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The A side of this 45, a brand new track from Aaron Frazer, is about how pressure makes diamonds. The last couple years have been really challenging, especially for those navigating relationships amidst the chaos. This song celebrates the connections of love that are strong enough to weather any storm, and the certainty that comes from making it through together. The B side features a track from Aaron's first solo LP, Introducing. Lyrically, Frazer sounds lovesick; the imagery he paints of demons "so close behind" and the repetition of these lyrics emphasize his longing. The song starts with piercing guitar, dark bass, and chime piano and Frazer himself drums throughout the song. The orchestration is swell while the strings and voices blend well with the transcendent feel of the music.

For fans of post-Chicago post-"Second Summer of Love" acid; Chris & Cosey, Terekke, Cabaret Voltaire, Anthony Naples, JTC, D.K., Luke Vibert, Khotin. The latest by Texan-turned-Angeleno progressive vaporwave producer Carlos Ramirez aka AURAGRAPH finds him shifting focus to the dance floor across eight chrome clockworks of cosmic acid house and liquid rave glide: New Standard. Inspired by lessons learned during a 5K mile American road trip tour in the summer 2022, he set to work in his Simi Valley Tuff Shed of synths and hardware, pursuing an explicitly DJfriendly muse: "I realized I wanted to make a record where every track could go off in a live setting." These cuts do just that, revved and rhythmic, peppered with slap bass, Madchester whistles, filtered acid, gated snares, baggy cowbell, and sample pack classics - record scratches, orchestral stabs, the "Yeah! Woo!" from Lynn Collins "Think (About It)." Ramirez describes the process as immediate and instinctual: "I'd turn on the MPC, pick a tempo, and just improv - it was incredibly fun." From sleek freeway techno ("110 Cruising") to arcade lurker acid ("Coast 2 Coast") to big room bangers ("666 Ambience"), the tracks time-travel across the canon of club music, sifting tricks and styles to fashion fresh anthems of hypnagogic jack. It's an album channeled as much as crafted, tapping into the decks of mythic warehouse infinities past and present, where the system rips all night and acid never dies.

Hot suite of crucial HOUSE. TIP!

NYC's Sweater on Polo delivers a hammering six track mini lp for L.I.E.S. indebted to the sounds of early-90s psychedelic Chicago house, names like Gherkin and Pierre come to mind but the young producer tastefully and effectively puts his own vision to the forefront with this release.

In the confused world of modern dance music production, Sweater on Polo, throws all trends aside and sticking to the bare essentials...letting the 808s,303s,727s do the job and making this one of the most crucial modern House records to come out of New York City in many years. Many producers these days stake a claim to this music and it falls short, plain and simple, Sweater on Polo is the most promising young producer in the city these days and this record puts it on display. Highly recommended!

Zum ersten Mal wiederveröffentlicht. Neben Album einzige Single der provozierenden Stosstrupp. 4 Songs, Texte auf der Coverrückseite abgedruckt. Umstrittenene Zeilen wurden auf der Original-Auflage von Band, Label und Mitarbeitern geschwärzt, jetzt unzensiert. 300 gr Karton-Cover.

Neuaufgelegt, jetzt mit Bonus-CD mit noch mehr Studio, Demo- und Live Recordings! Die LP "Wie lange Noch", ein Meilenstein der deutschen Punk/Hardcore-Geschichte. Rollt wie ein Panzer über die Leichen seiner Zuhörer. Keine Kompromisse, pure Aggression, ein Kraftpaket-Thrash, schon anders als die Tracks vom "die Deutschen kommen" Sampler. . Wunderbar! Eine weitere erstaunlich starke Veröffentlichung aus dieser Zeit. Die zweite LP beinhaltet ein legendäres Konzert am 19.6.1982 in der Wuppertaler "Börse" bei dem damals auch die LIEBIES, HASS und BLUTTAT spielten. 16 brutale derbe Livetracks in der üblichen Stosstrupp Tradition. (Fünf Songs davon sind bis dato unveröffentlicht). Das Original Konzert Plakat, ein Booklet mit Bildern sowie einem Interview mit Alla dem Sänger liegt ebenfalls der Doppel LP bei.

Ayyuka was founded in the year 2001.They've started to make their own music which was mostly improvisation and influenced by a lot of different styles. Some time later the band had it's name naturally which Is AYYUKA that has two meanings: ''to the highest part of the sky' and 'an idiom to tell that a secret has been revealed'" . After university years they moved to Istanbul and started to perform their music at some live venues. Since their self-titled debut album release, the band have performed in various music festivals and venues in a number of cities including Istanbul, Berlin, Lyon, Sao Paulo. They also have opened up for some major artists like Jonathan Richman, R.E.M., Sonic Youth. With very direct live performance energy in their compositions, Ayyuka fuse characteristic elements from a variety of genres such as Anatolian Rock, arabesque, surf rock, punk, spaghetti western, psychedelic rock, and funk. They released their second studio album 'Kiraci Odalari' on October 2013. 'Sömestr' is Ayyuka's third studio album, the sound moves between psychedelic rock, afro rhythms and much else besides. The album was made by the improvising recording sessions that they recorded at their studio. TRACKLIST: 1. Sömestr, 2. Tek Teker, 3. Geceleri Zor Uyurum, 4. Gün 1B, 5. Gabor, 6. Guaruja, 7. Aryton Senna, 8. Bu Bi Rüya Olmali.

he year 2020 saw NNHMN release two stellar EPs, Deception Island I & II. A fascinating vintage exposure with a true minimalist approach. The typical melodic strings, dry snares and icy sequences are reminiscent of the 80s.


Each EP is a solid work of incredible dark electronica teetering between cold-wave, post-punk, minimal-synth and other related genres. The nocturnal, synth-driven production is led by Lee’s captivating and compelling vocals, whose seductive and sardonic delivery is inescapably entrancing.


Deception Island as a whole taps into a variety of moods and is of course undeniably dance floor friendly. Physically released by Oraculo Records as two separate vinyl EPs, both vinyl editions again quickly sold out. LONG CUT vinyl by Connor Dalton.

2 x 180gr Vinyl inklusive DLC im Klappcover mit Artwork von Ana da Silva, CD-Edition mit Bonustrack "Let's Eat Pasta". "Island" ist das neue gemeinsame Album von Ana da Silva, Gründungsmitglied und Songwriterin der wegweisenden Post-Punk-Band The Raincoats, und der legendären japanischen Musikerin Phew. Eine belebende Odyssee im industriellen Lärm, ist ,Island" voll von absorbierenden Texturen, taktilen Beats und einem meisterhaft dynamischen Kompositionsstil. Jede höhlenartige Spur fühlt sich an wie ein Gespräch, und aus der ominösen Dunkelheit kommt eine generative Hoffnung. Ana und Phew tragen Wortstücke in ihren Muttersprachen Portugiesisch und Japanisch bei und reflektieren über Isolation, Freundschaft und Natur. Der Alltag ist tiefgründig. Eine fesselnde Stimmung wird durch den gemeinsamen Stoizismus und die subtile Verspieltheit der beiden Kult-Punk-Ikonen erzeugt. Jeder Song wurde gemeinsam von Ana und Phew komponiert, die Dateien per E-Mail ausgetauscht haben. Manchmal erinnert ,Island" an das düstere Pochen von Phews aktuellem ,Light Sleep"-Album (das wiederum an Suicide erinnert). Die Logik von ,Island" ist eine des weisen Minimalismus. Es gibt ein Gefühl der Entdeckung, das den Raincoats-Fans vertraut sein wird - ein Gefühl von Poesie und Neugier, von Intuition und Erfindung, von neuen Sprachen, die Gestalt annehmen.

Third studio album from leading French reggae band Ryon, featuring Na man and Tiken Jah Fakoly brass section. Since 2015, the band has been on the road playing festivals and club shows across Europe, sharing its poetic and committed inspirations.
Driven by Cam’s charisma and powerful voice, the quintet gives life to a highly positive and powerful music, between reggae, rock, french variety and even pop music. Inspired by the solar reggae music of Clinton Fearon or Steel Pulse, the band draws its inspiration from modern reggae too. In 2018, they released their second album, Z phyr, which was awarded best French Reggae Album by the renowned “Victoires du Reggae” committee.
Ryon is now back with their third studio album ‘Esperanza’, with the famous French singer N aman and Tiken Jah Fakoly’s powerful brass section as special guests. With this record, the band will spread its sunny and positive vibes as long as possible!

The Metropolitan Soul Museum helmed Kulture Galerie returns with Volume 2 of its various artist focused release series. This new 5 tracks compilation showcases some of the finest Dutch and American sound, all brought together by London's own MSM.

Amongst the collection there is an original composition from lauded American artist and Delsin regular John Beltran (+ a special ambient version of said track available exclusively on Bandcamo), and more from Böhm (030303), US' best kept secret Tramic, De Lighting's' own Nathan Kofi & RDS and of course the label bosses Metropolitan Soul Museum themselves.

Repress!

Listeners familiar with Kaitlyn Aurelia Smith's previous album Euclid (an album that prompted Dazed to call her "...one of the most pioneering musicians in the world.") will no doubt notice her heavier use of vocals on her new album EARS. On all but one song, her gently ecstatic swells of vocals emerge to soar over a dense jungle of synths and woodwinds. After initially composing on a Buchla analog synth, she wrote arrangements for a woodwind quintet, added vocals, and further refined the pieces with granular synthesis techniques she developed in her sound design work (she contributed sound design to Panda Bear's "Boys Latin" video, and handled sound design and original compositions for Brasilia co-written by and starring Reggie Watts).

Kinetic arpeggios of synths pulse, often buoying her graceful vocal mantras, while woodwinds breathe and flutter, emulating the wildlife Smith observed while growing up on the West Coast (she even studied recordings of slowed down bird calls prior to composing these pieces). Though some of her gestures echo the musical tropes used by early minimalist composers, the world she creates on EARS is uniquely hypnotic and full of life, not unlike Miyzaki's film Nausicaä, which she cites as an inspiration.

EARS is a masterful articulation of Smith's vision, which she achieved in part by spending time preparing her mind prior to composing the album.

Repress!

On 22nd October, the Nottingham-raised and highly-praised musician/DJ/producer Matt Cutler, AKA Lone, presents his 8th album – and first in 5 years – ‘Always Inside Your Head’. It marks two major changes, with both a new label and new approach – featuring vocalists for the first time.

This deeply textural and ethereal artwork is situated high above the clouds, amidst the heavens, occupying a stratospheric state where swathes of synthesized vapour and azure rays sound like a literal breath of fresh air.

A varied selection of music influenced the record, but two main influences were Cocteau Twins and My Bloody Valentine. “I wanted to approach a range of different styles, but attack them from their angle in a way, so for example on 'Inlove2' I tried to imagine what a Balearic / acid house tune might sound like if it were produced by Kevin Shields”, comments Lone.

Another key example of Cutler’s strange but successful combination of elements is the halcyon bliss of ‘Echo Paths’, where his trademark fat drums and love for hip hop meet double-time pan pipes, dub effects and dream pop, mixed into a wonderfully lysergic concoction.

This rarefied auditory stratus was previously evident in tracks like ‘Alpha Wheel 4 (Ambient Mix)’ from ‘DJ Kicks’, ‘Under Cherry Blossoms (Minds Eye Reprise)’ from ‘Ambivert Tools, Vol. 2’, ‘Pulsar’ (from ‘Ambivert 4’), and ‘How Can You Tell’ (from ‘Abraxas’), but is now more fully-fledged, broader in scope and even more celestial.

In addition to the above, the LP exists somewhere between trip hop on Mo' Wax, 90s Warp, intelligent drum & bass and ambient house. There are heavier forays too, like ‘Mouth Of God’, where darker clouds emerge, but are pierced like acid lightning with fierce, tearing tech-step bass.

Although still firmly rooted in club culture – here Lone shows a definite leaning towards a song-based sound, with several tracks edging towards the same crossover space as the nineties hits which also inspired him – particularly William Orbit’s production on Madonna's 'Frozen', and Olive's 'You're Not Alone'. This is especially evident on the bright, spacious brilliance of 'Hidden By Horizons', where vocals and synths swirl around one another, with crisp breakbeats and reggae rolls pushing purposefully through the ether.

Despite initially seeming almost entirely sunny of disposition, upon deeper immersion there’s lot more beneath the album’s surface, both in its deep pools of immiscible layered elements, and also thematically. When recording Cutler kept in mind a loose narrative based on birth, death, and our existence in-between.

He then extended this idea to reach what may happen after death, which is reflected in the sequencing: By penultimate track ‘Undaunted’ the life reflected in this longplayer has come to an end, which is then followed by 'Coming In To Being And Passing Away' – an afterlife epilogue, which evokes a transition from this world to the next.

Pressed on LP again for the first time in years. Aldous Harding's songs are not for the faint of heart. Disarming in their desolate imagery and vulnerable instrumentation, they deal with the raw materials of life: birth, death, love and grief. Sometimes reminiscent of 60s-era folk singers Vashti Bunyan and Linda Perhacs, Harding's work lies in more harsh terrain than her forebears - piercing the long history of the genre with a grit and sincerity rarely encountered. Based in New Zealand's Southern port town of Lyttelton, Auckland-born Harding began playing to the public in small-town venues and busking on the streets. It wasn't long before her name became synonymous with both the vivid devastation of her wordplay and the stark intensity of her performance; a unique blend of fragility and sinewy, world-won strength that belies her youth. Influential BB6 DJs Marc Riley and Mary Anne Hobbs picked up on tracks and a rigorous festival circuit followed in 2015. The Line Of Best Fit lauded her Great Escape performance: “Aldous Harding mixes traditional folk songs with dirge-y notes and ends her incredible performance with an A cappella cover of Edith Piaf she was told she was too young to be singing. It was spellbinding.” Of her debut record, The 405 said, “the voice is from another time and the imagery is dramatic, the themes are universal....

The fragility and balancing act of creativity is an immeasurable factor in the life of any artist, serving as a commanding force in the choices they make over their careers. If the connection and meaning in creativity becomes devoid, there's a transformation process that either channels an ascension or departure. An internal and external battle that can chase and haunt individuals in every part of their life if one falls into the latter position. In the case of Los Angeles based electronic producer Huxley Anne, ascension was achieved during one of these tests of creative endurance and preservation, entering a phase of her life where the process of feeling art on meaningful levels had subsided for a lengthy period and the eventual reprisal of these natural gifts returned. This led to the creation of her debut album and an expansion in creativity that marks an important beginning for her path as an artist. This work is known as Ilium, representing a moment in Huxley Anne's life that's been one of her most testing yet rewarding mountains to climb. Ilium is Huxley Anne's debut album with Los Angeles indie imprint and Alpha Pup Records affiliate, Dome of Doom. Sonically, Ilium is an orchestrated field of unique beauty, drawing together eight tracks of exotic electronic music that calls upon the darkest and most light-driven of emotions. Exploratory textures take on vortexes of shape through cinematic sound designs, fluidly traversing between amorphous undertones, intricate composition mapping and pulsing rhythms. From the submersion of euphoria to the illumination of power, Ilium draws upon as many influences in the realm of mystical antiquity as it does the landscape of experimental music leading us into the future. A sonic portrait of her ascension through creative turmoil, the struggle of sustained determination and a rebirth into timeless artistry. Huxley Anne has created a boldness in sound that was made with the most vulnerable and giving of sides and simply put, Ilium is the continuation of meaningful life

Produziert von Joe Bonamassa und Josh Smith in den Ocean Way Studios in Nashville, Tennessee, enthält 'The Blues Album' Joannes persönliche Coverversionen von elf seltenen Blues-Klassikern. Dabei zollt sie Künstlern und Bands Tribut, die nicht zur offensichtlichen Auswahl gehören, wie z.B. Little Village, Little Milton, The Fabulous Thunderbirds, James Ray, covert gleichzeitig aber auch bahnbrechende Blues-Ikonen wie Albert King, Peter Green von Fleetwood Mac und Magic Sam. Einige Songs sind B-Seiten von Singles. War es eine bewusste Entscheidung von Joanne, Songs zu covern, die keine bekannten Blues-Standards sind? 'Wir versuchen, nicht die ausgetretenen Pfade des Blues zu gehen', erklärt Bonamassa. 'Jeder Song muss für sich selbst stehen und gleichzeitig den ursprünglichen Meistern Tribut zollen.'

"Der aus Belém do Para im Norden des Landes stammende Ary Lobo war bereit, seinen Wahlkampf im Süden des Landes zu beginnen und machte sich im Oktober 1955 auf den Weg nach Rio de Janeiro. Dort stieß er auf die üblichen Vorurteile des Südens gegenüber Sängern aus dem Norden, und erst nachdem er Gadé, einen angesehenen Pianisten, kennen gelernt hatte, konnte er sich ein Vorsingen bei Rádio Mauá sichern. Doch diese Chance hätte sich beinahe in eine Katastrophe verwandelt, da er in einem so schwachen Zustand zu dieser Sitzung erschien, dass er nicht auftreten konnte. Die unzureichende und unregelmäßige Ernährung hatte seine Atmung beeinträchtigt, so dass es unmöglich war, seiner Stimme die nötige Kraft zu verleihen. Glücklicherweise wurde das Vorsingen verschoben, und bei seinem zweiten Versuch konnte er sich einen Fünfmonatsvertrag mit dem Sender sichern, wo er als Samba-Sänger bekannt wurde. Als sein Ruf wuchs, wurde er bei RCA unter Vertrag genommen im Juni 1956." Die Musikszene in Rio wurde auf den Newcomer aufmerksam, der die Persönlichkeit eines nordöstlichen Sängers mit tiefen Wurzeln im afro-brasilianischen Erbe pflegte. Er begann das neue Jahrzehnt mit dem Album "Aqui mora o ritmo" (Hier lebt der Rhythmus), das 1960 veröffentlicht wurde und von vielen als sein bestes Werk bezeichnet wird. Wie so viele Genres erlebte auch der Forró seine Blütezeit, aber Ende der 1960er Jahre begann seine Popularität zu schwinden, und Ary Lobo war gezwungen, auf der Suche nach Arbeitsmöglichkeiten von einer Stadt in die andere zu ziehen. Schließlich kam er nach Fortaleza, wo er bis zu seinem Tod im Jahr 1980 lebte. Unter den Sängern und Songschreibern, die in den 1950er Jahren aus Pará hervorgingen, erlangte Ary Lobo einen für seine Zeit einzigartigen nationalen Ruhm.

Brausepöter (Martin Lück: Gesang, Gitarre, Synthi und Bernd Hanhardt: Bass, Kemper: Drums, bestehen bis heute in dieser Besetzung!) gründeten sich 1978 in Ostwestfalen und hießen ursprünglich Nordwestdeutsches Eiterlager, kurz NWE. Genialer Name, aber Brausepöter ist auch nicht schlecht! Sie sind somit eine der ersten deutschen Punkbands und zwar Punk im eigentlichen Sinne oder wie es im US-Amerikanischen Fanzine Maximum Rocknroll hieß: "It"s indie punk in the purest John Peel sense" bzw. wie es Martin Lück ausdrückte "Wir wollten immer den ganzen Rock aus unserer Musik rausnehmen". 2019 veröffentlichten Brausepöter ihr letztes reguläres Album "Nerven geschädigt". Das Punk- Zine FAZ überschrieb ihre Rezension mit "Die neue Brausepöter-Platte zeigt, was Punk heute heißt". Für sie ist Brausepöter "eine deutsche Band, die leider zu gut war, um so berühmt zu werden wie Trio oder Die Toten Hosen. Auch Spiegel Online fand "Nerven geschädigt" gut: "In ihrem radikalen Desinteresse an allem, was gerade so geht und erfolgversprechend wäre, wirkt die Musik von Brausepöter heute sogar um einiges konsequenter als damals." Nun erscheint das verlorene 1979er Album "Keiner kann uns ab" Ursprünglich sollte die Platte, "79 mit einem Kassettenrecorder aufgenommen, bei ZickZack erscheinen, aber daraus wurde nichts. Ging das Tape auf dem Postweg verloren? Waren die Aufnahmen zu gut? Oder selbst für ZickZack zu radikal? Wir wissen es nicht. Wäre "Keiner kann uns ab" damals tatsächlich erschienen, wer weiß, vielleicht würde man das Album heute in einem Atemzug mit "Monarchie und Alltag", "Amok Koma" oder dem Debüt von Slime nennen. Vielleicht aber auch nicht, denn der Brausepöter-Sound ist zu eigen, zu baufällig, zu DIY - näher an den TVPs, näher an The Fall oder näher an den frühen Mekons als an den ganzen Punk Rock-Bands. Brausepöter sind eben "indie punk in the purest John Peel sense".

Das zweite Album »Zwischen meinen Zeilen« von LEA erscheint pünktlich zum 5. Geburtstag in einer wunderschönen Re-Edition; erstmals mit den Songs der »Zwischen meinen Zeilen Live EP« auf Vinyl. Ein weiteres besonderes Highlight ist die bisher unveröffentlichte 2023er Version von »Halb so viel«. Die Doppel-Vinyl wird individuell gefertigt mit einzigartigem, buntem Design für jede einzelne Platte.

Seven years after Shin Godzilla, the worst "despair" in history strikes.

Director Takashi Yamazaki's 70th anniversary film.



Since its first appearance in 1954, the monster "Godzilla" has fascinated and shocked not only Japan but the world. Godzilla-1.0" (Godzilla minus one)

marks the 70th anniversary of Godzilla, the 30th live-action Godzilla produced in Japan, and the first Godzilla produced in "2025". The film is directed, written,

and VFX directed by Takashi Yamazaki, who professes to be a Godzilla fan himself. Ryunosuke Kamiki plays the lead role. The heroine is played by Minami Hamabe.

The film also features a cast of talented actors, including Hiroki Yamada, Takataka Aoki, Hidetaka Yoshioka, Sakura Ando, and Kuranosuke Sasaki,

all of whom are ready to take on Godzilla. The music is composed by Naoki Sato, who has composed music for many of Yamazaki's films, including "Always: Sunset on Third Street,"

"Destiny: The Kamakura Story," and "Archimedes' War. The overwhelmingly powerful visuals and music will send viewers into a whirlpool of excitement.

The American singer-songwriter tradition has always been tethered to a rustic austerity, the sort of front-porch authenticity that suggests an age where home electronics are still considered luxury items. But there's also the ongoing influence of Bob Dylan and The Band's Basement Tapes-that strange and beloved document of the magic that happens when private experiments with the folk template flourish into layered and lush songs-and its genesis through informal recording sessions. In our modern age, these kinds of casual DIY constructions are perhaps the more honest contribution to the Americana lineage-the true homespun artform. When Michael Nau and Whitney McGraw struck out on their own in the wake of the dissolution of their beloved indie-folk outfit Page France, they continued their songwriting practice with a new project called Cotton Jones Basket Ride. As legend has it, Nau and McGraw were working on the material for their debut full-length Paranoid Cocoon (2009) when they realized they had an entire album's worth of odds-and-ends from various recording sessions. The resultant album - The River Strumming - was released in 2008 on St. Ives in a batch of 300 unique hand-packaged LPs. As the label advertised it back in the day, the band "initially set out to make a cohesive record, and made just the opposite." Like The Basement Tapes, The River Strumming is a document of a band exploring possibilities without the weight of expectation. The band would eventually condense their name to Cotton Jones and make a name for themselves in the indie world for their fusion of dreamy folk and psychedelic baroque pop. But in the beginning, there was this weird and wonderful collection of songs made by musicians who were enjoying the private process of finding their path. Suicide Squeeze is proud to present a 15th-anniversary vinyl reissue of this long out-of-print classic with updated artwork by Kayleigh Montgomery-Morris.

Bleep's, Break's + Art is a new series from Under The Radar and run together by label owner JDSK and artist Dawl. As the name suggest's this series it is all about Bleep's, Break's and Art. It features 4 Tracks on each release and carrying all the Dawl trademarks of dance floor bombs! Each bash comes in releases of 3 and with a unique graffiti artist for each release. For the first bash we have a girl from the south of Sweden in Malmo that goes under the name Bird that started out in the mid 90's doing some Artwork paintings for Harthouse etc. Limited copies..

Bleep's, Break's + Art is a new series from Under The Radar and run together by label owner JDSK and artist Dawl. As the name suggest's this series it is all about Bleep's, Break's and Art. It features 4 Tracks on each release and carrying all the Dawl trademarks of dance floor bombs! Each bash comes in releases of 3 and with a unique graffiti artist for each release. For the first bash we have a girl from the south of Sweden in Malmo that goes under the name Bird that started out in the mid 90's doing some Artwork paintings for Harthouse etc. Limited copies..

Bleep's, Break's + Art is a new series from Under The Radar and run together by label owner JDSK and artist Dawl. As the name suggest's this series it is all about Bleep's, Break's and Art. It features 4 Tracks on each release and carrying all the Dawl trademarks of dance floor bombs! Each bash comes in releases of 3 and with a unique graffiti artist for each release. For the first bash we have a girl from the south of Sweden in Malmo that goes under the name Bird that started out in the mid 90's doing some Artwork paintings for Harthouse etc. Limited copies..

Lucy Kruger ist eine Singer-/Songwriterin aus Kapstadt, Südafrika, die kürzlich nach Berlin gezogen ist. Ihre Performance konzentriert sich auf das Pure, Nackte eines Songs, langsamer psychedelischer Folk, der sowohl intim als auch ambient ist. Drones gepaart mit Traumlandschaften lassen die Geschichten treiben und abtauchen, einschlafen und aufwachen. Lucy Kruger & The Lost Boys' erste LP »Summer's Not That Simple« wurde in Zusammenarbeit mit dem südafrikanischen Indie-Label Permanent Records veröffentlicht. Das Album enthält ein Meer von Gitarren im Gespräch mit fast geflüsterten Gedanken.

Nun wird sie ihr zweites Album »Sleeping Tapes For Some Girls« bei Unique Records veröffentlichen. Das neue Album ist ein leiser Begleiter für unruhige Abende. Das Album wurde aufgenommen, kurz bevor Lucy im Mai letzten Jahres von Kapstadt nach Berlin gezogen ist. Während dieser Zeit hatte sie leise ein weiches Netz von Liedern gesponnen und wollte deren Gefühl vor dem Umzug einfangen. Die Aufnahmen wurden für einen ganz bestimmten Zuhörer gemacht. In den Jahren davor ist Lucy zu Bett gegangen und hat sich dabei mit Geschichten und Klängen anderer Songwriter umgeben, die zu engen Begleitern geworden sind, die sie herausforderten, förderten und schließlich beschenkten. Sie wollte denen, die es brauchen könnten, dasselbe geben. Die Arrangements sind minimal und lassen Platz für Lucys Stimme und Gitarre, die überall präsent sind - reflektieren, widerstehen und versuchen, mit widersprüchlichen Gedanken zu argumentieren.

Lucy Kruger ist eine Singer-/Songwriterin aus Kapstadt, Südafrika, die kürzlich nach Berlin gezogen ist. Ihre Performance konzentriert sich auf das Pure, Nackte eines Songs, langsamer psychedelischer Folk, der sowohl intim als auch ambient ist. Drones gepaart mit Traumlandschaften lassen die Geschichten treiben und abtauchen, einschlafen und aufwachen. Lucy Kruger & The Lost Boys' erste LP »Summer's Not That Simple« wurde in Zusammenarbeit mit dem südafrikanischen Indie-Label Permanent Records veröffentlicht. Das Album enthält ein Meer von Gitarren im Gespräch mit fast geflüsterten Gedanken.

Nun wird sie ihr zweites Album »Sleeping Tapes For Some Girls« bei Unique Records veröffentlichen. Das neue Album ist ein leiser Begleiter für unruhige Abende. Das Album wurde aufgenommen, kurz bevor Lucy im Mai letzten Jahres von Kapstadt nach Berlin gezogen ist. Während dieser Zeit hatte sie leise ein weiches Netz von Liedern gesponnen und wollte deren Gefühl vor dem Umzug einfangen. Die Aufnahmen wurden für einen ganz bestimmten Zuhörer gemacht. In den Jahren davor ist Lucy zu Bett gegangen und hat sich dabei mit Geschichten und Klängen anderer Songwriter umgeben, die zu engen Begleitern geworden sind, die sie herausforderten, förderten und schließlich beschenkten. Sie wollte denen, die es brauchen könnten, dasselbe geben. Die Arrangements sind minimal und lassen Platz für Lucys Stimme und Gitarre, die überall präsent sind - reflektieren, widerstehen und versuchen, mit widersprüchlichen Gedanken zu argumentieren.

Kohei Tanaka worked on the composition and arrangement of this album.

One Piece is a Japanese manga written and illustrated by Eiichiro Oda. The story follows Monkey D. Luffy, a young boy whose body became elastic after eating a Devil Fruit. Luffy decides to become the Pirate King and find the One Piece, a legendary treasure hidden on Raftel Island.

Nous'klaer Audio is proud to present a stellar line-up of remixers for Nadia Struiwigh's third album Pax Aurora. DJ Nobu kicks things off with his mind-bending IDM version of Nana. Followed by JakoJako's pulsating hypnotic metamorphosis of Dreaming About Rollercoasters. On the flip, Om Unit turns the healing sounds of Organic into a powerful club tool fusing influences of jungle, dubstep & electronica. The record is completed by Norwegian classical artist Julia Gjertsen, whose layered pianos playfully transform Feroit into a stunning kosmische track.

2023 Reissue

Berlin based HipHop producer S. Fidelity presents his sophomore and full packaged concept album “Fidelity Radio Club” via Jakarta Records.

Four years after his Jakarta Records debut “A Safe Place to Be Naked” S. Fidelity has matured as a producer and as an artist: working and recording in London, Los Angeles, Paris and Johannesburg while building up his Manolo Purple Studios in Berlin with longtime collaborator, labelmate and soul brother Bluestaeb.

In 2021 S. Fidelity finally returns to the main program with his brand new solo album “Fidelity Radio Club” shaped in form of a genre crossing radio show exploring HipHop, R&B, Jazz, House and Funk in all their depths, creating the multi-layered album he always dreamt to do as he orchestrates a stoking line-up of equally talented friends and fellows like Bluestaeb, Melodiesinfonie, Suff Daddy, K, Le Maestro, Àbáse and many more while still delivering that very personal note every classic producer album needs and comes with. Or as the artist himself would put it: “17 different artists, producers and instrumentalists from all over the world helped me to bring this vision to life.”

According to that the albums 1st single features Singer NDO from Florida, giving life to the hard hitting R&B gem “Mixed Signals” where warm neo soul harmonies meet with classic R&B vibes of early 2000. The song made it to Spotify’s Butter Playlist right away and was picked for Deezer’s “Date Night” Playlist and Apple Music’s New Music Daily as well and received shout outs and further Playlist-placements by music blogs like Stereofox or MOW Mag.

The 2nd single comes as a double single featuring pianist, producer and main protagonist of Berlin’s prog-jazz scene Àbáse on “Me At The Zoo” (reminding its listeners of London’s new wave of jazz around Kamaal Williams or Yussef Dayes) on one side and the energetic, funk influenced disco tune “Something Good” on the other side.

The 3rd and final single “Love International Inc.” then comes with a bumpy up tempo drum beat, which develops into an energetic and jazzy lo-fi house/deep house loop, featuring none other than Zürich’s finest Melodiesinfonie as well as Paris-based Bluestaeb, marking this supergroup’s 2nd appearance and giving a glimpse of what’s yet to come.

Each of the album’s single cuts comes with a visual treatment by HipHop’s favorite photographer Robert Winter and his team (The Ottos), matching sound and artwork accordingly while the record’s amazing and unique artwork comes from the Swiss based creative studio HOMI. The record itself contains a sticker sheet with customized S. Fidelity and “Fidelity Radio Club” stickers as well.

The whole album campaign is further accompanied by the Fidelity Radio Show hosted by S. Fidelity himself, sitting down with his featured guests talking about the music they love and they draw inspiration from – broadcasted via S. Fidelity’s own youtube channel releasing its episodes in between the album’s single drops.

Ova Doce self-released a highly sought after EP in 1992 called ‘Feel The Rush’ which he used the money that his parents gave him for his 18th birthday to fund. His Dad hated rave music, so to annoy him, Nathan AKA Ova Doce sampled Bob Dylan in one of the tracks. Surprisingly his Dad quite liked it and was intrigued by his sons work. Fast forward 28 years and that track, along with others from the EP and some unreleased tracks written in 1992 were put out on Vinyl Fanatiks.

Amen Brother is the young brother of Vinyl Fanatiks and its ethos is to put our brand new hardcore, rave and jungle tunes by original artists from that era (though this USP is changing in 2022). Ova Doce has arrived on label brining his authentic Walsall rave sound with him, creating 4 brand new tracks, though a few are actually sketches created back in the 90’s that he recently finished off.

Think Acen, think pitched up chipmonk vocals, think being off ya ‘ead in a field raving ya tits off! Now check this EP and feel the rush!

Superb dark acid tekno... Definitely a mystical ambiance totally in the spirit of the label's name.
Superb printed sleeve from Mono Noize !

Top-Kollektion mit den besten Scores aus der Terminator-Filmreihe zwischen 1984-2019. Unter dem Namen London Music Works spielen die besten Filmmusiker Londons Themen aus Terminator (1984), Terminator 2: Tag der Abrechnung (1991), Terminator 3: Rebellion der Maschinen (2003), Terminator: Die Erlösung (2009), Terminator: Genisys (2015) und Terminator: Dark Fate (2019). Transparent-rotes Doppelvinyl.

Repress

As we continue the five part journey to say goodbye to the Telomere Plastic series, we as always, are excited to share with you Telomere 020.2.

This second VA, features producers, Anderson, Aspetuck, Bænglund and Watch Patrol.

We begin off the record with ‘Funk Inspector’ from Bænglund. The track name here sums it up pretty well. Full on quirky funk in the airwaves. A delicious cut to keep everyone on there toes!
Next on the A2 we have Aspetuck with his ‘As the Fog Rolls In’, Starting off with a bubbly soundscape the track progresses into a hypnotic acidic journey keeping the mood deep and melancholic. Handle this one with care!

On the B1 we have Anderson who delivers another deep and beautifully crafted soundscape. This is a timeless tune that takes you on a sonic journey from start to finish. This will work wonders on the dance floor and during your introspective moments laying in bed with your headphones bumping.

Lastly, we close out the release with the one and only Watch Patrol who we have all dearly missed. We hope you enjoy this slowed down IDM breakbeat gem!

Very limited black copies as always with a few colored copies available via the Wex bandcamp, be quick!