relative silence, and 13 years of being a band, Dog Chocolate have returned with ‘So Inspired, So Done In’. Their fourth album is their most focused, cohesive and song-y yet. They still sound like a bin full of wasps, but now the bin has double-cream or a Viennetta or something at the bottom. While many of the 16 songs on here barely make it past the 3-minute mark, each one is bursting with all the textures and colours of an office cupboard: full of old sweets, fluorescent markers, and multiple ways to fix paper together.

Thematically, a lot of ground is covered, with songs tackling subject matter as diverse as overheard conversations, healing fungal toenails, the Rogerian concept of the Actualising Tendency, bronze age living conditions, dreaming songs into being and human-plant relations. Work (and anti-work) is a recurring theme, as is artistic inspiration and burnout. Dog Chocolate revel in the mundane and incidental, to explore bigger, existential questions. Recorded and mixed by POZI’s Toby Burroughs and mastered by Sofia Lopes, ‘So Inspired, So Done In’ charts a long and confusing period in the band’s collective life, marked by major life changes, losses and shifts, colouring the band’s trademark frantic, daft and anxious energy with a contemplative glaze. Dog Chocolate continue to investigate their internal and external landscapes with playful curiosity, frustration, silliness and empathy.

Pre/history of the band: In the early 2000’s Andrew (vocals), Rob (guitar, vocals) and Matthew (guitar, vocals) played together as teenagers in South-East London-based maximalist, costumed surrealist punk band Yeborobo. They met drummer Jonathan playing with his instrument-swapping masked band Limn at art space Utrophia in Deptford. Later, when both bands had split, Dog Chocolate formed with a shared desire to make a band that was simpler than their theatrical past: small amps and light guitars, no more than 2 drums at any one time, a keyboard no longer than a ruler and a shared ethos… “it’s about giving a shit, but at the same time not giving a shit, but not ‘whatever’, not giving up never!”. The band floated the term “pencilcase punk” to describe their jumbled, colourful, dense and instant music.

Dog Chocolate built on this early scrappiness, bedding into their sound over several albums. Their first “Or” (2014) was a split with Ravioli Me Away, soon followed by “Snack Fans” (2016) and “Moody Balloon Baby” (2018). Along the way they played gigs with bands as wide ranging as Deerhoof, No Age, Dry Cleaning, Palm, Daniel Wakeford, Shopping and Pozi.

With a tendency to converse with each other both lyrically and musically cultivated over many years, the members of Dog Chocolate bounce off each other, respectfully disagree, try to make each other laugh and share some of their most vulnerable feelings with each other. ‘So Inspired, So Done In’ is their own unique offering during these unsteady times: a language of friendship translated into songs.

A blend of Metal Indus and Bass Music, VIOLENCE is an ambitious and atypical project produced by Niveau Zero, one of the pioneers of French Bass Music. Composed of Fabio Meschini (Guitar / Ex: As They Burn) , Morgan Sansous (Drums), John Kazadi (Lead Vocal) and Frédéric Garcia aka Niveau Zero ( Machines and Vocal ).

OPUS I', their 1st album (2021), composed in collaboration with choice guests such as Billy Graziadei (Biohazard, Powerflo), Bastien Hennaut (HORSKH) and Code: Pandorum... has frankly succeeded in arousing the enthusiasm of both Metal and Bass Music audiences.

On stage, the band has not been outdone, offering a crescendo of increasingly furious performances over the last year alongside bands like Biohazard, Mass Hysteria, Ten 56, Horskh, Shaargot, Novelist, Revnoir, King Yosef.

Mia Zapata was the greatest rock singer of her time. She may have likely been the greatest blues singer in punk rock history, the woman who married the 78 and the '78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame that was built around her by Andy Kessler (guitar: metronomic and furious), Matt Dresdner (bass: fluid, punching, beat-addicted and melodic), and Steve Moriarty (drums: martial and explosive) - who, with Mia, combined to form The Gits - made it true. The Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986, grabbing and swapping pieces of art, thrash, noise, punk rock, classic rock, and all the sorts of magical silly and bookish jingle bells that an old-school liberal arts education handed you; for the next few years they worked on turning it all into something tough, sensitive, both brutal and kind. Andy, Matt, Mia, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) wood-shedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and '91 before signing with C/Z Records and releasing their first full-length album, Frenching the Bully. Seattle quickly claimed the quartet as their own and embraced the Gits blend of ferocious fangs and soft heart, the slug/slap of the guitars, and the gorgeous, soft underbelly of the poetic emotions. These qualities not only fit in with the doe-eyed/sharp-clawed grunge ethos but earned the Gits the respect of their peers, including Nirvana, who tapped them to open a major local show in 1990. Then other stuff happened, and their frantic, confessional barbed-heart snowball began rolling up hill very, very fast; the Gits "quickly" (hah! After half a decade learning to implode and explode hearts and stomping their boots on manifold beer-softened, Marlboro-weeded wood stages!) inspired rapture, awe, and the levitation that happened when peak emotion meets peak grindage in front of amps spitting out something that sounded like the mad marriage of Bolan swagger and Dischord tension_ all fronted by a genuinely incomparable woman who held her heart in her mouth and shared it, in all its celebration and fear, without hesitation. The Gits were an angry, inflamed slinky fully in tune with and tuned by the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop and Ian MacKaye all in the same goddamn song. In 1993, less than four weeks after accepting an offer from Atlantic Records, Mia died. I leave it at that, because this is not about death; it's about an extraordinary life. I do not say, "You should have been there," I say, "We are lucky so many of us were, and I am so glad we have this extraordinary evidence of the power and gifts of Mia and the Gits that you now can hold in your hands." And I note that Frenching the Bully, this extraordinary testament to the soul, shock, fury and feeling of the Gits, has been long out of print on vinyl and CD, and this new edition - remastered by legendary Seattle engineer Jack Endino - joyfully rectifies that. -Tim Sommer

Brooklyn duo The Still Brothers is a musical project of childhood friends Evan Heinze (The Shacks/Big Crown) and Andrew LeCoche (Ula Ruth). Heinze has toured with the likes of Khraungbin, Lee Fields and Cut Chemist, while LeCoche’s old band once opened for Paul Simon and Edie Brickell. A former student of Madlib’s uncle Jon Faddis, LeCoche has scored music for Netflix and Patagonia and sound design for Twitter, Patron, and Marvel. Signing to Lewis Recordings in 2020 the band’s first single ‘The Deep’ was instantly picked up by Steve Lamacq on BBC 6 Music who regularly plays it to this day. ‘Wake Up’ featuring the vocals of Marina B. spent six weeks on the BBC 6 Music playlist gaining support from Lauren Laverne, Gilles Peterson, Mary Anne Hobbs, Craig Charles, Huey Morgan, Cerys Matthews, Don Letts, Tom Ravenscroft and Guy Garvey. Lockdown didn’t slow down the band’s creativity with many tracks on their self-titled debut EP recorded remotely. Two such tracks were the collaborations with London based singer/songwriter Shauna Kelly aka Shoshy. ‘It’s Not Over’ and ‘Crazy’ were released on 7” and both received BBC radio support. Marina B stepped back on the mic with the upbeat hit ‘I Wanna Be With You’, a dancefloor filler mixed by St. Frances Hotel (producer for Michael Kiwanuka). The b-side ‘Sungalz’ is a hazy dream pop number that started life as an instrumental jam

Red Vinyl

The Communards’ sophomore album ‘Red’ consolidated the genius of the musical partnership between Bronski Beat singer Jimmy Somerville and pianist Richard Coles. Fusing synths and hi-NRG production with lush string and horn arrangements, The Communards straddled pop and the political, the album’s themes set against the political unrest and moral panic of late 80s Britain. A global smash upon its release, this remastered and expanded 35Th Anniversary Edition features an extensive array of B-sides, live tracks, demo versions and remixes, including classic mixes by legendary 80s club doyens Shep Pettibone, Clivilles & Cole (better known as C&C Music Factory) and a euphoric new 2022 remix of ‘Never Can Say Goodbye’ by UK outfit The 2 Bears (Hot Chip’s Joe Goddard and DJ Raf Rundell). Available on Deluxe Double CD , Collector White & Red Double Vinyl , Black Vinyl. All editions remastered , with new sleeve notes.

FRQNCY LDN, the new project from Alex Lavery and James Ford (producer du jour and one half of Simian Mobile Disco), are releasing their debut album ‘The White Edition’ on 5 September via PRAH Recordings. Alongside the news of their debut album, the duo are sharing the first taste in ‘Matthias’ Wajd’, which they describe as “a rousing, instrumental piece from the middle of the set where the whole ensemble became balanced providing moments where Raven played violin with haunting yet uplifting melodies within the cavernous reverb of the church. Interestingly, at this moment, most of the audience who had been laying down rose to watch the performance like a gig, like an awakening.”

Initially conceived as a live project with earlier performances at churches in London and at Glastonbury, FRQNCY LDN’s music is a mix of strings, gongs, oscillators, FX, and spoken word, and the result is a musical experience unlike any other. Now that immersive magic has been captured on their debut release through Prah Recordings.

The music that FRQNCY LDN are releasing as their debut album is from an extraordinary live take from a performance at St Matthias Church in Stoke Newington last year, and thanks in no small part to the serendipitous bunch of musicians they assembled: composer and violinist Raven Bush, clarinettist Arun Ghosh, cellist Satin Beige Chousmer, and harpist Chloe Chousmer-Kerr. Alongside Lavery and Ford and assisted by engineer Animesh Ravel, they were able to capture the music to a world class level.

FRQNCY LDN has its roots in a supermoon that occurred three summers ago, after the hottest day of the year. Two of Lavery’s friends gave a sound bath that evening. “I’m not overly into astronomy or anything but the experience was nuts,” he says. “I had to find out what had just happened. What felt like forty minutes was actually two and a half hours. We were all out. It was so profound that I was hooked.”

He immediately signed up for a sound therapy course where he learned about what he calls a “brain hack” to meditation. “The thing about sound therapy is there’s a lot that’s meditation-based, and I find meditation really difficult. I’ve got a very busy brain. What was alluring about this process of sound immersion, a sound bath, whatever you want to call it, is it’s basically a hack to making your brain get into a meditative state.”

FRQNCY LDN’s early shows crystallised their ideas into a project, and Lavery brought poet Nikita Gill on board as a vocalist. “One of the first poems she gave to me, ‘Unwitches’ was in response to me explaining that I’d love this project to be perceived as something anyone could access. It’s not just for the sound meditation or the yoga, or the mushroom crowd. No one should be turned off by connotations from where the music comes from, I love music but I’d never be into that because it’s too woo-woo. Nikita said she’d had this poem for a long time but she’d never found the right home for it.”

And in an increasingly busy and fraught world, the need to tune out for an hour or so, and maybe tune in to something more profound, is only going to get bigger.

XHUMED hit the blood-soaked road with their new album, Red Asphalt ! The masters of "Gore" Metal rev up and prepare one of 2026's most frenetic, unhinged slabs of sonic obliteration. "We're very stoked to be back in your ear-holes with Red Asphalt. Our recent albums have taken you with us through the graveyards and operating theaters of 19th century Scotland, the horror aisles of the video rental stores of our youths, and through the band's history itself." EXHUMED mastermind Matt Harvey says. "This time around, we're inviting you to accompany us to a place that we spend a disproportionate amount of our lives, someplace familiar yet far more dangerous than it feels, a place that can take you to the hospital or the grave in more ways than you can imagine: the American roadway." The latest wrong turn from the driving force of Gore Metal, EXHUMED, Red Asphalt crashes the band's hook-laden, high-speed deathgrind into whiplash-inducing grooves and dangerous musical curves. Red Asphalt is a love letter to the road - horrific accidents, vehicular homicide, defective cars, gore-filled instructional videos, zombified biker gangs, and more. True to the band's spirit, Red Asphalt drags the listener through a whirlwind of riffy madness. Tracks like the aptly titled "Unsafe at any Speed", the horrifying "Shovelhead" and "The Iron Graveyard" ooze with sleaze and groove while retaining all of the high-octane, full-throttle, white-knuckle madness you've come to demand from EXHUMED. Take the album for a spin, and get your kicks on Route 666! Short: EXHUMED hit the blood-soaked road with their unhinged new album, Red Asphalt! The masters of "Gore" Metal rev up and prepare one of 2026's most frenetic slabs of sonic obliteration. FFO: Carcass, Repulsion, Aborted, Autopsy, Dying Fetus, Impaled, Cannibal Corpse

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’

Bunny ‘Striker’ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby
purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home-made mixing console, and his impressive collection of jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

When you listen to birds, they usually talk about food, sex/family, or anxiety. If they knew about the true nature of humanity's cruel and exploitative relationship with birds, they would be discussing rebellion. Humanity's current trajectory about birds is to cause the extinction of one-third of all bird species by the end of this century.

This record crystallises the borders between memory, beauty, and anxiety. At the core is an amalgam of all the birds we have met and heard, their sounds synthesised from a blend of memories. Esthetically it simulates the qualities of bird sounds, hitting similar frequential sweet spots. There is a great variety of birds captured here, from high to low frequencies, from solo voices to groups, from birds standing on their own to complex world-building, where the bird voices are part of an ecosystem, becoming one of the instruments.

You could stop there, enjoying this record on a musical level, but it invites us to do one step further, to consider reconfiguring our relationship with the Earth and its inhabitants. To question our impact, and to ask why we need synthetic bird music. Is it just a visionary endeavour or is it because we are failing at fostering a world in which organic birds and other creatures can thrive?

32 artists from the whole world, including our favourite artists from Eastern Europe, have contributed to this compilation both with new and previously released music. Their music is ordered from dawn to dusk and into the night. For many of the artists it's their first time on mappa, but some have previously released an album with us.

ince its opening in spring 2021, JUBG, a still young Cologne gallery for contemporary art, has specialized in the broad field of artists and collaborations working along artistic interfaces, especially those between visual art and experimental and/or electronic music. For example, JUBG has already hosted exhibitions by Markus Oehlen, Kim Gordon, Wolfgang Voigt, Matthias and Aksel "Superpitcher" Schaufler, Sven-Åke Johansson, and Emil Schult. Albert Oehlen, who is a kind of mentor and supporter of the gallery, was also a guest at Albertusstraße this summer, where he presented the exhibition D-I-E ORPHEUSMASCHINE together with Michael Wertmüller, Thomas Stammer and the poet Rainald Goetz.

It is only logical that the gallery now expands its sphere of activity to include its own label, on which music appears that comes from similar contexts as the artists listed above already suggest.

As catalog number 1, JUBG is now releasing the official soundtrack to "The Painter" from 2021. The film, German title "Der Maler", is a mixture of feature film and documentary and a collaboration between German director Oliver Hirschbiegel, best known for his Oscar-nominated film "Downfall", and Albert Oehlen, with whom Hirschbiegel has a long friendship, as they both once studied together at the Hochschule der Bildenden Künste in Hamburg.

The docu-fiction shows Oehlen struggling with a painting and pondering the meaning of his work. Oehlen is played by German actor and musician Ben Becker, accompanied by the off-screen voice of Charlotte Rampling. In the film, Becker makes a painting that Oehlen himself creates step by step behind the camera, while the actor improvises the process in front of the camera.

The wonderful music for this film comes from no less than two outstanding personalities whose individual biographies and musical signatures could hardly be better suited to this project. On the A-side it is Gudrun Gut, icon not only of the German electronic music scene since at least the 90's, singer, composer, DJ, label owner (Monika Enterprise) and of course founding member of the legendary 80's New Wave band Malaria. On the B-side it’s the world famous and award winning US avant-garde trumpeter and improvisational musician Nathan "Nate" Wooley, who has played with Fred Frith and John Zorn among others.

Gudrun Gut's tracks bear such beautiful titles as "Bewegung", "Küste" or "Weinen" and she once again pulls out all the stops of her great skills and decades of experience as a producer of the most diverse electronic music genres. These are unusual and much more experimental musical paintings that she creates here than on her recent solo works. Edgy, angular, raw and unpolished, yet always elegant and clever, she subverts the male artist madness depicted extensively in the film in her own unique way.

Nathan Wooley answers with the instrument he has been familiar with since childhood, the trumpet, with which he is able to create a ravishingly virtuosic noise. His pieces are more like sketches, often only 90 seconds or a few minutes long, but in all their abstractness underpin the narrative of the film almost perfectly.

A limited edition of 20 copies in total, painted and signed by Ben Becker, can be purchased directly through JUBG.

JUBG, eine noch junge Kölner Galerie für zeitgenössische Kunst, hat sich seit ihrer Eröffnung im Frühjahr 2021 auf das weite Feld von Künstler:innen und Kollaborationen spezialisiert, die entlang künstlerischer Schnittstellen tätig sind, insbesondere an denen zwischen bildender Kunst und experimenteller und/oder elektronischer Musik. So hat JUBG bereits Ausstellungen von Markus Oehlen, Kim Gordon, Wolfgang Voigt, Matthias und Aksel "Superpitcher" Schaufler, Sven-Åke Johansson und Emil Schult gezeigt. Auch Albert Oehlen, der eine Art Mentor und stiller Unterstützer der Galerie ist, war im Sommer dieses Jahres zu Gast in der Albertusstraße, wo er zusammen mit Michael Wertmüller, Thomas Stammer und dem Dichter Rainald Goetz die Ausstellung D•I•E ORPHEUSMASCHINE präsentierte.

Es ist nur logisch und folgerichtig, dass die Galerie ihren Wirkungskreis nun um ein eigenes Label erweitert, auf dem Musik erscheint, die aus ähnlichen Zusammenhängen und Sphären stammt, wie es die oben aufgezählten Künstler:innen bereits vermuten lassen.

Als Katalog-Nummer 1 veröffentlicht JUBG nun den offiziellen Soundtrack zu "The Painter" aus dem Jahr 2021. Der Film, deutscher Titel “Der Maler”, ist eine Mischung aus Spiel- und Dokumentarfilm und eine Zusammenarbeit zwischen dem deutschen Regisseur Oliver Hirschbiegel, vor allem bekannt für seinen Oscar-nominierten Film "Der Untergang", und Albert Oehlen, mit dem Hirschbiegel eine lange Freundschaft verbindet, studierten sie doch beide zusammen einst an der Hochschule der Bildenden Künste in Hamburg.

Die Doku-Fiktion zeigt Oehlen, wie er mit einem Gemälde kämpft und über die Bedeutung seines Werks nachdenkt. Oehlen wird vom deutschen Schauspieler und Musiker Ben Becker gespielt und von der Stimme von Charlotte Rampling aus dem Off begleitet. Im Film erstellt Becker ein Gemälde, das Oehlen selbst hinter der Kamera Schritt für Schritt anfertigt, während der Schauspieler den Prozess wiederum vor der Kamera improvisiert.

Die wunderbare Musik zu diesem Film kommt von gleich zwei herausragenden Persönlichkeiten, die mit ihren individuellen Biographien und musikalischen Handschriften kaum besser zu diesem Projekt passen könnten. Auf der A-Seite ist dies Gudrun Gut, Ikone nicht nur der deutschen elektronischen Musikszene seit mindestens den 90er Jahren, Sängerin, Komponistin, DJ, Label-Betreiberin (Monika Enterprise) und natürlich Gründungsmitglied der legendären 80er Jahre New Wave-Band Malaria, auf der B-Seite der weltberühmte und Preisgekrönte US-amerikanische Avantgarde-Trompeter und Improvisationsmusiker Nathan “Nate” Wooley, der u.a. mit Fred Frith und John Zorn zusammengespielt hat.

Gudrun Gut’s Tracks tragen so schöne Titeln wie “Bewegung”, “Küste” oder “Weinen” und sie zieht hier einmal alle Register ihres großen Könnens und ihrer jahrzehntelangen Erfahrung als Produzentin der verschiedensten elektronischen Musikspielarten. Es sind ungewöhnliche und sehr viel experimentellere musikalische Gemälde, die sie hier entwirft als auf ihren jüngsten Solo-Werken. Kantig, eckig, roh und ungeschliffen und dabei immer elegant und schlau, unterläuft sie den im Film ausgiebig dargestellten männlichen Künstlerwahnsinn auf ihre ganz eigene Art und Weise.

Nathan Wooley antwortet mit dem ihm seit Kindesbeinen vertrauten Instrument, der Trompete, mit der er in der Lage ist, einen hinreißend virtuosen Lärm zu erzeugen. Seine Stücke sind eher Skizzen, oft nur 90 Sekunden oder ein paar wenige Minuten lang, die in all ihrer Abstraktheit das Narrativ des Films nahezu perfekt untermalen.

Eine auf insgesamt 20 Exemplare limitierte Edition, bemalt und signiert von Ben Becker, ist direkt über die JUBG zu erwerben.

Across an extensive suite of enchanting miniatures, Matthias Kremsreiter and Christian Schoppik present the hypnagogic vision of Taghelle Nacht. Recording under their respective Roudi Vagou and Läuten der Seele aliases, Kremsreiter and Schoppik combine their distinct but equally accomplished instrumental practices into a new collaboration that weaves swooning samples amongst instrumental passages. They lead us through 16 vignettes that revel in the cognitive dissonance and seductive magic of moonlight at midnight.

Both artists have past form within the folds of contemporary experimental electronic music in Germany. Kremsreiter's work as alibikonkret has manifested on DIY tape releases created with a methodical, technically-minded approach. Debuting his Roudi Vagou pseudonym on Taghelle Nacht, he pivots to a more playful, instinctively felt method that allows the compositions to flow with a natural cadence. Schoppik has been a key figure in the celebrated dark-ambient-folk scene, not least as part of the group Brannten Schnüre. His work as Läuten der Seele includes the acclaimed 'water trilogy' of LPs between 2022 and 2024, with a greater emphasis on instrumental, atmospheric production, and a last, stunning collaborative album with Nový Sv?t's Jota Solo.

On Taghelle Nacht the precise ingredients of each piece soften at the edges as tape loops and swathes of reverb seal the joints between spellbinding melodic refrains. Opening track and lead single 'Gleisende Lichter' sets the tone with ghostly murmurs, spine-tingling string refrains and splashes of cymbal that cut through the gloom with stark clarity. A lilting romanticism stirs at the heart of the orchestral samples that populate the likes of "Grenzu?berschreitung" - old-world beauty sometimes buried in dust, elsewhere rendered with startling clarity. 'So Süß' lets buzzing, sustained drones and dissonant sweeps of extended technique glide in and out of each other. Granular processing subtly breaks apart the mellow swell on 'Komischer Anruf', and forlorn sax calls out into heavy-hearted space on 'Glaskopf Mit Watte'. At every turn a new scene is painted, distinct from the last and yet all bound up in the pervasive, pale blue light cast over the sleeping landscape Kremsreiter and Schoppik have sculpted.

Snatches of song drift by like dreamlike fragments, and achingly tender flourishes fleetingly appear and retreat - ideas and expressions momentarily caught in the light before retreating into the shadows once more. This is the evocative world of Taghelle Nacht - an unsettling depiction of the surreal blend of memories and imagination that merge into each other once the sun goes down.