quête:melo x

Supergroups existed before Emerson, Lake & Palmer formed in 1970. And, as we all know well, many came after. But few, if any, matched the English trio’s chemistry and its elevated combination of virtuosity, vision, and verve. Having influenced a multitude of followers, ELP’s prowess was obvious from the start. The band’s self-titled debut stands as a towering statement of creative imagination, execution, and discipline more than five decades after its original release.

Mastered at MoFi’s California studio, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180g 33RPM LP of Emerson, Lake & Palmer presents the benchmark album in audiophile sound. Clear, dynamic, and balanced, this collectible edition honors the perfectionist approaches that both informed the playing and recording of the record.

Distinguished with black backgrounds, this reissue brings to light the epic scope, tonal depth, and mind-bending degrees of musicianship on display. Aspects — textures, nuances, effects, melodies, tempo changes — that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with pinpoint detail. Whether you’ve owned multiple copies of this touchstone or seeking out your first version, you’ll relish the presence, separation, imaging, and crispness that help make every song come across as if the group has set up shop in your listening space.

Opening the door to the seemingly infinite possibilities of progressive rock while steering clear of excess, Emerson, Lake & Palmer achieved a rare feat in that its complex, cerebral music didn’t prevent it from attaining mainstream success. The gold-certified effort launched the career of a band that would sell tens of millions of records. It also landed a Top 50 single in the form of the ballad “Lucky Man,” whose vocal harmonies, folksy strumming, multi-tracked instrumentation, and breakthrough Moog solo almost feel quaint in the face of the other fare on the album.

Comprised of genre-defying originals and hybrid arrangements of two classical pieces, the album Rolling Stone originally and rightly said is “best heard as a whole” matches outrageous ambition with the otherworldly skills of three musicians who remain among the finest to ever pick up their respective instruments. While Emerson soon drew the lion’s share of headlines for his ability on keys — clavinet, Moog, piano, Hammond organ, and pipe organ included — Greg Lake’s aptitude on guitar and bass, along with well as Carl Palmer’s monster talents behind the kit, created a three-headed hydra that devoured everything in front of it.

That extends to the radical reinterpretation of Bela Bartok’s “The Barbarian” that begins the LP, a performance that in less than four-and-a-half minutes runs the gamut from distorted to churchy to angular and blustery. More classical flourishes, keyboard wizardry, hard-rock heaviness, and gothic signatures emerge throughout “Knife-Edge,” which reimagines music by Leos Janacek and J.S. Bach — and ultimately invites you to explore a cathedral of sound teeming with separate bursts of keys and percussion.

And did someone say “drumming”? Check out Palmer’s monster salvo on “Tank,” a rhythmic showcase that marches out with knee-bent notes and mirror-reflected passages. Or dive into the mythological suite “The Three Fates.” Replete with three parts and Emerson playing the pipe organ at Royal Festival Hall, it shoots off sonic fireworks via sophisticated arpeggios, jazz improvisations, dancing counter-meters, sizzling chords, and a few explosions. Please don’t hold anyone at MoFi responsible if your system cannot handle it; this is heady stuff.

Indeed, everything on Emerson, Lake & Palmer is there for a purpose. Whether you aim to attempt to dissect all of the notes, shifts, and polyrhythmic bluster or just want to absorb this album as one living, breathing organism, this version invites you to do both as many times as you desire.

The song titles on Van Halen's aptly titled Fair Warning don't lie. The likes of "Unchained," "Mean Street," "Push Comes to Shove," "One Foot Out the Door," and more indicate the mood the band channels on its double-platinum 1981 record — the nastiest, darkest, and fiercest album of the group's storied career. For the fourth time in four years, Van Halen throws down the gauntlet to all challengers and emerges victorious.


Sourced from the original analog tapes, pressed on MoFi SuperVinyl at Fidelity Record Pressing, and strictly limited to 5,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set plays with unfettered clarity, dynamics, and immediacy. Benefitting from superb groove definition, an ultra-low noise floor, and dead-quiet surfaces, this vinyl edition captures what went down in the studio with tremendous realism and involving presence.

Taking a more controlled approach in the studio and still completing everything in less than two weeks, Van Halen and producer Ted Templeman relied on studio amplifiers to direct the sound. Further diverging from the live-on-the-floor approach of its earlier albums, the ensemble also employed overdubs to great effect. The result: Dense, stacked architecture that underlines the hard-hitting tenor of the songs — and which comes alive like never before on this reference edition that looks as good as it sounds.

The premium packaging and gorgeous presentation befit the reissue's select status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. Aurally and visually, it is made for listeners who want to immerse themselves in everything involved with the album, including the iconic cover art adopted from William Kurelek's haunting painting, "The Maze."

Isolated frames from Kurelek's childhood-inspired work — including a man bashing his head into a brick wall, a guy pinning down an adversary as he delivers bare-fist blows to his face and others watch with apparent glee, a boy tied down on a conveyer belt and being sent through the equivalent of a meat saw — adorn the front and back covers. The sunnier visual disposition of Van Halen's prior efforts gives way to something sinister and tortured, traits reflective of the music within. The band members, too, are visually depicted not in glamorous shots but in a serious black-and-white portrait in which the quartet is clad in black leather jackets.

Tough, aggressive, stark: Fair Warning comes on like a series of bare-knuckled punches to the solar plexus and boasts lyrical narratives to match. Though not a concept record, the concise album revolves around themes of roughing it on the streets and struggling to survive amid dim prospects. Singer David Lee Roth reportedly penned many of the initial lyrics after traveling to Haiti and observing extreme poverty. The characters and situations populating Fair Warning reflect hardscrabble existence, last-chance desperation, and underlying danger.

Witness the crazies, poor folks, and hunters of “Mean Street”; the former prom queen turned pornographic actress on “Dirty Movies”; the menace and vice of “Sinners Swing!”; the streetwise hustle of “Unchained”; the isolation and alienation of “Push Comes to Shove”; the desire for escape on “One Foot Out the Door”: A carefree California beach party Fair Warning is not.

Having said he felt angry and frustrated during the sessions, guitarist Eddie Van Halen uses the forceful arrangements as a playground for his seemingly unlimited arsenal. Supported by a crack rhythm section and a hyped-up Roth, he performs with an almost impossible combination of punk-like intensity, technical finesse, lyrical fluidity, and unbridled emotion. The virtuoso was increasingly butting heads with Templeton and seeking a freedom in the studio he believed denied him.

No wonder he plays like a bat out of hell. Listen to the rapid-fire manner in which he slaps the high and low E strings on the 12th fret of his instrument on “Mean Street,” instilling the tune with funk flair and metal-spiked sharpness. For the pouty strut of “Dirty Movies,” Eddie Van Halen contributes slide guitar magic made possible after he sawed off the lower portion of a Gibson SG so he could reach further down the fretboard.

Related intensity, urgency, and daredevil momentum punctuate the surging “Sinner’s Swing!” A heavily flanged, delicately melodic introduction frames the attitudinal “Hear About It Later,” among the most creative arrangements of Van Halen’s career. And do riffs come any bigger or magnetic than those on the high-wire kick of “Unchained”? As for the out-of-left-field “Sunday in the Park,” an instrumental composed on an Electro-Harmonix micro-synthesizer: Who but Eddie Van Halen to supply creep factor in such an ingenious way?

Despite selling fewer quantities than Van Halen’s prior efforts, Fair Warning remains for many diehards the record that epitomizes all of the band’s immense strengths —Roth’s manic energy and tongue-wagging humor, Alex Van Halen’s rhythmic heartbeat-in-your-chest bombast, and Michael Anthony’s lucid bass lines included. Arriving when the New Wave of British Heavy Metal and new-wave movements were taking flight, it signaled a shot across the bow from a band determined to stay a step ahead and provide proof nobody could touch what it delivered.

More than four decades later, Fair Warning still sounds that alarm.

"Guerra Total Na Boca Do Lixo" is CAVEIRAS' new album, to be released on February 13, 2026. The album will include 12 brand new tracks, displaying the usual mix of punk aggression, batucada rhythms, industrial / noise bravado and bass music.

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CAVEIRAS deal in obsessive rhythms and low frequencies, infusing punk with Afro-Brazilian vibes. Their spiritual birth can be traced back to a visit to Favela Rocinha: while watching two young boys improvise a batucada with a bucket and a bin, band members became obsessed with the possibility of an occult alliance between Rio de Janeiro and Einstürzende Neubauten’s Berlin. Back home, Caveiras made a blood oath, vowing to channel the dark side of samba. Armed with an electric bass, scrap percussions and a machine-gunning sampler, they began to butcher Brazilian standards with a wild and iconoclastic attitude. Claves and rhythms of the Brazilian tradition are heavily treated through electro-acoustic techniques, dub-oriented bass lines strip melody down to the bone, while screams cross the line separating punk’s rants from Quimbanda’s curses.

Assembled by Pedro Alves Sousa, Má Estrela is a conjuration of ideas and obsessions around dub, leftfield dance phenomena and the hypnotic potential of urban somnambulance.

In a levitating state, not exactly detached from the unease of these end times, Sousa surrounds himself by a number of accomplices from past and present endeavours to project a scrying mirror reflection of distinct languages of trance and liberation - dub's space and infinity, jungle and footwork's broken shards, DJ Screws legacy perpetually reanimated via numerous slowed down anonymous versions on Youtube and the lyricism and fire of jazz.

Temporarily a quartet, comprised of Sousa on saxophone and its electronic processing, Bruno Silva and Simão Simões on electronics and Gabriel Ferrandini on acoustic and electronic drums, after the departure of Miguel Abras, Má Estrela had in their 2022 debut album their first document of this ongoing process that’s now continued with ‘Tornada". Miguel Abras has since been replaced with Bruna de Moura and Má Estrela came back to being a five piece.

Coming out in November through Discrepant, with Miguel Abras' bass still present, 'Tornada' deepens the symbiotic connection between those rhythmic, melodic and textural particles in a mutating flux of continuities and disruptions throughout seven tracks. Featuring the invocations of Elvin Brandhi in 'All You Did', 'Tornada' makes its way amidst harmonic spectres, rhythmic debris that breathe for life and a certain, implicit idea of ritual that sustains itself liminally between the ethereal dissolution of time and the physical projection of space.

Nice and original breakbeat melodious overdrive 1 techno electro killer.

Coming straight from the Cozmo comes RudyLane with a debut EP The Return Of The Synth. Landing the ship on new imprint Drag Vader comes a four tracker from the heavenly isles. Leading the arrival we have ' The Goat' a low hung brooding affair which then builds into haunting territories twisting into funk infused techno awakenings. ' 2 yrs L8' slips us onto at first a desolate plaine, trying to find a signal, with stripped vocal stabs swung groove, smokey juno bass into a hook that the Dark Synth would be proud of. ' Thirsty Pool' on the flip is a more minimal workout weaved within hypno vocals driving us forward into hopeful waters. 'Protests Digital' closes out the party blending worlds of emotive melodies and gnarly walking basslines through arpeggiated mid riffs dusted with dub kissed filterness. Landing firmly on the ground RudyLane is off to a strong start.

Excited to hear what's next on this journey.

A true double-sider of soulful excellence, Mr. Soul (aka Al Scott) delivers pure magic on Genuine Records with “You’re Too Good” and “What Happened to Yesterday.” On “You’re Too Good,” Scott’s smooth, honeyed vocals glide over a mid-tempo groove, blending elements of sweet soul and crossover with effortless style. The lush instrumentation, crisp rhythm section, and irresistible melody make this a standout for DJs looking to work deeper cuts into a set or collectors seeking that perfect soulful gem for their box.

Flip it over and you’re treated to “What Happened to Yesterday,” a deeply emotive ballad rich with longing and heartache. Scott’s vocal performance is drenched in feeling, perfectly supported by subtle strings and understated arrangements that let the song’s emotional weight shine through. Released on the much-loved Genuine Records imprint, this rare 45 has long been a favourite among serious soul heads, with both sides offering something special—whether for the dance floor or reflective late-night listening. A must-have for any serious soul collector.

Italian producer Matteo Veroni returns with Vibez, the second 12″ on Much More Music, a label devoted to timeless house grooves with soul, warmth, and a touch of Mediterranean light. Vibez captures the essence of classic house: deep basslines, crisp percussion, and melodies that glow with emotion. Veroni crafts each mix as a different moment in the day, radiant, fluid, and irresistibly groovy. It’s the sound of open-air dancefloors, rooftop sunsets, and late-night laughter that never quite fades.
A beautifully balanced 12″ that embodies what house music does best, move the body and lift the spirit.

Hardcore dub inna time traveling style… a tribute to 1973 from Croatia’s ominous dr.obi… fast paced drum rolls, deep bass, a piercing skank, and a haunting melody set the atmosphere, all mixed rich in effects live thru a mixing desk… dubwise, no compromise!

For the first time, Endrik Schroeder and The Hacker have joined forces. Their unique sounds and styles have combined seamlessly to produce a 12” that draws on their own musical histories. The title track pulls the listener into a darkened sweaty basement, a space where neon lights leer and quivering speakers vibrate. Melting elements of new beat and rave revelry, the track is bawdy and bold. Robotic samples cut through siren blasts, clean snare rolls skidding in thick basslines and creamy breaks.

Two remixes follow, both care of fellow French producer: Back From The Wave. First up is the “Breaky Remix”. Adhering to the club origins of the source material, this remake sends melodies ever higher as drums lift elated lines to the stern refrain of “Emergency”. The “Indie Remix” closes. The glowsticks are sheathed in this version, instead it is the soaring keys that are given the limelight with beats bolstered for extra bite. Three tracks set to delight and ignite dancefloors.

Two musicians, two different folk music traditions, two soundscapes hundreds of miles apart and one nightingale song. Nightingale melodies inspired this intoxicating folk album by Slovakian flautist Michaela Antalová and Norwegian double bassist Adrian Myhr. The Oslo-based duo’s album follows their meditative 2021 debut Zvony (Bells), which featured harmonium, field recordings of crickets and a Slovak male choir.

Sing Nightingale is a translation of ‘Zaspievaj Slavicku’, a traditional Slovakian song. The duo experiments with this theme of the songbird; exploring instrumentation from around the world and its rich tonal textures. On ‘Night Singing’, Michaela plays a Slovakian fujara, a tall, upright wooden bass flute originally played by shepherds. The fujara’s smooth, deep tones are laid over a recording of a nightingale by musicologist Tomáš Šenkyřík, with Michaela’s flute mimicking the bird’s nocturnal chirps and warbles to attract a mate. Michaela is carefully imitating the bird, who is in turn improvising his melody. In ‘Worm Moon’, named after the springtime full moon in March, when nightingales return from Africa where they have spent the cold winter, Adrian’s slow and resonant double bass is brightened by the sweet trills of a real nightingale and Michaela’s fujara.

The Norwegian Hardanger fiddle or hardingfele, features on two specially written songs; ‘Lament’ and ‘Rosenhave’ (rose garden) which bring together the nightingale’s symbolic associations with undying love, sacrifice, deep sorrow and loss. Celebrated Hardanger fiddle player Helga Myhr plays alongside Adrian’s double bass and Michaela’s seljefløyte or willow flute. Helga also plays on ‘Flagre’ (Flutter) and ‘Dance Nightingale’. The seljefløyte is very similar to the Slovak overtone flute koncovka. By using this Norwegian instrument, Adrian and Michaela’s new compositions are reminiscent of both countries’ folk traditions. Folk music often comes from unknown sources; the original writer may not be known and the melodies are typically passed down orally. Michaela and Adrian’s project merges the different folk musics from their respective countries, finding common ground in the sonic qualities of instruments and evolving a new hybrid folk style, authentic in its own right.

For the stunning adaptation of the traditional Slovakian fujara song ‘Dolu Ovce Dolinami’ (‘Sheep down the valleys’), Adrian’s friend Javid Afsari Rad plays the Iranian santur, similar to the traditional Slovak string instrument cimbalom. By coincidence, Iran’s national bird is the nightingale, making another unexpected connection to the symbolic bird. These 11 tracks are a beguiling fusion of traditional folk styles, approached by musicians from an avant-garde, improv and jazz background. The album pays tribute to a hugely expressive bird and finds a strange, soothing universality in the folk sounds of different countries.

Long regarded as singular architects within European post-rock, EF have built a catalogue defined by dynamic patience, melodic clarity, and widescreen emotional reach. Across two decades of touring, the Gothenburg ensemble have carried that language to clubs and theatres at home and abroad, earning a reputation for meticulous, high-impact live shows and a body of work that has steadily gathered critical regard and a devoted international following. Reimagined and with expanded production including strings and brass, this edition is a considered re-engagement with the material that first crystallised EF's voice. The band returns to thesesongs with the benefit of twenty years' craft, presenting new arrangements that stretch time and deepen narrative, while retaining the quiet-to-catharsis arc that has always set their music apart. "Since it's our precious first born we wanted to give it the love it surely deserves. We felt we didn't want to celebrate its big 20th birthday by just remastering it and we surely didn't want to make the songs too modern and unrecognisable for the old fans. We wanted to give it a tighter, more dramatic and bombastic make over_ a gentle touch of today's EF." (Niklas Åström) Originally released in 2006, `Give Me Beauty_ or Give Me Death!' introduced EF's signature blend of cinematic guitars, patient dynamics and aching melody. For this new edition, along with an incredible cover illustration by Phillip Janta and brand-new bonus track `Noll', the band returned to the material with fresh ears and clear intentions: to open more space in the arrangements and to enrich the melodic lines with orchestral colour. `Give Me Beauty_ or Give Me Death!' (20th-Anniversary Edition) is a document of growth rendered with care: more instrumentation, more time, more consequence. The album is an act of stewardship_ both a homage and a forward-looking manifesto for EF and for discerning listeners everywhere. FOR FANS OF Explosions in the Sky, Mogwai, Caspian, Gospeed You! Black Emperor, Yndi Halda, Mono Black or White Double Vinyl, Digisleeve Single CD. Includes bonustrack Noll.

Long regarded as singular architects within European post-rock, EF have built a catalogue defined by dynamic patience, melodic clarity, and widescreen emotional reach. Across two decades of touring, the Gothenburg ensemble have carried that language to clubs and theatres at home and abroad, earning a reputation for meticulous, high-impact live shows and a body of work that has steadily gathered critical regard and a devoted international following. Reimagined and with expanded production including strings and brass, this edition is a considered re-engagement with the material that first crystallised EF's voice. The band returns to these songs with the benefit of twenty years' craft, presenting new arrangements that stretch time and deepen narrative, while retaining the quiet-to-catharsis arc that has always set their music apart. "Since it's our precious first born we wanted to give it the love it surely deserves. We felt we didn't want to celebrate its big 20th birthday by just remastering it and we surely didn't want to make the songs too modern and unrecognisable for the old fans. We wanted to give it a tighter, more dramatic and bombastic make over_ a gentle touch of today's EF." (Niklas Åström) Originally released in 2006, `Give Me Beauty_ or Give Me Death!' introduced EF's signature blend of cinematic guitars, patient dynamics and aching melody. For this new edition, along with an incredible cover illustration by Phillip Janta and brand-new bonus track `Noll', the band returned to the material with fresh ears and clear intentions: to open more space in the arrangements and to enrich the melodic lines with orchestral colour. `Give Me Beauty_ or Give Me Death!' (20th-Anniversary Edition) is a document of growth rendered with care: more instrumentation, more time, more consequence. The album is an act of stewardship_ both a homage and a forward-looking manifesto for EF and for discerning listeners everywhere. FOR FANS OF Explosions in the Sky, Mogwai, Caspian, Gospeed You! Black Emperor, Yndi Halda, Mono Black or White Double Vinyl, Digisleeve Single CD. Includes bonustrack Noll.

“Godzilla just walked into the room. People just stood there with their eyes and mouths wide open.” To hear Randy Holden describe the audience’s reaction in 1969 to his solo debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps is about as close as one will get to truly experience the moment heavy metal music morphed into existence. However, at last Riding Easy have unearthed the proper fossil record. Population II, the now legendary, extremely rare album by guitarist / vocalist Holden and drummer / keyboardist Chris Lockheed is considered to be one of the earliest examples of doom metal.

Though its original release was a very limited in number and distribution, like all great records, its impact over time has continued to grow. In 1969, Holden, fresh off his tenure with proto-metal pioneers Blue Cheer (appearing on one side of the New! Improved! Blue Cheer album and touring for the better part of a year in the group), aimed for more control over his band. Thus, Randy Holden - Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. “I wanted to do something that hadn’t been done before,” Holden explains. “I was interested in discordant sounds that could be melodic but gigantically huge. I rented an Opera house for rehearsal, set up with 16 Sunn amps. That’s what I was going for, way over the top.” And over the top it is. The six-song album delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It’s incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility.

Troubles with the album’s release bankrupted Holden, who subsequently left music for over two decades. It was bootlegged several times over the years, but until now hasn’t seen a proper remaster and has yet to be available on digital platforms. “The original mastering just destroyed the dynamics of it,” Holden says. “They flattened it out. Now we got a really nice remaster that should be the closest thing to the original recording.”

Mid Price Campaign! Heavy, melodic and passionate, Flat Earth is a hard rock band from Helsinki, Finland, founded by Ex-Amorphis bass player (Niclas Etelävuori) Ex-HIM guitarist (Linde Lindström) Ex-HIM drummer (Gas Lipstick) and Polanski singer (Anthony Pikkarainen). The band produces heavy riffs, blasting beats and cinematic chords that combine to create an unforgiving, passionate, and dynamic sound.
The band's debut single ‘Blame’ premiered on Radio Rock in 2018, immediately gaining popularity, throughout Finland and the rest of Europe. The single Cyanide followed in the footsteps of the debut single, gaining public recognition and earning them a spot opening for ‘Alice in Chains’, in Helsinki. To date, they have over half a million streams on Spotify, alone.
In the beginning of 2019, the band entered the studio to record the follow up to their debut album ‘None for One’. This time with legendary producer Tim Palmer behind the mixing desk.
Flat Earth is: Anthony Pikkarainen - Vocals (Polanski) Linde Lindström - Guitar (ex-HIM) Gas Lipstick - Drums (ex-HIM) Niclas Etelävuori - Bass (ex-Amorphis).

This is the ultimate mini-album that can proudly be called LIP CREAM! “9 SHOCKS TERROR” has remained timeless since its original release in 1986, embodying incomparable speed and a level of perfection that defines Japanese hardcore. Opening with ‘TERROR,’ which goes straight into reverse audio and needle skips, the song structure charges forward relentlessly, shaking off the catchy, humorous, and approachable vibe that had previously defined LIP CREAM. Naoki's noisy yet melodic guitar, Pill's wild drums, Minoru's heavy yet high-speed bass, and JhaJha's intense shouts that still allow the lyrics to be clearly heard—all these elements fuse together to create powerful tracks that have reached an unprecedented sound. Recorded at Shinjuku JAM Studio, ‘9 SHOCKS TERROR’ was composed primarily by Minoru and Naoki, with lyrics and artwork by JhaJha. JhaJha's hand-drawn jacket illustration was a parody of THE FUZZTONES' album “Cinderella”. Additionally, an English translation of the lyrics is included for this RELAPSE release, helping English-speaking listeners understand the unique world of LIP CREAM. Interestingly, the title “9 SHOCKS TERROR” was revised to “9 SHOCKING TERROR” on the 2007 CD reissue by ONI Label. This revision was made after illustrator PUSHEAD, who has a long-standing relationship with LIP CREAM, pointed out a grammar error. However, the original title has been restored out of respect for the original work for this RELAPSE reissue. Following the release of this album, LIP CREAM launched their self-managed national tour “BLOODY SUMMER TOUR,” and fans who bought the album rushed to the gig. Additionally, during a show at Doshisha University in Kansai in the autumn of the same year, torches were brought onto the stage and Jha Jha set them ablaze, causing absolute chaos (footage of this incident can be viewed in the video “LIP CREAM ONLY”).

It’s the first long play, and the third major release from this melodramatic astronaut. The album captures fragments of bitter sweet memories - unrelated separately, but tells a story of one’s search for comfort in solitude when put together.

Composer, arranger, and multi-instrumentalist Yoshiharu Takeda's long-awaited first album, released in 2018, is now available as a Cassette Tape.
He plays various instruments himself, including piano, clarinet, pedal steel guitar, and percussion.
Fantastical, crystalline melodies constructed through masterful use of multi-tracking and programmed elements.
This richly textured work possesses an organic quality, unfolding dynamically through colorful arrangements while maintaining a mysteriously serene
atmosphere. Highly recommended not only for jazz and world music fans, but also for enthusiasts of ambient and new age music.

Spandau20 delivers its eleventh various artists release, a sonically rich and future-facing blend of broken grooves, spatial moods and modern Detroit romanticism. Four tracks, four new angles on the dancefloor. ANNA Z sets the tone with 'Kabeljau', an eclectic, IDM-flirting workout. On the opening track, elastic rhythms stretch and snap while ethereal pads drift overhead, punctured by sudden turns and glitchy surprises. Moody, weird and beautifully unpredictable. Dajusch continues with 'Fallout', diving into shimmering Detroit-inspired chords and pristine production. Clean yet full of soul, its dreamy propulsion moves with effortless optimism. It's a track that lifts heads and hearts without ever losing its club focus. Flip the record and FJAAK welcome you into a breakbeat-infused haze. 'Your Time' pairs groovy percussion and airy atmospheres with those unmistakable powerhouse vocal chops, a warehouse anthem with a gentle cosmic touch, driving yet deeply emotional. Closing the EP, Claus accelerates the pulse. 'Moist Logic' is a faster, more urgent exploration of the techno continuum. Machine funk encoded into a forward-thrusting groove, a sleek atmosphere swirling around a sharp, kinetic core. With SPANDAU20 011, the West-Berlin collective celebrates a hybrid future that is rhythmically adventurous, melodically rich and rooted in the love for the dancefloor. This record combines Berlin grit with dream-state techno, balancing rough energy and refined emotion across four cuts that leave their mark on the floor.

Spandau20 delivers its eleventh various artists release, a sonically rich and future-facing blend of broken grooves, spatial moods and modern Detroit romanticism. Four tracks, four new angles on the dancefloor. ANNA Z sets the tone with 'Kabeljau', an eclectic, IDM-flirting workout. On the opening track, elastic rhythms stretch and snap while ethereal pads drift overhead, punctured by sudden turns and glitchy surprises. Moody, weird and beautifully unpredictable. Dajusch continues with 'Fallout', diving into shimmering Detroit-inspired chords and pristine production. Clean yet full of soul, its dreamy propulsion moves with effortless optimism. It's a track that lifts heads and hearts without ever losing its club focus. Flip the record and FJAAK welcome you into a breakbeat-infused haze. 'Your Time' pairs groovy percussion and airy atmospheres with those unmistakable powerhouse vocal chops, a warehouse anthem with a gentle cosmic touch, driving yet deeply emotional. Closing the EP, Claus accelerates the pulse. 'Moist Logic' is a faster, more urgent exploration of the techno continuum. Machine funk encoded into a forward-thrusting groove, a sleek atmosphere swirling around a sharp, kinetic core. With SPANDAU20 011, the West-Berlin collective celebrates a hybrid future that is rhythmically adventurous, melodically rich and rooted in the love for the dancefloor. This record combines Berlin grit with dream-state techno, balancing rough energy and refined emotion across four cuts that leave their mark on the floor.