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"Fasten your seat belts - THE NEW ROSES are back! After touring with world famous artists like Scorpions, Saxon, Accept and Tremonti, the quartet around Timmy Rough will release their fifth studio album, entitled Sweet Poison, via Napalm Records on October 21, 2022. Musically, the band delivers stadium rock that would make the likes of Bon Jovi proud! With their most recent previous release, Nothing But Wild, the band entered the top 10 of the German album charts, but the band isn’t letting off the gas yet. Bevor they will embark on an extensive headliner tour in autumn, they will support none other than the legendary Judas Priest in June, Foreigner and rock icons KISS on their way to the top of rock! Their newest offering, Sweet Poison, starts off with the brilliant, guitar-driven anthem “My Kinda Crazy” providing a taste of what’s to come before blasting into authentic rock-meets-Americana tracks like “Playing With Fire” and “Sweet Gloria”. Massive track and album highlight “Warpaint” stages the band’s raw power with blazing guitar riffs and powerful drumming, while “The Usual Suspects” and “1st Time For Everything” convince as smooth sing-along hymns with catchy hooks. Tracks like “Dead Of Night” emerge with gloomy power, building atop a distinct melody and leading into a strong anthemic chorus, while THE NEW ROSES offer their softer side with songs such as “All I Ever Needed” – a mighty mid-tempo rock ballad showcasing the band’s vulnerability while reviving emotionality alike some of Guns N’ Roses most touching ballads. Frontman Timmy Rough passionately serves the full range of his voice on the track, also impressively evident on lyrically tender acoustic offering “True Love”. Sweet Poison is an outstanding rock album providing hit after hit and anthem after anthem, taking 80s retro rock to an extraordinary new level. Brace yourself as THE NEW ROSES shift into high gear, taking you on a ride towards the horizon of stadium rock!!

CELEBRATING SUN RECORDS - THE LABEL WHERE ROCK 'N' ROLL WAS BORN! The Rock 'n' Roll Collection features 40-songs from the most important record label in the history of music, with everyone newly remastered from the original Sun Records master tapes. A comprehensive introduction to some of the most iconic and influential music ever recorded. These are the list remaining copies of the strictly limited edition pressed on orange vinyl exclusive to UK retailer Sainsbury’s. Elvis Presley introduced the rockabilly sound to the world in 1954 with the recordings he made at Sun Records. These epitomised the famous “Sun sound” and set the scene for the rock ‘n’ roll explosion to follow. This raw and exciting new sound was a remarkable fusion of white country music and black R&B and quickly found an eager audience with the youth of the day. Presley’s extraordinary success at Sun Records led to the tiny Memphis-based label becoming a magnet for aspiring rockabilly singers from all over America’s South. Despite a relatively short heyday, that “Sun sound” has endured the test of time and remains as popular as ever with listeners of all age groups. As well as featuring Elvis and such other household names as Jerry Lee Lewis, Johnny Cash, Carl Perkins, Charlie Rich and Roy Orbison, the gatefold-sleeved double-album also includes significant contributions from the label’s other important artists such as: Billy Lee Riley, Sonny Burgess, The Miller Sisters, Warren Smith, Malcolm Yelvington, Jimmy Wages, and Earl Hooker. Includes such all-time rock ‘n’ roll classics as: Mystery Train, That’s All Right, Blue Suede Shoes, Great Balls Of Fire, I Walk The Line, Yakety Yak, Rock Island Line, Good Rockin’ Tonight, Red Hot, Ooby Dooby, Whole Lotta Shakin’ Goin’ On …and many more!

CELEBRATING SUN RECORDS - THE LABEL WHERE ROCK 'N' ROLL WAS BORN! The Rock 'n' Roll Collection features 40-songs from the most important record label in the history of music, with everyone newly remastered from the original Sun Records master tapes. A comprehensive introduction to some of the most iconic and influential music ever recorded. These are the list remaining copies of the strictly limited edition pressed on orange vinyl exclusive to UK retailer Sainsbury’s. Elvis Presley introduced the rockabilly sound to the world in 1954 with the recordings he made at Sun Records. These epitomised the famous “Sun sound” and set the scene for the rock ‘n’ roll explosion to follow. This raw and exciting new sound was a remarkable fusion of white country music and black R&B and quickly found an eager audience with the youth of the day. Presley’s extraordinary success at Sun Records led to the tiny Memphis-based label becoming a magnet for aspiring rockabilly singers from all over America’s South. Despite a relatively short heyday, that “Sun sound” has endured the test of time and remains as popular as ever with listeners of all age groups. As well as featuring Elvis and such other household names as Jerry Lee Lewis, Johnny Cash, Carl Perkins, Charlie Rich and Roy Orbison, the gatefold-sleeved double-album also includes significant contributions from the label’s other important artists such as: Billy Lee Riley, Sonny Burgess, The Miller Sisters, Warren Smith, Malcolm Yelvington, Jimmy Wages, and Earl Hooker. Includes such all-time rock ‘n’ roll classics as: Mystery Train, That’s All Right, Blue Suede Shoes, Great Balls Of Fire, I Walk The Line, Yakety Yak, Rock Island Line, Good Rockin’ Tonight, Red Hot, Ooby Dooby, Whole Lotta Shakin’ Goin’ On …and many more!

The Happy Fits' third full-length is a massive leap forward for the New
Jersey trio, who have already built a serious following with their energetic
and electrifying pop-rock style
At once a showcase of rock-solid songcraft and gleeful experimentation, Under
the Shade of Green is a deceptively bright opus that also zooms in on the
anxieties and catastrophes of daily life while never losing its irresistibly hooky
attitude.From the punchy "Dance Alone" to the serpentine riffs of "Do Your Worst,"
Under the Shade of Green finds The Happy Fits unloading earworm after earworm
— even as darkness looms, as suggested by the album's cover of a pineapple
covered in flaming money. "It's a metaphor for what we are all seeing and not
talking about enough," Langman says reflecting on the album's overall arc." If
these songs don't make you feel alive—well, you might just want to check your
pulse.

London has been fanning the flames of hardcore punk relentlessly, producing some of the best music of the genre for a while now. Enter Mastermind, four young guns kicking it up a notch or five. Starting in 2018, and after a well received demo on Cold Comfort, here comes their scorching new release, ‘Bad Reaction’ EP, on Quality Control HQ Records. Prepare to have your mind mastered in the art of the wildest hardcore songwriting, where a 3 minute song can keep you engaged throughout and doesn’t seem out of the norm. Karim Newble, also the resident artist of the band, takes you through the waviest of riffs that remind you of the crazy end of late 80s NYHC, from such legends as Rest in Pieces and Killing Time. Meanwhile vocalist Jon Osborne might be the long lost son of Jeff Perlin growling along to the rhythm section, seemingly out of control with one beat hook after another, pulling everything together. Genre: Alternative / Punk & Hardcore

For Fans Of... Lady Wray, Monophonics, Michael Kiwanuka, Raphael Saadiq, Curtis Harding, Brittany Howard. Debut 45 on Colemine Records. Featuring Alanna’s most-streamed track ‘Fall In Love Again’. Produced by Kelly Finnigan of Monophonics! Alanna Royale has long searched for a way to marry her life-long reverence for classic soul and modern r&b influence and has finally found it with her newest single "Fall In Love Again". Teaming up with producer Kelly Finnigan, Alanna was able to fully access the depth of her songwriting abilities bringing a lush vocal arrangement and pointed lyricism that digs deep into the pain of an aging relationship. "Fall In Love Again" is a low and slow groove with an irresistible hook that will keep you coming back listen after listen. Tracks: 1. Fall In Love Again 2. Fall In Love Again (Instrumental)

“I’ve been coming a thousand years / you could call me the endless fuck,” goes the memorable opening line of Rubblebucket’s Earth Worship, a dance-forward, joyously layered collection of songs which work to dissolve the imaginary lines between the natural world and its inhabitants. Kalmia Traver and Alex Toth, the group’s front persons and co-writers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed a prolific band that has delved into pop, funk, dance and psychedelia over five records, with performances spanning Bonnaroo to their self-curated Dream Picnic Festival, and collaborations with kindred genre-blenders including Arcade Fire and Questlove. But Traver and Toth initially bonded over another shared passion: the two were part of UVM’s Sustainable Community Development program. Though Toth communes with nature as part of his morning routine, and Traver is adept at foraging in the band’s adopted home of New York, songwriting explicitly about environmentalism in Rubblebucket has felt immaterial—besides, the band has shared its beliefs over the years by inviting anti-fracking, reproductive justice, and other organizations to table at their shows. But Traver was interested in writing love songs for and from the natural world, and both were inspired by their parents’ work in ecology and community facilitation, from which they saw a throughline to music’s communal healing. Traver suggested “earth worship” as a lyrical prompt for their sixth record, and with this concept at its core, the duo began writing Earth Worship: a Rubblebucket album with renewed shimmer, showcasing the group’s intricately sparkling beats, hushed yet hooky vocals and infectious melodic complexity.

“I’ve been coming a thousand years / you could call me the endless fuck,” goes the memorable opening line of Rubblebucket’s Earth Worship, a dance-forward, joyously layered collection of songs which work to dissolve the imaginary lines between the natural world and its inhabitants. Kalmia Traver and Alex Toth, the group’s front persons and co-writers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed a prolific band that has delved into pop, funk, dance and psychedelia over five records, with performances spanning Bonnaroo to their self-curated Dream Picnic Festival, and collaborations with kindred genre-blenders including Arcade Fire and Questlove. But Traver and Toth initially bonded over another shared passion: the two were part of UVM’s Sustainable Community Development program. Though Toth communes with nature as part of his morning routine, and Traver is adept at foraging in the band’s adopted home of New York, songwriting explicitly about environmentalism in Rubblebucket has felt immaterial—besides, the band has shared its beliefs over the years by inviting anti-fracking, reproductive justice, and other organizations to table at their shows. But Traver was interested in writing love songs for and from the natural world, and both were inspired by their parents’ work in ecology and community facilitation, from which they saw a throughline to music’s communal healing. Traver suggested “earth worship” as a lyrical prompt for their sixth record, and with this concept at its core, the duo began writing Earth Worship: a Rubblebucket album with renewed shimmer, showcasing the group’s intricately sparkling beats, hushed yet hooky vocals and infectious melodic complexity.

“I’ve been coming a thousand years / you could call me the endless fuck,” goes the memorable opening line of Rubblebucket’s Earth Worship, a dance-forward, joyously layered collection of songs which work to dissolve the imaginary lines between the natural world and its inhabitants. Kalmia Traver and Alex Toth, the group’s front persons and co-writers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed a prolific band that has delved into pop, funk, dance and psychedelia over five records, with performances spanning Bonnaroo to their self-curated Dream Picnic Festival, and collaborations with kindred genre-blenders including Arcade Fire and Questlove. But Traver and Toth initially bonded over another shared passion: the two were part of UVM’s Sustainable Community Development program. Though Toth communes with nature as part of his morning routine, and Traver is adept at foraging in the band’s adopted home of New York, songwriting explicitly about environmentalism in Rubblebucket has felt immaterial—besides, the band has shared its beliefs over the years by inviting anti-fracking, reproductive justice, and other organizations to table at their shows. But Traver was interested in writing love songs for and from the natural world, and both were inspired by their parents’ work in ecology and community facilitation, from which they saw a throughline to music’s communal healing. Traver suggested “earth worship” as a lyrical prompt for their sixth record, and with this concept at its core, the duo began writing Earth Worship: a Rubblebucket album with renewed shimmer, showcasing the group’s intricately sparkling beats, hushed yet hooky vocals and infectious melodic complexity.

Fabrice Lig has melody running through his veins. On his quest to explore his deep love for the bitter-sweet yearning of Motor City techno, his tracks transcend trends. Over his three-decade spanning career he has refined his blend of soul-infused dance music to striking effect. His gift for a catchy hook is unmatched. His new studio album "The Mental Bandwidth" shows his musical range as a producer once again. On the album's twelve tracks, he effortlessly traverses, cosmic house, funkified techno and electronica, combining his trademark quirky melodies with playful songwriting and dance floor focused beats. The album format is giving Lig enough space to explore his musical ideas from different directions while staying true to the overall atmosphere. "The idea for the album was to go back to the fundamentals of the original Detroit sound and to find new ways of expressing that soul in my music - as I've been doing for years", explains Lig. With Ann Saunderson and the former Kraftwerk-member Wolfgang Flur, the album features two heavy-weight collaborations that connect the "The Mental Bandwidth" to Detroit's musical legacy, too. Slikk Tim aka Garry Grittness also has a cameo in the form of a funky bassline on "Healing", the pop-infused Ann Saunderson collaboration. The title of the album is inspired by Lig's lecture of Sendhil Mullainathan and Eldar Shafir book "Scarcity: Why Having So Little Means So Much" which explores new approaches to reduce poverty. "The authors discovered that the mental bandwidth of poor people is sometimes really low because of short term issues they are facing and are forced to solve", explains Lig. Those issues are reducing the mental bandwidth for long term thinking capacities, which in turn has consequences for the decision making process. An example: before the quality of education of poor kids is increased, the quality of life they have must be increased. This increases the capacities of the kids to learn more than solely better educational programs.

THE RETALIATORS MOTION PICTURE SOUNDTRACK is the high-octane original soundtrack from the award-winning horror-thriller THE RETALIATORS. It includes special appearances from some of the biggest names in rock music such as Five Finger Death Punch, Tommy Lee, Papa Roach, The Hu, Ice Nine Kills, Escape The Fate and more, both on screen and on the original soundtrack. The album is available on a limited collectors edition 180gm red & black splatter vinyl pressing housed in a gatefold sleeve with exclusive movie stills, a 24x36 movie poster collectable, blood spattered o-card and including a digital download. It is also available on digipak CD and cassette formats.

Private View is distinctly Blancmange while also expanding into new sonic terrain. There’s a deft marriage of futuristic electronic sounds, Neil Arthur’s unmistakable vocal hooks, and songs veer from buoyant and joyful to dark and brooding. Private View will be released on London Records almost exactly 40 years to the day since the label released Blancmange’s debut album Happy Families. This neat full circle of Blancmange re-signing to the same label that ignited things all those years ago is also reflected in the album itself, being the perfect crystallisation of four decades of creativity.

On Private View Neil returns with key collaborator Benge (Wrangler, John Foxx, John Grant), and David Rhodes (Kate Bush, Peter Gabriel, Scott Walker) also returns as the guitarist, having previously performed with the band as early as 1982’s Happy Families (as well as several other Blancmange albums).

Private View is a record that manages to capture an artist who is potently in the moment when it comes to creating new work, while also being able to draw on 40 years’ worth of knowledge, experience, and built-in intuition. “I'm really lucky to be able make the music completely on my own terms,” Arthur says. “Being able to just continue being creative...that's when I'm happiest.” As he said before: “within myself there are no limits.”

Blancmange is also reflected in the ongoing influence the music has on younger generations of artists and fans over the years. Contemporary electronic producers like Honey Dijon and Roman Flügel have paid tribute with remixes, Moby once called Blancmange “probably the most underrated electronic act of all time.”; while John Grant continues to profess his love for Arthur’s music, old and new, and has invited Blancmange to perform as part of Grace Jones’ Meltdown festival.

While so many follow the status quo, Mat Zo has always danced to the beat of his own drum. From his days topping both the drum & bass and trance charts simultaneously (releasing on Hospital Records as MRSA), to his current status as a big room innovator, collaborating with Public Enemy's Chuck D and dropping genre-blurring 70-track contributions to BBC Radio 1's Essential Mix, the precocious talent is destined to play by his own rules.

Supported by DJs as diverse as Skrillex, Madeon, Pete Tong, Above & Beyond, Steve Aoki and A-Trak, the LA-living producer's much anticipated debut LP 'Damage Control' is a bold, brilliantly diverse statement of intent from one of the scene's most unique talents. In a world of EDM sound a likes, this is electronic dance music with integrity and ambition. The release of the album will coincide with an extensive upcoming world headline tour, which sees Zo playing renowned dance music hubs such as Ministry of Sound in London, Light in Las Vegas, Create/Avalon in Los Angeles, Miami's LIV nightclub, Toronto's Guvernment and New York City's famed Pacha. (See full list of dates below).

The product of nearly three years dedicated work, 'Damage Control' represents a star of the future coming of age. Including his Beatport No.1 smash 'Easy' (feat. Porter Robinson) and recent hook-up with hip-hop legend Chuck D (Public Enemy) on 'Pyramid Scheme', Zo's 14-track LP also features the sun-soaked melodies of his innovative future single 'Lucid Dreams' - another track that perfectly embodies his uniquely quirky take on big room sounds.

What really sets the album apart from the pack are its diversions away from the dancefloor. 'Damage Control' takes in everything from electro-charged French house ('Only For You' feat. Rachel K. Collier), classy trance vibes ('The Sky' feat. Linnea Schossow) and big room progressive, through to wonky, trap-styled beats ('Caller ID' and 'Little Damage'), UK garage updates ('EZ') and hip-hop ('Moderate Stimulation').

Retaining a cohesive thread throughout thanks to Zo's unmistakable sense of fun and infectious grasp of melody, 'Damage Control' is tipped as one of the most forward-thinking debut artist albums of 2013.

Das 17te Album des erfolgreichen US-amerikanischen Musikers, Multi-Instrumentalisten und leidenschaftlichen Skateboarders. Für Harper selbst auch so etwas wie ein Neuanfang.

Weithin inspiriert von dem Verlust eines langjährigen Freundes und dem anhaltenden Einfluss eines temperamentvollen und charismatischen Vaters, ist 'Bloodline Maintenance' das mit Spannung erwartete neue und siebzehnte Studioalbum des dreifach mit einem GRAMMY®-prämierten Singer-Songwriters/Musikers/Produzenten Ben Harper. Ein ungemein persönliches Soul-Album und das erste nicht-instrumentale Soloalbum mit neuen Songs seit 2016.

Auf 'Bloodline Maintenance' wendet Harper den Ideenreichtum des Hip-Hop auf bestehende Paradigmen des Soul, Blues und Jazz an und konfiguriert das Genre neu, a new black Americana, und setzt so seine lange Geschichte als einer der stärksten Protestsänger seiner Generation fort.

Schon im Alter von nur 21 Jahren tourte Harper mit Blueslegende Taj Mahal. In den Folgejahren machte er sich bei Kritikern wie auch Fans weltweit einen Namen, wurde für sein eigenes genreübergreifendes Werk insgesamt siebenmal für einen GRAMMY® nominiert (den er auch dreimal gewann), war gleichzeitig als Produzent tätig für u.a. Mavis Staples, Rickie Lee Jones und Ziggy Marley und kollaborierte mit einer Vielzahl von Künstlern, die von John Lee Hooker, Charlie Musselwhite und Jack Johnson bis hin zu Ringo Starr, Keith Richards und zuletzt Harry Styles reichen.

Oakland, California dark punk trio TENSION SPAN unites Noah Landis (Neurosis, Christ On Parade) on vocals, Geoff Evans (Asunder) playing guitar and synth, and Matt Parrillo (Dystopia, Kicker) providing bass, guitar, synth, and additional vocals.

Infusing classic elements of punk and post-punk, fans of Killing Joke, T.S.O.L., Subhumans, Conflict, Rudimentary Peni and The Wraith will be instantaneously addicted to TENSION SPAN’s dire urgency and infectious hooks.

During the isolation of Covid, the newly formed trio crafted The Future Died Yesterday, an album that sounds both varied and cohesive, combining musical and emotional heaviness with melody, samples, and synth. Sonically unique and riveting, The Future Died Yesterday sees the band ripping through thirteen doomed anthems.

Lee Baggett began a new chapter of his eclectic and varied songwriting career with the 2021 release of Just A Minute, and he’s continuing his experimental streak with his latest full length, Anyway. The seasoned musician is changing his stripes again with this 10-song collection by leaning into a more rollicking sound at times, as evidenced by the brisker feeling “Fruit Dog,” the album’s lead single, and the bustling and twangy penultimate track, “Highway Roll.” By embracing more country-tinged sonic elements like banjo, organ-sounding keys, and harmonica, Baggett is able to weave through winding narratives that poignantly parse through the challenging nature of change and evolution. On “Highway Roll,” he confronts how landscapes and settings he once knew are now unrecognizable, and takes that motif a step further on “Earlier Than The World” by achingly and vividly describing “concrete and rubble” amongst a sea of delicate, yet biting guitar riffs. Escape seems to be a viable option for Baggett with “Sink In My Dreams” and “Dust In The Wind” serving as the album’s soothing remedies, inviting the listener to sit back and get lost in Baggett’s mesmerizing guitar playing. His nimble guitar work is a prominent fixture on Anyway, acting as a crux at several key points. It resonates forcefully and feels emotionally charged. Just take the meandering bridge on “Earlier Than The World” as a prime example of how Baggett can aptly convey feeling through riffs.



Delving deeper into Anyway finds some familiar sounds, with songs like “Oh Well” and “Anyway” evoking the seaside melancholy of Baggett’s prior works. But there’s decidedly more intimacy hidden in the crevices of his words and hooks. Throughout, Baggett uses his refined storytelling skills to share his relatable fears and coping mechanisms, his river-like path to unexpectedly finding love, and his musings on an ever-changing world, amongst other experiences. His conversational disposition, folk-styled lyricism, and emotive sonic backdrops make for an immersive listening experience. - Tom Gallo

Pocket Fantasy, the sophomore album from Mamalarky is an instantclassic sunny-day record, imaginative and introspective, an enveloping
listen of skyhigh hooks and keyboards that soar with joyful abandon
Its twelve kaleidoscopic tracks shapeshift aesthetically and thematically, through
ideas about death and impermanence; love and gratitude; nature and technology;
humor and hope. Heralded by Billboard, Nylon, The Fader and more, the new
album expands on the unique sound of their self- titled debut which Pitchfork
called "tenderly tangled indie rock". On Pocket Fantasy some of the band's purest
pop tendencies collide with more warped and weird strains of quirky psych. It's a
treasure trove of playful grooves and zigzag riffs, a phenomenal album from a
young group poised to carve their own place in the bins of your favorite record
store.

For Fans of Lady Wray, Monophonics, Michael Kiwanuka, Raphael Saadiq, Curtis Harding, Brittany Howard etc. comes this 45 on Colemine Records, featuring Alanna's most-streamed track "Fall In Love Again", produced by Kelly Finnigan of Monophonics! Alanna Royale has long searched for a way to marry her life-long reverence for classic soul and modern r&b influence and has finally found it with her newest single "Fall In Love Again". Teaming up with producer Kelly Finnigan, Alanna was able to fully access the depth of her songwriting abilities bringing a lush vocal arrangement and pointed lyricism that digs deep into the pain of an aging relationship. "Fall In Love Again" is a low and slow groove with an irresistible hook that will keep you coming back listen after listen.

From the first bass note within the driving drum beat you can tell
something is different about the new record from Nikki Lane - Produced
by Joshua Homme (Queens of the Stone Age), Denim & Diamonds has
the Highway Queen embracing a more rock-oriented sound while still
maintaining the heartfelt outlaw country sound she has developed across
her previous three releases
Denim & Diamonds still has the flare of which Nikki has come to be known. Her
stylized, story-telling lyrics are all there as well as her catchy country hooks. The
backbeat feels like a gutsy strut while the lead guitar feels like a revved up engine
shifting gears. Denim & Diamonds comes out firing, spit shining the cowboy
boots and tossing on a jean jacket.Denim & Diamonds still has the fuck-off flare
of which Nikki has come to be known. Her stylized, story-telling lyrics are all there
as well as her catchy country hooks. The outlaw country sound is now balanced
out with a gritty guitar and a machine gun snare that echoes the sound of 70's
rock. Nikki Lane has made a record that sounds new and old. Familiar and
surprising. She embraces where she has come from, ("First High", "Born Tough")
the lessons learned along the way, ("Good Enough", "Try Harder") all while doing
things her way, ("Denim & Diamonds", "Black Widow").
CONFIRMED. The Independent - interview / CelebMix - interview / The Line of
Best Fit - 9 songs feature / The Line of Best Fit - album review / MOJO - album
review / Classic Rock - album review / Off The Beat and Track - Podcast
interview / Maximum Volume Music - news story / The New Cue -
'Recommender' / NME - news story

Temples is a tempting invitation into another world, full of light and movement. From the second the synth comes in this track has got us deep in its pocket. Shotter manages something that is hard to achieve - he has us floating completely, yet steadily carried by tip-toeing metallic rhythm elements and the relentless swells of bright synths. The game changer in the second half is a new, gritty bass quality, which couldn't roll in any more fiercely. At its fullest the track has us in an uncompromising trance, a relentless movement that we don't ever want to escape from. Breaking back down to pleasantly gentle hi-hat reverb-tails and inducing synth patterns Temples lets us down easy, with the unspoken promise to return.

Ueno claims the room to itself completely and immediately. The rise and fall of melodic synth lines lead us through a labyrinth at first, leaving plenty of space for imagination. Before we notice playful call-and-response rhythms are teasing our ears, until the track surrenders itself to an ever-growing wave of synth patterns and their behind-the-beat-delay. It climaxes into a haunting silence with tenuous high-pitched sounds and a clear outer space feel. Finally, all elements lock into a comforting groove, driving us forward, not too fast, not too slow - exactly right.

The track starts off with a blissfully nostalgic vintage-feel - slightly muffled, like the humbling quality you get from an old Technics playing your favourite LP. But don't be fooled, Cube March is bold. And unexpected. Stomping rhythms take over quickly and full-blown gritty synth-stabs cut the air effortlessly, like blades. An unapologetic and careless pumping bass line makes us want to move with every cell in our body. Shotter demonstrates his fearlessness in experimenting with heavy contrasts and elements from different genres here. A break with tastefully placed repetitive rhythm elements is complemented by the constant ebb and flow of melody lines. Both in volume and presence they fluctuate, one handing over the spotlight to the other seamlessly, keeping us hooked until the very end.

This remix lures you away from reality in a matter of seconds, with Definition's signature heavy hitting bass dominating. He expertly weaves shimmery fills into buoyant synth lines and brings us a skilful mix of dark minimal techno, breaks and infectious monster synth lines. Every so often, he adds a new layer, increasing the depth of the track, before letting it all crumble in a breakdown where time stops and tension grows, as we impatiently await the next rise to carry us away. The lengthy build-ups give this remix the energy to fill any room, easily. It is subtle, yet propulsive, too - a lane that Definition seems to manage regularly.