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Welcome to Dazion’s Grooveboxxx – a maxi-sized love letter to The Hague’s 80s and 90s club scene crafted with minimal tools and loaded with vibe. It’s no coincidence it arrives on Dekmantel, a label with its own roots in the same Dutch city’s electronic music culture.

Dazion is The Hague’s Cris Kuhlen, previously spotted releasing on Second Circle, Safe Trip and Animals Dancing. He cut his teeth clubbing and working at long-since closed clubs like Eau, described in Kuhlen’s own words as, “clubs with blocks to dance on, lazers, decorations, crazy extravert sic parties.”

In capturing the spirit of Eau and the other formative parties of his youth, Kuhlen limited himself to just one machine to make his longest work to date – the Roland MC-303 Groovebox. While these entry level units from the mid-90s had stripped down functionality in the wider spectrum of studio gear, they contained all the iconic Roland sounds in a Rompler style, giving the user access to everything necessary to make raw, immediate club tracks without requiring an entire studio’s worth of hardware.

The brash gear of choice set the tone for a record of rough, ready and playful jams which end up more sophisticated than you’d expect from such limited means. ‘La DS’ jacks with a freaky, bleep techno intensity, while ‘Kimberly & Nance Backstage Rehearsal’ rides an angular groove tooled to inspire the weirdest dance moves of the night. Every track is named in reference to a particular nightspot, a hazy memory or moment from Kuhlen’s formative raving years.

This is the sound of Dazion having the time of his life. You might well hear a nod to the odd rock totem being given a re-version in irreverent new beat style or some gnarly US acid breaks vibes riding underneath helium rap licks. But for all the cheekiness, the tracks stand up both as nods to halcyon days and relevant workouts for the sweatiest parties in the here and now. As MC Paul T says in dramatic style heralding the intro of Grooveboxxx, “This movement will live on forever.”

Magnificent Wolof drum music, performed by an extended griot family over seven consecutive days, in the mystical setting of Lac Rose, outside Dakar.

Doudou Ndiaye Rose — who died in 2015 — is a key drummer in the musical history of the world. He developed a system of five hundred original drumming patterns, ancient and new. Amongst the modern rhythms here is Bench Mi — ‘under the Baobab tree,’ a spot where problems get solved. Also Hibar Yi — ‘passing on information’ — the theme-tune of Senegalese TV national news for decades — and Les Rosettes, the signature rhythm of Senegal’s first ever all-female percussion group, convened by Doudou, and named after his grandmother.

These original compositions sit alongside important traditional rhythms, familiar to every Sabar player, such as Farwu Jar (a courtship game sometimes resulting in a wedding), Ceebu Jin (also the name of the national dish of fish and rice), and Gumbé, often played after a successful harvest.

Recorded in joyful single takes, with no overdubs, mastered by Rashad Becker, the music is deep and thrilling, polyrhythmic to the bone, with a complex, pointillistic intensity at times evoking Jeff Mills in full flight.

I’ve started to work on this album before I knew it.

During June 2018, I was in Japan for a month to release my previous album "Cairn" as well as my first solo exhibition of drawings in Tokyo.

Everyday on my way to the gallery I passed in front of the same building, its name kept haunting me : Rogue Hill.

Back then I was digging for cheap 80’s Japanese CD’s (Balearic, New Age, Ambient,...) in second hand stores. Most of them set the tone of this album and the direction I wanted to follow. I feel there’s a direct connection between these original sources and the sound I pursue by their meditative aspect.

Most of the demo songs were done before my daughter’s birth on August 2019 and were finalized since then. Many of the titles refer to this main event and relate to how it changed my position in life : being a link through time by becoming a father.

It was a quiet period but Macadam Mambo is back to present a new LP by the greek musician Yannis Veslemes.

The confirmed artist -who has previously appeared on labels such as Byrd Out, Invisble Inc., Won Ton, Optimo Music or Into The Light, under different projects : Felizol, Steamcut,Sportex or his own name, and composed for movies OST -started to integrate Macadam Mambo on the latest compilation Danzas Electricas vol. 3, and very naturaly proposed his new album. It needs to be said what an honnor to receive such quality music. In term of composition, production and universeit’s a land of influences and uniqueness, in which you will recognise a bit of Yello, Coil, Nick Cave or Igor Wakhevitch vibes embrassing folkloric greek melodies or cosmic pop ballads. It’s brillantly dark, obscure and lightful. A tempest of sensuality and roughness. To say it short it’s EPIC! and will definitely give the recognition that Veslemes deserves as a major composer in Modern Electronic Music.

Tehran-born, NY based brothers Mohammad and Mehdi collaborate with Ian McDonnell, a.k.a. Eomac on a new record entitled "Patience of a Traitor". Inspired by the traditional bath houses in their native Tehran, the brothers say: "This record speaks to preserving the things that are timeless, through revisiting the past. The traditional Persian bath house — its architecture, the role it played in keeping, building community, the bathing rituals — served as our ultimate symbol. Now we drink from one cup, and fill the jar with the other."


Saint Abdullah is the moniker of Mohammad and Mehdi, New York based Iranian-Canadian brothers working across sound. Inspired by Iran’s religious, political and cultural history, the project was formed out of “a deep frustration with the way the West perceives – and treats – Muslims and the Islamic faith”. They aim to “challenge stereotypes and act as a conduit between unnecessary enemies”. They have released on labels such as Purple Tape Pedigree, Cassauna, Psychic Liberation, Important Records and Room40. Ian McDonnell, a.k.a.

Eomac, is a composer, producer, DJ and label owner. He has released genre-spanning music via The Trilogy Tapes, Stroboscopic Artefacts, Bedouin Records, Killekill, his own Eotrax imprint and the iconic label Planet Mu with his 2021 album, 'Cracks'. His music draws from obscure samples and raw sound design in an ongoing search for musical and collective unity through intense, visceral music for body and soul.

After debuting on Flippen Disks in 2018 and a follow-up track on Bradley Zero’s Rhythm Section, PTDD is back on Flippen Disks with this debut solo-EP called „Sizipin“.


Melting PTDD’s signature minimalist sound with a welcoming harmonic world in Hoe Je Het Snijdt, taking a wide array of influences from UK-bass and broken beat in Sizipin to HipHop in N Btj Blvn Dnsn or more progressive club sounds in Kajuit, this EP is a clear big step in PTDD’s development as a producer. 


„Sizipin“, a made-up term for an adaptor that you don’t know the use for anymore, it’s a rather fitting name considering the circumstances of the creation go this EP. A connector for quitting his day-job to focus fully on audio and music work, building his studio in deep pandemic lockdown-Utrecht and most importantly becoming a father. Also features a vocal performance of PTDD’s son Olivier. Can you find it?

Finnish Heavy Metal legends, Spiritus Mortis unveil a grand–scale epic of antique Doom on 16th of September via Svart Records.

Erecting a new monolith in the halls of Doom Metal history with their fifth album The Great Seal, Spiritus Mortis certify true classic status as one of the scene’s modern greats.

There are few modern-day bands that can be uttered under the same breath as the giants of Traditional Doom and Heavy Metal like Spiritus Mortis. Formed in 1987 as Rigor Mortis they can firmly attest to having been “the first Finnish Doom Metal band”, uncovering hallowed ground before the later imitators. Carrying the banner of powerful true Metal, the likes of which stands proudly next to the masters such as Dio era Sabbath, Solitude Aeturnus and Trouble, Spiritus Mortis have established a tradition of catchy song-writing and consummate knowledge of sacred riff-craft. The Great Seal is a collosal album which Spiritus Mortis describes as “a rite of collective suicide and an orgy of self-immolation” and plumbs the depths of epic sorrow with gargantuan slabs of igneous riffs and emotional vocals.

Synonymous with classic Finnish Doom bands like Reverend Bizarre, whose singer Albert Witchfinder intoned previous albums’ vocals, Spiritus Mortis continue to define and cement their formidable legacy. Albert’s replacement, Kimmo Perämäki is more than worthy of the consecrated robes he inherits, delivering a performance which is flawlessly dominating and instantly gratifying. Tracks like Martyrdom Operation and Visions Of Immortality see Perämäki boldly carving his own name in the stone tablets of future history, marrying the riffs of the Maijala brothers and guitarist Kari Lavila with the splendor of magnificent melancholy that Spiritus Mortis is so known and admired for.

Not only will true devotees of the Spiritus Mortis Doom church be raising their fists with full hearts, but those who seek knowledge of the faithful spirit of real Metal can surely look no further than within The Great Seal.

(warehouse find)

With an extensive legacy and a list of alter egos longer than your arm, Martin Damm aka Biochip C achieves a delicate balancing act on this 11 year old record, a handful of extras copies of which were recently unearthed in what can only be described as a highly fortunate 'warehouse find'. He pulls off a delicate balancing act here, letting the abrasive, industrial punk rock side of his music off the leash to frolic unhindered, while never losing sight of the needs of dancefloor and its needs across the six tracks. Highlights? Well, the title track's speedy electrofunk is highly addictive, 'Eraser' has a driving, chunky techno edge that fans of Force Inc will love, while the double dub speed grooves of 'Knobgine' and 'Liquid Silence' are forces of nature in themselves.

The official soundtrack of the 2021 'Rumba Rules, New genealogies' documentary movie by Congolese artist Sammy Baloji and Quebec filmmaker David Nadeau-Bernatchez. A deep dive into Kinshasa’s vibrant Rumba scene, including remastered classics by Brigade Sarbati, Werrason, Papa Wemba, Franco & le Tout Puissant O.K. Jazz

Rumba Rules, New genealogies is about contemporary rumba in Kinshasa, but this music has deep historical roots nevertheless. Born in the interstices of the colonial world and thriving during the three decades of the Mobutu era in Zaïre, Congolese rumba has been iconic and popular all over Africa for decades. The roots of Rumba are even deeper, and the many paths it evokes trigger the imagination. The story goes that this music came with the migration of the ‘Kumba’ drum and dance in previous centuries, African slaves having carried it all around the Americas and giving birth to Cuban ’Rumba’, Colombian ‘Kumbia’ and many others. With its varied rhythms, guitars and horns, through LPs and radio stations, Rumba came back to (re)conquer Africa throughout the 20th century, paving the way for new practices. One could say this music is a sort of palimpsest, a memory in itself of Atlantic migrations and histories.

Rumba is nowadays discussed all around the world, igniting many debates among the Congolese diaspora. Being the constant talk of the town sometimes overloads public debate, and many people get tired of this broken record. Thus, over the last decade, enterprising producers have worked hard to promote Kinshasa’s musical diversity and tried to emulate new sounds to reach worldwide attention. But Kin’ locals and urban dwellers will not be fooled : new shoots cannot hide the forest. Despite some difficulties to innovate, despite the pastoralist sermons and the diaspora fighters pushing for concert cancelations, rumba is still at the core of the Congo today. Talented artists such as Fally Ipupa, Ferré Gola, Brigade Sarbati and others are leading the fifth generation, and the religious world has also proven to be a nurturing environment for the cultural and economic dynamism of this music.

Focusing on the music of Brigade Sarbati and his Orchestra, this record offers a deep dive into Kinshasa’s rumba scene. Halfway between professional studios and Zoom H4 field recordings, the rumba herein is about today’s youth: dense, full of energy and breakdowns, insights and name-dropping. The cavacha rhythm, the solo and bass guitar’s playing style, the singing style and numerous dedications all resonate with the history of Rumba. In an era where digital sound is taking over, it is interesting to highlight the instrumental and live performance compositions of this music. Digital technology is indeed used during the recording and mixing phases, but Congolese rumba still relies strongly on instrumental playing. There is all that but also, many other things to hear on this record… It’s time to let it be. A big thanks to Étienne Tron for making it possible: it is on his initiative and through his patience that this album is in your hands today. (David Nadeau-Bernatchez, december 2021)