Cerca:mom

Rico Puestel always has a surprise in store: #technohasleftthebuilding ain't finished yet! We've come a long way baby... The original recording sessions has been more extensive than previously known of, based on the incentive question: If Techno has left the building, what is actually left of it?

In the aftermath of it all, Rico Puestel bounces back to the true-bred heart of Techno and its traits that really made him fall in love with it in the first place. He initially kept these additional and special tracks to himself throughout the first album part, but the time has come to deliver them subsequently now.

Literally point by point, Rico Puestel designes a mesmerizing trip into the greater depths of early club nights, thinking of a world without any trials and tribulations of smartphones or the internet - just dancing and loosing oneself in the magic of the the 4/4-impulse and a tapestry of sound woven around our being.

In times, when people felt as a unit-of-one movement on the dancefloor, with Techno being its undeniable soundtrack and moment of truth, diversity was no issue, so #technohasleftthebuilding's aftermath also dives into the realms of Trance and beyond, because way back: Techno was just Techno and it's all about the music in the end.

Starting with a warning from a dystopian point in time, this further album part is an admonition and a refined view back from outside the building...

A continuation of a sound and sentiment from the mind of Pete Woosh (DiY Soundystem)

Love is the Most Important thing captures a unique moment in time with a meeting of spiritual, uplifting and healing sounds that ring true to Pete’s spirit. This first EP sees the debut of several lesser-known artists from Nottingham. Allow yourself to drift through a varied soundscape; from cosmic loops and gentle pads to uplifting mantras and rolling breakbeats.

RIP Pete Woosh aka The Peaceful Ones – 1965 - 2020

About S. Raekwon & Steven "Steven is the sound of me holding a mirror up to and critically reflecting on who I am: the good, the bad, the ugly. It's about trying to understand the multitudes within me." - S. Raekwon Steven Raekwon Reynolds performs as S. Raekwon, but his second LP is simply called Steven. Across ten tracks of furious and subtly strumming guitars, plodding bass riffs, and whispering revelations, S. Raekwon's newest album strips back sonic and personal layers to present his most vulnerable, yet authentic self. Born in Buffalo and now based in the East Village of New York City, Steven wrote, produced, engineered, and mixed everything on the record, in addition to playing every instrument except the drums. He packed up a rental car with all his gear and returned to his fiancée's parents' home in Southern Illinois, where they rode out the pandemic and where he recorded half of Where I'm at Now. The house proved to be a nontraditional recording space, but one that provided plenty of physical space as well as spiritual room for experimentation. Steven and drummer Mario Malachi, longtime friends since their days at college in Cleveland, Ohio, spent a week in July 2023 transforming the living room into a makeshift studio, rearranging furniture, sitting face-to-face in front of a mic, and taping songs in single takes. It was a new way of working together, with no demoing or pre-production; Mario hadn't even heard the songs before getting there, which created a sense of spontaneity and improvisation. Where his debut explored his past - longing for a connection to his father and the Black side of his family and wrestling with his identity while being raised in a household by a single, white mother - Steven looks inward. Steven is loosely structured in three parts: Part 1 is fast and energetic, exploring the concepts of rage, anger, jealousy. Part 2 is slow and dynamic, with themes of ugliness, disappointment, embarrassment. Part 3 is something gentler, a moment of contentment and clarity. Steven is a portrait of strengths and weaknesses, flaws and fulfillments.

Karate Boogaloo aus Melbourne, Australien präsentieren mit Stolz "Hold Your Horses", ihre fesselnde neue Langspielplatte mit originalen Instrumentalstücken. Henry Jenkins, Hudson Whitlock, Callum Riley und Darvid Thor sind das Herzstück von Melbournes aufkeimender Instrumental-Soul-Bewegung und machen seit ihrer Schulzeit gemeinsam Musik. Die vier Freunde lernten sich in der Highschool kennen und haben die großen Instrumental-Bands wie Booker T & The MG's und The Meters genau studiert. "Hold Your Horses" ist Karate Boogaloos eigene Interpretation von instrumentalem Funk. Eine echte Reise vom Anfang bis zum Ende, bei der jedes Stück nahtlos in das nächste übergeht und eine Welt mit kinematischen Momenten, skurrilen Melodien und unheimlichen Dissonanzen erschafft, und von unbestreitbarem Super Heavyfunk untermauert wird. Alle Songs für "Hold Your Horses" wurden gemeinsam im Studio geschrieben, ohne dass eines der Mitglieder vorgefertigtes Material einbrachte. Es ist ein Prozess, der speziell darauf ausgelegt ist, die Stärken der Band und ihre Beziehung zueinander zu maximieren. Um das Erlebnis noch zu verstärken, erzeugt das LP-Cover (entworfen von dem in Melbourne lebenden visuellen Künstler Drez) ein interaktives optisches Kunsterlebnis, wenn die Innenhülle aus dem Umschlag entfernt wird. Karate Boogaloo ist ein Quartett, das mehr ist als die Summe seiner Teile; und die Teile allein sind sehr, sehr gut.

Third Child album Soul Murder released for the first time on vinyl and digipak. Combine the heavy emotion of the blues, the tone and raw power of hard rock, the finesse of soul and a twist of 60's psychedelia. It will give you a visceral musical experience that plays directly to your being. That is CHILD. Living for their art, the pubs, the booze, the endless highways and the blues is what makes this band who they are. Child are a must see for those who are worshippers at "the electric church". The freedom and power of a live performance is important to CHILD in their approach to music, endeavouring to never perform the same way twice. They look forward to once again bringing this to the world on their continued search for sonic paradise. Since the release of their runaway self-titled debut in 2014, Child have continued to develop their unique brand of heavy blues through constant writing and extensive national/international touring. The band released the follow-up 'Blueside' in December 2016, which builds on this foundation to deliver a disc of pure sonic expression whilst following in the long tradition of the blues. 2018 saw the release of Child's first EP, simply titled 'I'. Recorded live to tape, 'I' is a glimpse into the boundless directions that could be taken on upcoming releases.

Blood red vinyl, limited to 350 copies. Third Child album Soul Murder released for the first time on vinyl and digipak. Combine the heavy emotion of the blues, the tone and raw power of hard rock, the finesse of soul and a twist of 60's psychedelia. It will give you a visceral musical experience that plays directly to your being. That is CHILD. Living for their art, the pubs, the booze, the endless highways and the blues is what makes this band who they are. Child are a must see for those who are worshippers at "the electric church". The freedom and power of a live performance is important to CHILD in their approach to music, endeavouring to never perform the same way twice. They look forward to once again bringing this to the world on their continued search for sonic paradise. Since the release of their runaway self-titled debut in 2014, Child have continued to develop their unique brand of heavy blues through constant writing and extensive national/international touring. The band released the follow-up 'Blueside' in December 2016, which builds on this foundation to deliver a disc of pure sonic expression whilst following in the long tradition of the blues. 2018 saw the release of Child's first EP, simply titled 'I'. Recorded live to tape, 'I' is a glimpse into the boundless directions that could be taken on upcoming releases.

LIE HEAVY brings together notable rockers, Karl Agell, JD Dennis, TR Gwynne and Graham Fry. You may know them from some of their musical forays with Corrosion of Conformity, Leadfoot,The Skull/Legions of Doom, Confessor, Patriarchs in Black, The Point, Deltoid and The Backsliders. LIE HEAVY draws on the original hard 'n groovy jams of Sabbath, Mountain, Lizzy and Purple, fused with their own massive experience. So, it is not difficult to fathom why LIE HEAVY sounds like a well-oiled, hard working band of 30 years rather than a new entity. Their pedigree does not belie their power. Collectively, they have spent tens of thousands of hours in practice spaces, studios and on stages around the world, honing their vast skills, to find one another in this moment being among the top guardian practitioners at the gates of transcendently HEAVY music.

Blood red vinyl, limited to 350 copies. LIE HEAVY brings together notable rockers, Karl Agell, JD Dennis, TR Gwynne and Graham Fry. You may know them from some of their musical forays with Corrosion of Conformity, Leadfoot,The Skull/Legions of Doom, Confessor, Patriarchs in Black, The Point, Deltoid and The Backsliders !!! LIE HEAVY draws on the original hard 'n groovy jams of Sabbath, Mountain, Lizzy and Purple, fused with their own massive experience. So, it is not difficult to fathom why LIE HEAVY sounds like a well-oiled, hard working band of 30 years rather than a new entity. Their pedigree does not belie their power. Collectively, they have spent tens of thousands of hours in practice spaces, studios and on stages around the world, honing their vast skills, to find one another in this moment being among the top guardian practitioners at the gates of transcendently HEAVY music.

The opening line of Emily Dickinson’s short poem ‘‘Hope’ is the thing with feathers’ inspired the central image of Emily Barker’s new single ‘Feathered Thing’, written while she navigated cumulative grief.

When Barker was first introduced to producer Luke Potashnick (Gabrielle Aplin, Jack Savoretti, Katie Melua) in May 2022, she brought with her a full album’s worth of songs. But after visiting Potashnick’s storied studio, The Wool Hall and hearing his ambitious production ideas, she was inspired to write one more song.

“I also needed to process some heavy news” she comments. Barker and her husband Lukas Drinkwater had been trying to start a family. Following a couple of failed IVF cycles (and other “starts that we’d lost”), they investigated adoption and had decided to relocate to Australia to be closer to Barker’s family.

“It felt like we couldn’t work out what we wanted, but we finally reached a point where we both felt at peace with not having kids,” Barker recalls. “It had been an incredibly intense time, coinciding with a house move and the pandemic.”

And then Barker found she was pregnant. “We’d done all these things to try to make it happen, and then it happened naturally (and against all biological odds). Having previously navigated losses throughout our pregnancy journey, we now had to get our heads around what having this new person in our lives might look like - emotionally and practically.”

Soon after work began on the album, Barker had a miscarriage.

“Songwriting has always been a way of processing throughout my life.” Barker reveals how the new song came quickly as she sat at her piano at home. She shared an early version with Potashnick and remembers him politely asking, “Do you mind telling me what this is about?”

“I think I’d left it too abstract, initially,” she reflects. “It was difficult to open up about the miscarriage, but Luke was very supportive and encouraged me to dig a little deeper without necessarily being specific. I revisited the lyrics, and the result is much stronger.”

“I went to the burnt-out woods/ A tourist with some damaged goods/ Remembered how the trees withstood fires before…”

“The opening line is a metaphor for knowing that I’ll get through this,” Barker clarifies. “It’s about recovery and hope, allowing yourself both the space to grieve and permission to move on”. But Barker’s optimism is never misplaced – she knows the imprint of imagined futures and lost children are carried in hearts and minds forever:

“It’s so hard to let go, wanted to know wanted to know you …”

“I think that it's important to share and normalise these stories, which are all too common, yet not openly spoken about. People hide their pain and don’t want to burden friends and family. I think behind all this anguish, there’s a deep, often untold story.”

Now that Barker is settled back in Western Australia, she’s embracing being an auntie. “I’ve got three younger siblings over here who I’m close to, and they all have kids,” she enthuses. “I look after my brother's kids, aged two and five, one morning a week.”

Recorded - along with the entirety of the new album - at The Wool Hall, ‘Feathered Thing’ begins gently, with oscillating piano and distant drums, until the arrangement gradually transforms into an instrumental dervish of vibrant strings, bass drones and cymbal crashes. Throughout, Barker’s vocals float tantalisingly like a slipstreaming feather.

Watch the video, filmed at The Wool Hall here. The Wool Hall is a studio in Beckington, Somerset, set up by Tears for Fears in the 1980s and used by artists including The Smiths, Pretenders, Joni Mitchell and many more.

Emily Barker is an award-winning singer-songwriter, best known as the writer and performer of the theme to the hugely successful BBC crime drama ‘Wallander’ starring Kenneth Branagh.

Her last album, 2020's ‘A Dark Murmuration of Words’, was produced by Greg Freeman and recorded at StudiOwz, a converted chapel in the Welsh countryside. Lyrically probing, by turns both dark and optimistic, Barker searches for meaning through the deafening clamour of fake news and algorithmically filtered conversation, delivering a timely exploration of the grand themes of our age. It garnered widespread acclaim, with Uncut calling it “…a kind of Australian equivalent of PJ Harvey’s Let England Shake”.

Barker has released music and toured as a solo artist as well as with various bands and collaborations, most notably her long association with Frank Turner, and has written for TV and film, including composing the soundtrack for Jake Gavin’s lauded debut feature ‘Hector’ starring Peter Mullan and Keith Allen.

‘Fragile as Humans’ is scheduled for release on May 3rd 2024 through Everyone Sang/Kartel Music Group. The album will also feature earlier singles: the vast, cinematic ‘Wild to be Sharing This Moment’ and the meditative, crestfallen ‘Loneliness’.

Whether you’re on a journey towards self acceptance, or locking yourself away for days, it’s safe to say the human experience can be an emotional rollercoaster; GAMI GANG explores the highs and lows, and all the twists and turns in between. In similar fashion, joyous and anthemic tunes find themselves winding their way into their somber and soft spoken counterparts, swerving through explosive bridges along the journey. Throughout manic momentum shifts, the ride slows down to make way for moments of clarity. Happiness and innocence are sprinkled in with displays of darkness or arrogance, and most of the time we exist in the middle. However, those unexpected jumps of adrenaline are what make this ride enticing. It’s human nature to get back on, and feel that rush one more time.













[m] 13. [spoons rattling]

The Cat's Miaow return to World Of Echo with Skipping Stones: The Cassette Years '92-'93, their second compilation for the imprint, and the fourth in a loosely defined series of reissues associated with the group (also including The Shapiros' Gone By Fall: The Collected Works of The Shapiros and Hydroplane's Selected Songs 1997-2003). It's a smart selection of songs by one of Australia's finest independent pop music groups, whose initial run, across the nineties, was as mysterious as it was bewitching. A generous double album featuring thirty-five songs drawn from The Cat's Miaow's history, Skipping Stones lets listeners in on a bunch more secrets. The four cassettes that Skipping Stones draws from - Little Baby Sour Puss, Pet Sounds (both 1992), From My Window, and How Did Everything Get So Fucked Up (both 1993) - were released or assisted by Toytown, a Melbourne cassette label of rare taste, savvy and intelligence. Diving into that two-year period, Skipping Stones is full of surprises, rich with unexpected and inspired detours, while reminding everyone just how clear and distinct The Cat's Miaow's music was from the very start. Looking in from the outside, they always felt like a group that knew just what they were doing, but intuitive as they are, they weren't forcing anything: these songs always sound exactly what they need to be, rough edges, playful moments and all. The Cat's Miaow may have been bedroom dreamers, but their songs were richly informed, with the sweetest of girl-pop moves sashaying into walls of tremolo-d and distorted guitar, jangling six strings tangling with melodic bass that's pure Peter Hook/Naomi Yang, while the gentle trickle of a drum machine or the earthy twitch of brushes on drum skins provided the spine for Kerrie's and Bart's lovely, unforced singing. This double LP on World Of Echo feels like the very core of the thing - some of the most heartbreakingly beautiful, effortlessly lush and deeply moving pop music you're likely to hear. RIYL: Hydroplane, The Cannanes, Magnetic Fields, Belle and Sebastian, Jesus and Mary Chain

"In a small room, tilt’s sound rings out like one big voice. Composed of vocalist Isabel Crespo Pardo, vocalist/bassist Carmen Quill, and trombonist/vocalist Kalia Vandever, the Brooklyn-based group writes intricate, viscerally affecting art-pop compositions that blend carefully interwoven motifs with improvisation. Their melodies are chiseled at extremes, vacillating between the angular and the achingly lyrical. All three members are accomplished artists and composers in their own right, coming from strong backgrounds in the jazz world, and featured alongside artists such as Harry Styles, Mary Halvorson, Dave Douglas, Matthew Barney and more. Their stunning debut LP "Something We Once Knew" is in its own class—a record that teaches us how to listen to it as it progresses. Recorded live in the studio without overdubs, its songs chart troubled and surreal journeys toward understanding or acceptance, passing through mystical corners of its members’ singular musical vocabularies. In these pieces, Quill and Vandever move fluidly between handling melodies with their voices and their instruments, harmonizing closely with Pardo’s melismatic lines. Though the band often works in carefully coordinated group gestures, some of the sharpest moments of catharsis on the record come during virtuosic passages highlighting individual members. Often, Crespo steps into the foreground of pieces, their unfettered vocal phrasing and unorthodox technical approaches investing the lyrics with additional layers of meaning. The music on "Something We Once Knew" might be most readily categorized as jazz, but it is hard to focus on anything but its sui generis aspects and its emotional charge."

The Path is the latest album from Belbury Poly (aka Ghost Box records founder Jim Jupp). This time round Jupp has recruited a full band roster to expand his own unique electronica. He is joined by occasional Belbury Poly collaborator Christopher Budd on Bass and Guitar, Jesse Chandler (of Midlake, Mercury Rev & Pneumatic Tubes) on flute, clarinet and keyboards, Max Saidi on drums plus narration from author and poet, Justin Hopper.

Musically it takes as its starting point a particular moment of early 1970s British film soundtracks by the likes of Roy Budd and Roger Webb; a soundworld of easy-going jazz and funky rhythms gently coloured with pastoral strings and flutes. The Path, however, is unmoored from time or place thanks to Hopper’s narrative style, Chandler’s rustic flutes and keys, Budd’s soulful psychedelic guitars and Jupp’s production and electronics. The co-writers were all chosen for their unique abilities and an
intuitive understanding of the ongoing Belbury Poly project. The spoken word elements form a loose, open-ended narrative; very much an album with spoken word rather than a spoken word album.

The Band and Album Recording:
Christopher Budd: Electric Bass, Double Bass, Guitars, Electric Sitar
Jesse Chandler: Piano, Synths, Mellotron, Flute, Clarinet
Justin Hopper: Narration
Jim Jupp: Electric Piano, Synths, Mellotron, Percussion, Sound Effects
Max Saidi: Drums, Percussion

The project came together over two years, beginning with a conversation between Hopper and Jupp during a walk on the Sussex South Downs. Originally, it was to tell the tale of an American academic unravelling while adrift in an alienating English landscape. From the beginning, the pair wanted on a narration integrated lyrically into the piece, rather than dropped on top. The words gradually became more film-noir and open to interpretation; occasionally a little tongue-in-cheek. The final
texts explore a folklore of alienation; the way we impact the landscape and it impacts us.

Belbury Poly:
Jim Jupp has released EPs, singles and seven albums on Ghost Box as Belbury Poly. It’s generally a solo project, but he calls on a floating roster of like-minded musicians to extend the sound beyond studio based electronica. He is also one half of The Belbury Circle along with Cate Brooks (of The Advisory Circle) - occasional collaborators with John Foxx. He has recorded library tracks for KPM, BMG and Lo-Editions. He’s remixed tracks for several artists including Beautify Junkyards,
John Foxx and Bill Ryder-Jones (The Coral) and co-written a song with Paul Weller for his 2020 album On Sunset.

Cate Brooks is back with her seventh release for Clay Pipe Music. Never one to stand still, ‘Easel Studies’ finds her pushing the boundaries of sound synthesis and experimentation on the Buchla Music Easel while still sounding beautifully beguiling and hypnotically melodic.

"On this day in 2015, at exactly Midday, I took delivery of a wildly exotic musical instrument. To call it a synthesizer would be a misrepresentation; it’s really more of a tactile, living, breathing entity than anything else. It had originally supposed to have been delivered on the day before, but had somehow been mislaid in the labyrinths of the Royal Mail sorting office at Elephant and Castle.

I sat patiently and quietly all morning, waiting for its imminent arrival. I had already read through the ‘manual’, which is more of a concept / design for living, written by synthesis legend Allen Strange.

With Noon approaching, I became a little anxious- my local postie, Barrie, was usually here by about 10:30am and there was no sign of him.

At 11:58, Barrie walked past, completely ignoring my house. Obviously concerned, I stood at the door and waited for him to walk back toward his van. As he came back, he smiled and I called out, quizzically “Barrie?”. His reply was “Yes I have!” and walked back to his van, collecting a large box and bringing it to my door. I remember the weather was muggy and my neighbour was attending to her rose bushes, as the cheery and helpful postie deftly navigated around her busy secateurs.

I took the box inside, opened the top and just looked at the inner box for a while. I took a photo of it, which I still have. It felt like quite a momentous occasion, because I felt that this instrument would take me to different sonic spaces than I was used to. It wasn’t my first experience with Don Buchla’s instruments by any means, as I’d learned to use his 200e system. But this was quite a different beast.

My cat Brillo came to inspect the box and I set the Music Easel up on the floor and plugged it in. The result of that very first experiment became “Pendula”.

In the following days and weeks of that summer, I created many more experiments on the Easel, quite often with Brillo either sat on me as I played, or trying to climb up on the instrument itself, attempting to move the faders and switches himself.

By the end of August, I had amassed some thirty-something pieces, which I put aside for future reference. I had learned a lot about this instrument, its idiosyncrasies, subtleties and ways of working.

Sadly, Brillo died in September of 2015. I like to think that his last summer with me was a comforting experience, curling up and listening to the sonic experiments taking place, as he regularly did for the sixteen years he was with me. The first track on the album, “Con Brillo” is my little tribute to him.

Fast forward to 2021 and I rediscovered all of these experiments. Some were almost unlistenable, but some had a beguiling charm about them- perhaps the sound of someone not really knowing what they’re getting into. They needed mixing and balancing, so I set to work. I also wrote a new piece, with exactly the same recording chain, in the same way, in the same room. This became the suitably titled final track “Hindsight”.

The Music Easel has remained a constant source of sonic worlds for me to explore. It because the main instrument on the album Agri Montana, for example and has cropped up on many other records I’ve made since.

I would especially like to thank David at Postmodular for selling the Music Easel to me, after phoning him and disturbing his Sunday afternoon outing to Hyde Park (sorry about that David). I always promised I would send him a copy of something I had produced on it, so hopefully he will enjoy Easel Studies."

As I finish writing this, I notice that it is, once more, exactly Midday.

I hope you enjoy Easel Studies too.

Cate Brooks (21st of May, 2023).

In the dimly lit corners of a nondescript basement party, amidst the cacophony of laughter and clinking glasses, a pulsating beat cuts through the haze of alcohol-induced euphoria. It's a track that none have heard before, yet it feels instantly familiar, echoing the electrifying energy of Underworld's iconic 'Born Slippy'. The song, discovered by accident during a drunken deep-dive into the depths of an online music platform, becomes the unexpected anthem of the night. Titled "Macht over het Stuur", this track is an odyssey of sound, blending relentless techno rhythms with haunting, ethereal vocals that seem to drift in from another world. The opening notes are a siren call, drawing listeners into a whirlpool of synths and beats that mimic the heartbeat of the city at night. It's music that doesn't just want to be heard; it demands to be felt, pulsating through the veins and igniting a fire in the soul. As "Macht over het Stuur" unfolds, it weaves a narrative without words, telling tales of fleeting connections, electric glances, and the raw, unfiltered essence of human emotion. It captures the spirit of those who chase the dawn, those who find beauty in the blur of lights as they speed past on their way to nowhere. The track is a paradox, both a celebration of the present moment and a longing for something just out of reach, a sound that encapsulates the feeling of being utterly lost yet exactly where you're supposed to be. The discovery of "Macht over het Stuur" on that drunken night feels like unearthing a treasure, a secret shared among friends that would soon ripple out to captivate a wider audience. As word of the track spreads, it becomes more than just a song; it's a movement, a collective memory etched into the minds of those who experienced it firsthand. It stands as a testament to the power of music to unite, to transform an ordinary night into something magical, a reminder that sometimes, the most unforgettable moments are those we never see coming.

Stephen EvEns highly anticipated new album Here Come the Lights is set for release, March 29, the album is self-produced and mastered with Sean McGee (Abbey Road) will be released via Onomatopoeia (Hurtling, William D. Drake, Crayola Lectern). The album celebrates the recent success of his limited-edition vinyl only release, Smoking Is Cool (recorded with Steve Albini). Here Come The Lights takes a step into the future, as folk-art tales are interspersed with psych rock magic and post-punk sensibilities amidst swooping and motoric guitars, sound effects and metronomic happenings, in this rich tapestry of life. A Song For Europe teases, cracking, and fizzing onto our radar, this ‘love affair to Europe’ is a celebration of a continent and moments in time, complete with virtuoso guitar, full backing choir and grunge atmospherics. Firefly has a pure folk aesthetic, sound effects, symphonies, and percussion combine in a call to find one’s true strength. BBQ Head picks-up more of a groove, interspersed with rapping style lyrics fused with the fuzzy intermission of 7 Bells. Lazy Eyes takes on a more mournful and melancholic hue, depicting a couple’s evasive looks over dinner, as they avoid the elephant in the room, cracks into a soaring space-rock ending. A Tree takes us on a kaleidoscopic journey into the forest, as EvEns takes a moment out from modern life, where he and his dog Rudy escape into the autumnal wilderness. A Bee takes on a more high glam Roxy Music appeal meets 70s novelty pop, fun and exhilarating. The album is polished off with a song of hope called Happy New Year, metronomic beginnings, gentle Hammond orchestrations weigh-up the importance of friendship and the meaning of success. Multi-instrumentalist and talented musician Stephen EvEns tours with his own guitar and full band line-up. The album welcomes a whole host of Brixton Hill Studios collaborators, accompanied by former Echobelly/Curve bassist Debbie Smith, Cardiacs alumni Bob Leith and William D. Drake, and Hurtling guitarist and sometime My Bloody Valentine keyboard player Jenny Macro, Stephen EvEns plays live at The Lexington, alongside labelmates from Onomatopoeia

The first regular Dave Brubeck Quartet with Paul Desmond included Joe Dodge on drums and, alternatively, brothers Bob or Norman Bates on bass. In 1956 Joe Morello took over as the quartet’s drummer in place of Dodge (the Bates brothers would be replaced by Eugene Wright on bass a few months after the recording of this album, and with his arrival the “Classic Quartet” was born). Jazz Goes to Junior College is, therefore, a recording that shows a transitional phase of the quartet. It also marks a return to “live” albums after making various studio LPs. This was a “sequel” to the Brubeck Quartet hit Jazz Goes to College, recorded during various college concerts in 1954. THE COMPLETE ALBUM - 180-gram VIRGIN VINYL - LIMITED EDITION -

Speed Dealer Moms, the combustible live electronics duo comprising John Frusciante (Red Hot Chili Peppers) and Aaron Funk (Venetian Snares) is over a decade into their idiosyncratic run. On "Birth Control Pill," the duo's third release, the parameters of the chaotic and elegant project come into focus.

If there are virtuosos patching modular synthesizers and slicing up breakbeats, then they were in the room when these two tracks were recorded. The epic title cut is perhaps the most "functional" track the duo has ever recorded. This is ruffneck dnb business, but it's also the Speed Dealer Moms, so there is the requisite descent into chaos. The track's precise melodies are unceremoniously dunked into Funk's signature, ripping breakcore, the drums picking up speed until the crash test dummies hit the wall—a thrilling, extratone breakdown.

More madness lurks on the B-side, "Benakis," which seemingly nods to the visionary Greek composer. With its unconventional time signature and intricate melodies, this song cycles through breakcore and hard techno before eventually giving the listener a reprieve with a dreamy, beatless outro.

Speed Dealer Moms drive their own, crooked road built on friendship and a telepathic musical connection—the collaboration and encouragement of Funk ushered Frusciante into the dense world of hardcore machine funk. The results of these sessions don't sound quite like anything else, they are electronic records made in fearless pursuit of the new. Funk and Frusciante follow ideas to an illogical endpoint, and this hurtling approach has now resulted in the best and most concise Speed Dealer Moms record yet.

Type-303 returns to ProForm Series with a blast! This four tracker offers something for everyone. A-side starts with a solid acid banger named “Abso-Funking-Lutely!”. Second take on A-side is “Bad Moms”, a nice percussive track to make every dancefloor to jack. On B-side the mood goes to late 80’s/early 90’s italohouse-balearic-flute-Ibiza style with a track named “Midnight Sun”. This is pure niceness with everything essential in right place showcasing the talent of Type-303. The record ends with Kalle Karvanen remix of “Midnight Sun” which replaces flutes with saxophones and adds more acid into mix. Limited to 200pcs handnumbered copies as always. No digital, no represses, so buy it now or regret when it’s gone.

Warehouse Find! Test Pressing!

It's Toby Tobias time folks! Ahead of his brilliant LP which will be dropping here on DOG in September we give you a little reminder of why he's one of the heroes of the underground UK house scene. Toby has been honing his skills as a producer, DJ, promoter and all round nice guy for years now and we're very happy to be offering up fresh new club business from the man himself in the form of The Rising EP. Never one to go for the obvious, he always puts his neck on the line and pushes his productions in an interesting and often unexpected direction, making full use of his fully analogue studio to get those 'happy accidents' into his tracks which gives him the edge over so many others on the scene today.

Even with a straight up club banger like The Rising, Toby makes sure things stay edgy, raw and just a little bit mental. At the end of the day this is a Chi-town influenced filter disco banger but with fresh spin that'll make sure it creates the perfect vibe when you drop it in the clubs.

Taking things in a deeper direction we have Jitterbug on the remix, keeping the pace and drive but dipping the original in a vat of thick, syrupy treacle which gives us an altogether more heady, spaced out vibe for those moments when only the trippiest shit will suffice.

Flip over for Toby's own dub version of The Rising which strips it all back and warps it out for a loopey, Soundstream influenced take on the original. Full of attitude but keeping the bags of fun times feel with more punch than Frank Bruno (in his heyday!)