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In May, fans were treated to the first new music from Trentemøller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, Dreamweaver will drop in September, on Friday the 13th.
Featuring 10 tracks that traverse Trentemøller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of of Iceland's Disa, who has been in Trentemøller's fold since the Memoria tour.
Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentemøller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. The third track in the opening trifecta, "Dreamweavers" finds its footing with a percussive soft trot, which starts after what feels like a shortwave radio scan in search of the right chords, eventually dialing in a weightless voice. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst.
Dreamweaver is about to enter its next phase. With the hatch blown off of the portal, the noisy "I Give My Tears," driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant.
A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure." This diptych wraps up an album which certainly feels on-script for Trentemøller, but is also much more psychedelic than previous offerings.
Dreamweaver will be released on Trentemøller's own In My Room label. It is an exceedingly immersive experience, bound to release any dormant hallucinations you may be harboring.

It is on dark and sweaty dance floors that we get inspired, connect and leave our differences away to live in the present. With this compilation of music pressed in two parts and written by a set of artists from very diverse horizons, it is Polychrome’s perspective on the rave that we want to share. One where sound and light are the only points of reference, opening the space for liberating experiences.

The dance floor is also a space of self-reflection. The A-side is catered by two artists from one of our favorite collectives, De Lichting. With “A Reflection”, RDS opens up and shares a beautifully crafted house gem, providing for a soft and introspective yet groovy “eyes closed” dance. Nathan Kofi takes on the A2 with his unique deep house sound, layering sweet and cinematic synth sounds over an Afro-induced drum sequencing, creating a warm sonic envelope. On the B-side, James Free mixes acid synthesis, roaring bass line, and breaks to create a progressive and subtly melodic dance floor track, one that leaves you positively triggered. With the final track of the record, Rotterdam’s Mata Disk offers a glowing light over polyrhythms and very electronic noises, offering this body of work a deserved radiating curtain close.

Sasha returns with atmospheric gem 'How to Wear Raybans Well' Featuring remxes from heavyweights Roman Flügel and Nathan Fake.

Electronic luminary Sasha has had a busy 2024 that has so far yielded standout collaborations with the likes of Super Flu & Sentre and a solo single 'Florian Drift' that proves he remains at the cutting edge. His Last Night on Earth label continues to serve up a rich mix of melodic house and techno from the most exciting names in the scene and this latest solo single finds the boss head into new realms once more.

The superb 'How to Wear Raybans Well' is awash with fizzing dub chords and electric lines that flash about the mix. The deep rooted drums have a subtle bounce as they serve to sweep the floor off its feet and lock them into a state of melodic techno bliss.

First to remix is Nathan Fake, a UK talent who has always had his own unique sound. It's based on his mastery of synths and melody and has arrived on labels like Ninja Tune and Border Community as well as his own Cambria Instruments. His remix ups the ante and strips things away to bring more defined drums and crisp hits. The synths bring a range of emotions as they unfold with a mind of their own throughout this most captivating track.

Roman Flügel has been an ever present in the electronic world almost since the start. The German's output has covered endless ground from micro house to acid to techno on the most tasteful labels from his own Playhouse to Mule, Dial and Live At Robert Johnson. His remix is timeless surging techno that comes with waves of warming synths and unrelenting drum pressure designed for peak time dance floor wig-outs.

The widely beloved Romanian producer and DJ Barac delivers his new EP ‘Hypnotic Grayscale’ via Yecad this May, comprising three original compositions across the vinyl only release.

Since his debut release over a decade ago, Bucharest, Romania’s Barac has grown to become one of the most prized producers and DJ’s in the microhouse movement coming out of his home turf. A name synonymous with high quality, subtly nuanced and hypnotic grooves tightly woven together to create a sound that’s distinctly his and has found a home on many reputed labels such as Meander, Pressure Traxx, Adam’s Bite and of course his own Shamandrum. Here though, we see Barac joining the roster of Yecad, a fledgling London based imprint that has played host to music from Sepp, Vlad Arapusu, Mihai Pol, Dragutesku and Constratti since its inception in 2023.

The title-track ‘Hypnotic Grayscale’ opens the EP and encapsulates all that is loved about Barac’s productions, delicately unfurling atmospherics, haunting voices and softly reverberated chimes intertwined with airy dub chords and stripped back drums.
Following to open the B-Side is ‘Everything that is seen comes from the unseen’, stripping things back to a rawer, percussive driven state with crisp drums and a bubbling acid- tinged bass line carry the groove while sporadic resonant flutters and vocal murmurs ebb and flow within. ‘He restores my soul’ then rounds out the EP and sees Barac explore his more experimental side, fusing together ghostly synth melodies, echoing chords, spiraling resonant swells and a hypnotic Romanian spoken word vocal.

Jasper Street Co. is one of the House Music community’s signature artist endeavors. Produced by Baltimore’s legendary production team The Basement Boys, and consisting of a collection of singers who can emote on the highest level of gospel, soulful and peak hour house, this collective has been riding high for years and is now going next level with the recent release of the “Rejoicing” album on Nervous Records. Prior releases from the album have skyrocketed to the top of DJ sales and club charts, with “Praying For You” being nominated for a Grammy for the Louie Vega remix in the Best Remixed Recording (non-classical) category.

Up next is a cover version of a song originally recorded by Teddy Pendergrass. Written and produced by Gamble & Huff, “You’re My Latest, My Greatest Inspiration” was originally released on Philly International Records in 1981. It was a massive R&B & Disco hit back then, and now has been updated by Jasper Street Co. for the house music community. The single package has an outstanding collection of remixers on board who make the project something even more special for the purists but also will launch into the larger worldwide music community. Teddy Douglas produced the original album version, but comes back for another take while adding some serious bass / kick drum juice with his Teddy Douglas Bass Intro Remix. Micfreak and DJ Spen put a highly creative spin on the original with some added effects on the vocal and a piano line that soars into the highest level of peak hour house energy with their Higher Love Remixes. Tensnake also gives it a very distinctive and infectious groove, while Dr. Packer takes all the original elements and uses his great talents and appreciation for soulful house and disco to make this project even more essential for house purists than it already is!

Double Vinyl package on Feb. 5 on Nervous Records. Includes custom jacket and yellow vinyl.

Ten years after his first full-length effort ‘Man Is Deaf’ landed him firmly in the runnings for DJ Mag’s album of the year, prodigal son Michael Anthony Wright AKA Brassica returns to Civil Music with a deeply accomplished, painstakingly whittled LP of hydraulic electro slickness, rich synthscapes, and hooky, peak-time tearjerkers for the most discerning front-left lifers. ‘Tribeless Gathering’ is a barnstorming testament to Brassica’s stylistic and timbral deftness, touching down in the elusive epicentre of the club/home listening venn diagram with ease.

From the elastic, neon acid pointillism of opener ‘Hop Kweng’ to the mardy, miasmic plod of closing chugger ‘Changa Hill’, Brassica seamlessly segues between avenues of influence, his notoriously omnivorous musical knowledge roadmapping each turn. Raised on a diet of everything from early rave standards to metal, and schooled in avant garde sonics as a student of sound design at LCC, Brassica does a peerless job of sublimating his countless influences into a record of refined, heterogeneous, and most crucially, catchy, club moods.

Less spartan than his more recent oeuvre on Feel My Bicep, and less baroque than his technicolour experiments in postmodern synth pop with vocalist Stuart Warwick, Tribeless Gathering represents Brassica’s triumphant return to the main room, replete with rushy hooks primed for the planet’s finest soundsystems, and passages of heads-down tension bound to draw listeners right to the edge of their seats. Overall it is a concise and refined testament to Wright’s command of spectral sonics and effortless ability to pressurise a dancefloor. It is no surprise that he has also worked as a prolific mastering engineer, tuning music from a plethora of dance disciplines for maximum club impact. This work extends to his own projects (including this one), cementing them as rare expressions of complete artistry from studio to turntable.

As we delve deeper into the record, we are ushered through a series of accomplished and varied club moods, each channelling a unique cocktail of influences, but retaining a warm, ebullient analogue sensibility unique to Brassica’s work. This playful scope of influence calls to mind James T Cotton or Machinedrum’s experiments in dance music form, but Wright manages it all under one roof, wrangling everything from sashaying wub-laden two step to snarling Dillinja-esque FM damage into something inherently his.

Choice cut ‘Change Yourself’ layers an almost Cerrone-like piano refrain over radiant surges of saturated bass, dubby, strobing chords and a jagged, driving break, building to a jaw-clenching apex of dancefloor elation, while the rude, playful half-step of ‘Elevation’ breaks down the vintage speed garage formula into linear fragments, utilising a tight palette of resonant bass slugs, infectious synth leads and Papua New Guinea-style vocal strobes. The aptly named ‘Hold Tight’ fuses heart-in-mouth UK ‘ardkore pads with glissando acid disturbance and surgical snare fills in a formula which recalls the ethereal grit of Nubian Mindz’ 00s experiments in big-smoke break science, while the questing melodic arcs and arpeggiated squarewaves of ‘Pinball Marinara’ could easily have soundtracked an 80s sci-fi epic, beset with sparkling, bare-bones drum programming and hazy beds of sub sediment.

With ‘Tribeless Gathering’, Brassica both irreverently fuses and pays homage to the many unique and weird permutations of UK dance music. The short lived gathering of junglists, ravers and house hotsteppas of a similar name may have long since dissipated, along with the tribes themselves, but across these 11 tracks, he lays a blueprint for a new sound of togetherness.

Fuelled by the Berlin-based duo's love of club music in all its forms ''FJAAK THE SYSTEM'' is FJAAK's most definitive album to date, a winding sonic odyssey that surveys the rave landscape, dipping between frantic euphoria and deep contemplation. Featuring sizzling collaborations with Modeselektor, Skee Mask, Red Eye and J.Manuel, the album draws a bold line under FJAAK's 15 years of mischief and mayhem, pulling together 23 tracks (culled from over 300, no less) that truly reflect the duo's boundless enthusiasm for the dancefloor. Grazing UK breakbeat, techno, 2-step, d'n'b, jungle, trip-hop and ambient, these elasticated, hybrid bangers paint a vivid picture of FJAAK's utopian club ideal, a place where genre boundaries evaporate and only the groove remains. Since graduating in audio engineering in the early 2010s, FJAAK have been challenging the logic of a maddeningly conservative club scene with their hardware only live shows, DJ sets a myriad of record releases. In 2019 they launched the label and platform Spandau20 with a steady flow of records and a mixtape series featuring new talent and established artists. With their rebellious attitude and notoriously energetic live sets, the duo have brought back a crucial lost ingredient to the rave: playfulness. And if their well-loved albums 'FJAAK', released on Modeselektor's Monkeytown imprint, and 'Havel' set the scene, 'FJAAK THE SYSTEM' rises above and beyond expectations, creating a new benchmark. It's not just blood, sweat and tears either, FJAAK's advanced technical knowhow and love of synthesizers and drum machines helps them formulate a sound that's conscious of dance music history, but focused on a brighter, more equitable future. Their second single 'And You Feel' is an emotional rollercoaster combining UK breakbeat with a dubstep-influenced bassline wobler and alluring vocals, emulating the moment the mind becomes a tranquil void through the crescendo of adrenaline like a strain of physical exertion. This is reflected on their new music video which shows an unexpected ''rage room'' scene.

Dark Entries flashes back to the grimy streets of New York City circa 1982 to bring us an unreleased album from cult outfit Ike Yard. Comprised of Stuart Argabright, Michael Diekmann, Kenneth Compton, and Fred Szymanski, Ike Yard sits between the sinewy proto-body music of the Neue Deutsche Welle and the shattered grooves of their No Wave peers in New York. The band’s initial run was short but blinding. They released an EP for Les Disques du Crépuscule in 1981, which was followed by their legendary self-titled LP for Factory in 1982. They disbanded within a year, frustrated by the slow pace at which the industry was able to release their increasingly challenging music. 1982 features 10 tracks which likely would have become the band’s second LP - only four of these songs have previously seen release on 2006’s 1980-82 Collected via Acute Records. Following the release of Ike Yard, they continued down their tortured path of hybrid electro-acoustic music with an arsenal of now-classic analog instruments, including the Korg MS-20 and the Roland TR-808. Skittering rhythms teeter on the verge of collapse while seasick synth warbles threaten to push us overboard. Electronic washes devolve into waves of feedback. Sneering basslines threaten dancers to move, but how can the body obey? This is dangerous music, gliding along the brink. The album features a live photo of the band by Makoto Iida and includes an insert with liner notes from Stuart Argabright. 1982 is essential for fans of post-punk and caustic electronics from Liaisons Dangereuses to Beau Wanzer.

Record Kicks presents Keep It To Yourself, the new album by premier Dutch soul band The Tibbs, out next January 26th.

Dutch vintage soul combo The Tibbs are back with their highly anticipated new album Keep It to Yourself, to be released on LP, CD and digital format next January 26th on Milan-based label Record Kicks. Produced by Paul Willemsen (Michelle David) and mastered in Nashville by soul veteran Bob Olhsson, who used to cut vinyl for Motown back in the day, the new album Keep It to Yourself is the band's third Long Play. It contains 12 fresh 'n vibrant tracks that once again will take you back to the golden days of soul music. Prepare to be swept away on a groovy, soulful odyssey with one the most sensational and enchanting soul bands from the Netherlands!

From the very first note, The Tibbs' musical prowess exudes a soulful, funky energy that is nothing short of mind-blowing. Among the 12 new tracks of Keep it To Yourself, we find the first single "Ain't It Funny", a high-energy stomper that sets the tone for the entire album, the New Orleans funk inspired "Can't Teach an Old Dog New Tricks" and "Chicken Bones, "In Orbit", an emotional and heartfelt love ballad that allows the velvety vocals of singer Roxanne to take center stage or the northern soul belter "Give Me A Reason".

Lyrically, Keep It to Yourself is a poetic wonderland, delving into the depths of love, heartache, but also social issues and the need to preserve the world we're in. Roxanne's vocals, rich and velvety, take you on a euphoric journey through the peaks and valleys of human emotion. The harmonious blend of the horn section weaves an exhilarating tapestry of sound that can only be described as a symphonic supernova. The rhythm section is an unstoppable force, driving each track with a pulsating groove that is pure sonic adrenaline. Keep It to Yourself is a true tour de force, a symphony of soul that will leave you awe-inspired, foot-tapping, heart-soaring, and utterly enthralled.

Based around Amsterdam, The Tibbs is a group of seasoned musicians who draw inspiration from the timeless music of the 1960s, channeling the emotional depth and raw authenticity of that era's classics. Led by their charismatic female vocalist and backed by a powerhouse lineup of drums, guitar, bass, organ and a three-piece horn section, they have been wowing audiences with their live performances. They took off in 2012 working right from the start with producer Paul Willemsen (Beans & Fatback, Lefties Soul Connection, Michelle David & The Gospel Sessions). In 2016, their first LP Takin' Over marked their debut with Milan-based imprint Record Kicks. In late 2018, singer Elsa Bekman decided to focus on a solo career and The Tibbs duly began their search for a truly worthy successor, bringing astonishing vocalist Roxanne Hartog and the band together for the first time with their sophomore album Another Shot Fired, released in November 2020. Now, with their third album Keep It to Yourself, a testament to their dedication to keeping the soulful spirit alive, The Tibbs are once more ready for lift off.

There are two versions of the vinyl - classic black and triple-color limited Indie Shop edition.

Both have special insert inside with the bands bio and photos.

Generacja JAZZ is a project showing a fragment of the new wave of Polish jazz, treading its own path, creating, touring and jamming across Europe. Borders don't exist - especially musical - the new generation is engaging with nightclubs, festivals and playlists. The time has now come to show its broader perspective. We created a project which involves a handful of groups that have already racked up debut albums and festival wins, as they set out on their musical odyssey. The groups also have other things in common, like their passion, originality and, for the needs of the project, age - all the artists during the recording of this album were under 30 years old. This is the new generation - the Jazz Generation.

For the Jazz Generation record we invited five bands who had already released debut albums: Immortal Onion, Klawo, Rejoin, Twoosty Mayonez and USO 9001. We also reserved two spots on the compilation for the winners of our open call competition, whereby on the basis of the jury's choice (jury: Monika Borzym, Paulina Przybysz, Envee, Wojtek Mazolewski i Marcin Groh Grośkiewicz) we met the winning bands: Kosmos and quietet.

The sleeve artist is Kornelia Nowak, who won our open call for young designers and graphic artists. Here once again we could rely on the opinion of a prestigious jury comprised of: Beata Śliwińska Barrakuz, Bovska, Maciej Animisiewasz Grochot, Grzegorz Forin Piwnicki i Marcin Groh Grośkiewicz.

Generacja JAZZ LP is also a start of the new imprint - U JAZZ ME, which will be focused on jazz from Poland.

And here are the bands from the album:

1. Immortal Onion - A band from the Tri-City playing a broad spectrum of instrumental music.

Band members: Wojtek Warmijak (percussion), Tomir Śpiołek (piano, synths), Ziemowit Klimek (Upright Bass, synths).

The band Immortal Onion has already established itself as one of the most interesting projects of the new wave of Polish jazz, and is consistently being labelled as such abroad. After two well received albums ("Ocelot of Salvation" (2017) and"XD Experience Design" (2020) U Know Me Records) they released their third album "Screens" in 2022, which was recorded with the well known Tri-City composer and saxophonist - Michał Jan Ciesielski.

The inspiration behind the band's formation were such artists as: Esbjörn Svensson, Hiromi Uehara, Tigran Hamasyan and Tosin Abasi.

The group's guiding principle from the very beginning was the fusion of often disparate musical styles, which bore "post instrumental aggressive gay pop". Despite the stylistic discrepancies, between which they swim, the group has forged its own identifiable language, characterised by complicated rhythmical structures, energetic riffs and trance beats with lyrical melodies.

The trio has performed its original material at many venues and festivals around Europe and Asia.

2. Klawo - seven adventurous adventurers from Gdańsk, who were brought together by their love for music, halvah and throwing Frisbee. Their self-named début album, released in 2022 on the local label Coastline Northern Cuts, is an amalgam of the inspirations of each of the team members and played backwards contains tips on how to reach the Kashubian pyramids. After a win at the international competition Jazz in the Park, held in Cluj-Napoca in Romania, the band began work on their second album. Meanwhile, they were also travelling the length and breadth of Poland on a mission to infect people with the idea of Baltic Funk.

3. Kosmos is a Łódż based jazz quintet. It was formed in 2020 by Pianist Stanisław Szmigero, Saxophonist Iwo Tylman and Trumpeter Jan Ostalski. However, it wasn't until 2022 that Kosmos found its true form when Kamil Gużniczak (Upright bass) and Kacper Kuta (Percussion) joined the line-up.

Their compositions are influenced by Polish yass bands, electronic music and hip-hop. Kosmos music is a mix of lyricism, space, intensity and elements of experiment.

The band members are all eccentric characters possessing different means of musical expression - looking at them, one could even argue they are a group of oddballs. Despite this, for reasons unbeknownst to themselves, the members of Kosmos complement each other on stage and form a unified artistic vision of the world around them.

Kosmos officially released their début single "Ja" in June 2023. They regularly play concerts across Poland and recently were selected as distinguished artists at JAZZiNSPIRACJE (JAZZiNSPIRATION) - a competition held during the 13th Lublin Jazz Festival.

4. Quietet (formed at the beginning of 2023) is the result of meetings between five talented musicians with a deep passion for musical creation. Its sound is a unique blend of Jazz and classical music with a hint of hard rock. The band is inspired by the Scandinavian approach to making music, which brings a characteristic atmosphere and melodies to their work. Their music captivates listeners with its originality, refined improvisations and flawless technique. Both classical and modern musical trends feed their inspiration when creating passionate and emotional compositions.

Their works are full of sound experimentation, which equally surprise and expose new musical horizons. Through their compositions, "Quietet" aims to share their emotions evoked during performances, creating a musical journey that affects and inspires.

5. Connecting jazz with electronic music in fresh interpretations, six young musicians make up the group Rejoin. The group re-formed in 2020 after a four-year break, playing their debut concert at Lotos Jazz Festival Bielska Zadymka Jazzowa. The musicians in Rejoin have performed alongside such artists as: Urszula Dudziak, Krystyna Prońko, Marcin Masecki, Szczyl, Kuba Więcek and Paulina Przybysz.

Most of the members of Rejoin are students from the Katowice Music Academy, where they also develop their own projects. Rejoin was a recipient of the Fabryki Norblin Music Masterclass Foundation scholarship.

6. Twoosty Mayonez is something your grandad would listen to with his younger sister. The non-standard approach to jazz alongside a pursuit of strange sounds, culminated in the conceptual album entitled "Carmin". The material was created by Bartosz Wolerta (percussion) and Dominik Kaniewski (bass guitar/synths). "Triceradiplodocus" tells the story of a mechanical dinosaur that lives on the yet undiscovered planet Carmin.