Suche:night drive

PGS 011 comes to us from Gustav Brovold, an essential player in Detroit's latest wave of underground electronic music. His début EP, "Hyperbolic Space" is the first release solely dedicated to the local legend, with influences ranging from 90s UK rave, apocalyptic techno, and bright, post-Drexciyan electro. Since the late-aughts, Brovold has been a fixture of Detroit's dance community; first as a member of Randy Chabot's Deastro project, and then a pillar of the after-hours scene through raves with the ADULT Contemporary collective, all the while sprinkling in rare, must-see all-hardware-based live shows around the city. Moments of brilliance have boiled over the surface globally, with appearances on Don't Be Afraid as Radio Brovold in 2015, the Detroit Electronic Quarterly's "DEQ Vol. 7" in 2016, and on the punishing opener of PGS 009's with "Temple of the Circuit" earlier this year.

Following a live show at Detroit's Donovan's Pub in late 2018, Zach (Shigeto) came to the obvious realization–this music is the reason why we started PGS, and needed to release the music to a wider audience. Brovold handed PGS a flash drive with hours of completed music, a gold mine in bits and bites. "Hyperbolic Space" represents a cohesive sampling of the mountain of tracks from Brovold's vaults, propelling PGS into the next decade. Play it in your car, or at unauthorized raves, and dance to the airwaves of Radio Brovold.

"Oakland Ave"
The vibes of forgotten 90s raves: UK techno made with digital synths, resampled as a low-bitrate soundtrack for the night time level of a PlayStation racing game. Building, dancing hi-hats, slow building chord stabs, dubby techno feels. A triumphant finish, 1st place in fifth gear. (*If you play this at 45rpm, you can Jit).

Based in Munich, Germany, the producer, part-time DJ and Permanent Vacation label co-head Tom Bioly aka TB delivers new romantics, inspired by influences like The Cure’s „The Holy Hour“, Boards of Canada’s late 90s electronica, Miami Vice tropic percussion and Angelo Badalamenti’s Twin Peaks. Acid drops, string distortions, lushed melody bits, hushed robo vox and washed space guitars are being layered and sprinkled over machine beats and disco drums.

TB’s first release "Invitation To Love" made it on John Talabot's vinyl-only Hiverned 10" imprint and was voted amongst the best 10" releases by UK Fact magazine. GROOVE magazine wrote "..entirely superb..“, about the follow-up EP "City Girl" on Permanent Vacation, of which the title track has been licensed to the independent film „All These Sleepless Nights“ by director Michal Marczak.
In 2017 TB followed with “Heartbreak Hotel“, a double twelve-inch release with eight tracks of melancholic dance noir set in smoke-filled darkness. In 2018 he followed with the „Night Heat“ single, of which a RMXD EP with contributions by Gerd Janson, Sascha Funke, DJ Hotel and Bostro Pesopeo came out earlier this year.

Recital publish the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "Avant-Garde" (Calgary is the rodeo capital of the world). From a young age, Sarah was a driven pianist (and figure-skater, although that's a story for a different time). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel.

Sarah is a considered person. I find few people that have the diligence and resolve to take their time with music... especially in a live context. I respect that about her. The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty.

Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On..., recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion.

Two pillars of this album are "Mordents", which to my ears drops hints of her love for Progressive rock music - and "Buhrstone," comparable to a sombre funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics.

Writing this description now, I find it hard to separate "At Hand" from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship - frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul.

This is a lovely album to fill an evening living room with. A blanket, a cup of wine, a dim bulb, a wide window.

Three beautiful photo-prints by Davachi are included with Let Night Come On Bells End The Day. Frames are not included.

- Sean McCann

’La Macarena’ is one of the brightest lights in Barcelona’s glimmering nightlife, and a landmark of the Spanish techno scene. 17 years in daily business brought thousands of electronic artists behind the decks and countless dancers and electronic music lovers on the floor of the legendary micro club. The new music label ’Macarena Musica’ features musical contributions by ’Macerena’ resident artists and special guests - all of them share a big love for ’La Macarena’ and Barcelona. The passionate crafted releases come as limited vinyl-editions and extended digital packages, complete with expressive black-and-white artworks, capturing the atmosphere of the club and the streets of Barna.

For the debut release, ’Macarena’ longterm-resident Patrick Zigon teamed up with his friend Paulo Olarte for ’Belleza Tropical’ - a declaration of love to the club and the heart warming vibe of Barcelona, which is strongly coloured by the latin way of life. It’s not surprising at all that this beautiful inspiration led Patrick Zigon to a tropical excursion into the deep cosmos of latin-infused Techno and House music. As in many previous collaborations, Paulo Olarte refines the productions of the Berlin-based producer with his naughty vocals, resulting in a poetic and love-driven statement for the latin familia. ’Belleza Tropical’ is the first glimpse into Zigon’s third studio album ’Between The Lines’, coming up in summer on his ’Traumraum’ imprint. Beside the Original and Instrumental versions, the single features remixes by the Spanish master of hypnotic techno, señor Eduardo De La Calle, Paulo Olarte and Blanali (digital only). Desde Barcelona con amor!

Picnic Record's founder Captn K is back and while he was gone he got a 909, "What are you gonna do with your 909 Captn K?" – "Try doing a bit of house I guess." So with this release the West Australian producer lends his unique style to a bit of 90s inspired house.

Sometimes you just gotta get it off your chest, and with the world the way it is there's a fair bit to get angry about. On R U COOL? Captn K shakes his fist at the sky and gets old school with his 909 and trusty bass synth to let it all out. A rant filled bad-ass-belter that cranks you up and kicks out the bad vibes. It's funny but relatable. It's simple but it's big! Included is a dub version for the club when you want the wriggle without the rant.

On the flip we got Tonite We Flying, a sexy piano driven builder that launches into a vocal filled disco/house track. Amazing husky vocals from Captn k's mate, Britt Bro tell the story of a night out and the desire to be free. Chugging piano n bass, juicy synth swells n sweeps and funky percussion get jiggy with their long time pals, 909 kicks n claps! Together it creates an uplifting energy filled anthem that makes you want to soar into the night!

Let you ears and sub be the judge, chances are you'll find a place for this one in the crate at your next party.

FPO (onesheet currently in development):

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The digitally remastered release of JAK3's Moonlight Radiation is a menagerie of cyberpunk mutations arising out of the Memphis revival rap movement. The album's big, blown-out sound might have seemed an incidental result of an analog recording process in its original cassette release. Now, rendered in digital clarity, listeners can better perceive how JAK3 sculpts varying degrees of panic, aggression and resolve very intentionally through the hard mix of industrial noise, inventive beats, flush synths and recordings from a slew of rappers including Freddie Dredd (Toronto), Apoc Krysis (Memphis), and fellow Waistdeep Clique members Agnarkea and Calsutmoran.

The short format of Moonlight Radiation's 16 tracks allows JAK3 to cover a lot of ground, and even within a single track he keeps one guessing. Track 2, "2FAKE," goes from an atmospheric burn, to a slow drive with the snappy flow of Moistbread, and then abruptly crashes back into an oozing vortex of synths. The penultimate interlude "Return from Hyperspace" sounds like one is being forced through a hellish modem, only to land in a haunted and abandoned transmitter for the closing track, "This Night Will Never End."

Between, those tracks, one gets a tour of the wild possibilities that could come next from this producer and the sounds emerging from the Memphis chopped-and-screwed scene. In a milieu that is retreading the past, the mutants of Moonlight Radiation may seem to be arriving a little prematurely. But you can't stop evolution when the field is so wide, and young producers like JAK3 are moving fast.

Having spent the past few years quietly building up a dedicated crowd of followers and dancers as a club night, Scenic Route step out for their first offering as a label with three expertly crafted club cuts from Desert Sound Colony, an artist whose pumping productions have provided some of the parties’ most memorable moments. Since his debut release in 2014 on New York’s Scissor & Thread, Desert Sound Colony (real name Liam Wachs) has been refining a deeply personal club sound with releases for the likes of Futureboogie, Me Me Me, his own Holding Hands imprint and most notably of late, Nick Höppner’s Touch From A Distance. In addition to his productions garnering support from the likes of Midland, Raresh, Andrew Weatherall and Lena Willikens, Wachs himself is also a highly sought after DJ whose skills have seen him land bookings at some of the world’s most well respected clubs and festivals, including two stints at Berlin’s Panorama Bar already this year.

His prowess as a DJ has undoubtedly informed the music featured on the Cartographer EP. All three tracks are primarily designed for club use yet their intricate arrangements and undulating instrumentation ensure they remain captivating, despite the effectiveness of their functionality. The EP’s opener, “The Cartographer”, is a sleazy machine-driven odyssey, continuously building and evolving until snapping back into its original groove with a vengeance. “Gypsy Moth” sees Wachs team up with fellow Holding Hands affiliate Guava (real name Bradley Hutchings) for a dangerously syncopated drum workout doused in warped agogo bells, spliced vocals and a two-note bassline with a distinctly London flavor. Rounding the release off is “Budapest”. The combined power of the track’s interlocking kick and bass provide a solid stage for Desert Sound Colony to unleash an eerie arp and pads combo alongside a flurry of stuttering percussion and twisted samples while intermittently sprinkled with an unintelligible and downright ominous pitched down voice.

Following his debut on Phantasy earlier in 2019, Joshua James returns to the label with ‘Journeys In Love’, complimented by a propulsive remix from Joe Goddard. Flipping the ruthless sleaze and hi-NRG of ‘Coarse’ on its head, the XOYO and Rinse FM resident presents a release that soundtracks the deeper, more vulnerable and always joyous aspects of London’s queer nightlife culture. ‘Journeys In Love’ lands with immediate effect, building steadily and confidently around a trippy sample and the hugely pleasurable push-and-pull of James’ synths. Breathing deeply and suspended in red-light, James’ new production tastefully recalls the late-hour, sensual attitude classic NYC deep house, while transmissions of a bottom-heavy bass weight anchor the track in the capital’s defiant after-hours scene. As a digital exclusive, the Super Drama remix utilises skittering percussion and cymbal rushes to drive things forward, dissolving with a playful acid coda.
Needing little introduction, Hot Chip and Two Bears co-founder Joe Goddard delivers a soaring and complementary reinterpretation of ‘Journeys In Love’, one built on halcyon, analogue sounds and further bathed in ecstasy and melancholy.

Will Saul is a key figure in UK dance music. Approaching his twentieth anniversary as a DJ, producer and label founder, Saul has helped break the career of key artists such as Leon Vynehall, Midland and Dusky via his Aus Music label, has himself played some of the world’s finest nightclubs and contributed to !K7’s storied ‘DJ Kicks’ mix series, which he also curates.

Finally returning to the production fold himself with his first full-length album in thirteen years, ‘Open Too Close’ is a condensed trip through the influences, discovery and sense of history that have helped shape his career and drive a forward-facing, unblinking passion for new music. The record’s concept reflects Will’s enormous skill and knowledge as a DJ, and as it’s title suggests, “"represents what I play in a club if an 8 hour set was condensed into 10 tracks.”

Having held residencies and made regular appearances at some of the world’s finest clubs including The End and Fabric in London, Panorama Bar in Berlin, Trouw in Amsterdam and Robert Johnson in Offenbach, Saul is uniquely qualified but this refreshingly straightforward approach. Eschewing the lingering, almost cliched expectations for a dance artist to create an album “that sounds good at home, as well as in the club”, ‘Open Too Close’ instead draws on the timeless futurism at the heart of the music that drew Saul into electronic music culture. Simply put, futuristic, melancholic sci-fi soundscapes meets stripped back raw sample driven house music, all executed with the precision and panache of an artist who truly understands how to move a dancefloor.

Slam City Jams is back with its sixth release and welcomes a new face to the label: the
mysterious producer, Westcoast Goddess, with his „Soul Out Of Time” EP.
After releases on Shanti Celeste’s Peach Discs (under his Videopath moniker) and Canada
based Heart To Heart Records, this guy caught our attention with his amazing analog take
on house music.
Written and produced between 2002 and 2018, this record contains everything house music
heads could wish for:
Sweet chords and strings, topped with heavy 909s, plus a cheeky little vocal shot on
„Satisfaction & Clarity”. Title track „Soul Out Of Time” sounds like a late night drive with the
top down. Meaning - shiny bells, swinging 80s drums, a funked up bass line and Balearic
breaks. The B-side kicks things off with “Open Heart”. A sample-based house tune, heavy on
the low end and super sweet on the tops, with Rhode pianos and catchy guitar licks. The EP
comes to an end with „In Search Of Darryl P”: A perfect track for the late hours, when those
trancey synths and euphoric strings go on and on... till the first rays of dawn!

Will Saul is a key figure in UK dance music. Approaching his twentieth anniversary as a DJ, producer and label founder, Saul has helped break the career of key artists such as Leon Vynehall, Midland and Dusky via his Aus Music label, has himself played some of the world’s finest nightclubs and contributed to !K7’s storied ‘DJ Kicks’ mix series, which he also curates. Finally returning to the production fold himself with his first full-length album in thirteen years, ‘Open Too Close’ is a condensed trip through the influences, discovery and sense of history that have helped shape his career and drive a forward-facing, unblinking passion for new music. The record’s concept reflects Will’s enormous skill and knowledge as a DJ, and as it’s title suggests, “"represents what I play in a club if an 8 hour set was condensed into 10 tracks.” Having held residencies and made regular appearances at some of the world’s finest clubs including The End and Fabric in London, Panorama Bar in Berlin, Trouw in Amsterdam and Robert Johnson in Offenbach, Saul is uniquely qualified but this refreshingly straightforward approach. Eschewing the lingering, almost cliched expectations for a dance artist to create an album “that sounds good at home, as well as in the club”, ‘Open Too Close’ instead draws on the timeless futurism at the heart of the music that drew Saul into electronic music culture. Simply put, futuristic, melancholic sci-fi soundscapes meets stripped back raw sample driven house music, all executed with the precision and panache of an artist who truly understands how to move a dancefloor.

Tim returns on home label Offworld Records with a classic 4-track EP of future-focused ethereal techno and electro. A-side opener Dystopia paints a bleak post-apocalyptic image that flows into the uplifting pad-driven 303 cut Enrichment. Driving electro vibes feature on title track Echo Waves, closing out with the late-night Detroit atmospheres of Form Fatigue. Essential deep techno release on limited colour vinyl!

Should you find yourself taking a Thames-side stroll in the shadow of the City of London, keep an eye out for the headphone-clad figure of Ilan Pdahtzur. While be-suited bankers and frustrated office workers scurry home to their families, Ilan can frequently be found casting admiring glances towards the blinking lights of towering skyscrapers while filling his ears with the synthesizer-driven sounds of lesser-known 1980s dance music.

Ilan, an avid but little-known record collector best known for sharing the artwork of obscure and under-appreciated early-to-mid ’80s club cuts on his popular Instagram feed, has been digging for vibrant, kaleidoscopic records since his teens. Now, thanks to Spacetalk, he’s been given a chance to offer a glimpse into his neon-lit nocturnal musical world.

The result is Night City Life, a killer collection of 1980s synthesizer songs inspired by Ilan’s admiration for the glow of London’s late night skyline. Over the course of 13 essential tunes, Ilan escorts us on a vibrant sprint through rare Italo-disco, steamy South African synth-boogie, fizzing American freestyle, oddball Austrian electrofunk and so much more.

There are naturally a fair few sought-after cuts present, but also a fine selection of under-appreciated gems that for one reason or other have been all but ignored since they were released three and a half decades ago. In fact, some selections are so obscure that barely any information exists about them online.

Check for example Preludio’s “Mysterious Nights”, an evocative fusion of slow electronic grooves, dreamy chords and twinkling piano motifs previously buried on a lesser-known album of unremarkable German synth-pop, or the dollar-bin brilliance of Fragile’s sweet synth-pop gem “We’ve Got Tonight, Boy”, a cut that Ilan says is capable of “wrapping itself like tendrils around your soul”. He’s not wrong.

At the other end of the scale you’ll find the ultra-rare Italo-disco breeziness of Friend of Mine’s incredible “Just Your Pride” and Mac & Monica’s soulful 1986 South African synth-boogie cut “You’re So Good To Me”, copies of which regularly change hands for hundreds of pounds online. Ilan originally reached out to the men behind the record last year to tell them how one of their other forgotten gems had been played on a Boiler Room session; naturally, they were thrilled.

There’s plenty to admire elsewhere on the compilation, too, from the waves of analogue synths, bubbly melodies and bobbing beats of the instrumental dub version of Brian Tatcher’s “Hot Love” – a cold-war era cut inspired by the idea of love blossoming in the midst of a nuclear meltdown – to the Bobby Orlando-esque freestyle bustle of Janelle’s “Don’t Be Shy (Dub)” and the sparkling post-boogie brilliance of Jarmaz’s “Night City Life (Disco Remix)”, a track Ilan has listened to countless times while admiring the midnight skyline of his home city.

Pacific Breeze is a collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between.

Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

Many of the key City Pop players evolved from the Japanese New Music scene of the early '70s, as heard on Light In The Attic's acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, 'Deconstructing the line between imitation and authenticity.' Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.

2xLP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card

“Following on from Homenagem, Lugar Alto’s first critically acclaimed project, the São Paulo label's new endeavour is the reissue of another neglected masterpiece. This time, it’s “Poema da Gota Serena” turn by Zé Eduardo Nazário from 1982. This unique work gathers elements of free jazz, Brazilian Northeastern rhythms, Asian percussive instruments and electronics.

Zé Eduardo is a virtuoso drummer and percussionist with a prolific career as a musician and teacher. He was introduced to music in his youth and started playing professionally at the age of thirteen. In the late 60’s he was a regular at the famous Totem night club in São Paulo, where he performed alongside the pianist Tenório Jr. and other exceptional instrumentalists. It was there that he met Guilherme Franco, and together they formed the Grupo Experimental de Percussão. This period defined Nazário’s interest in different sonorities involving percussion, and he broke away from the more traditional genres, such as bossa nova and jazz. Over time, this distinctiveness in sound and playing allowed him to create his own path which culminated in an extensive number of remarkable works, including the colorful and psychedelic “M andala”, which examines Indian and hippie themes. He also played with Hermeto Pascoal’s group and joined him and Jaques Morelenbaum for the recording of the cult classic “Imyra, Tayra, Ypy” by Taiguara. For Egberto Gismonti’s “Nó Caipira”, Nazário performed with the khene, a mouth organ from Laos, a present from Gismonti himself.

But it is Nazário’s work with the 1976 collective Grupo Um which is his most well-known, who, during their 6-year legacy recorded, amongst movie and ballet soundtracks, 3 albums: “Marcha Sobre a Cidade”, “Reflexões Sobre a Crise do Desejo” and “Flor de Plástico Incinerada”. The combo is considered one of the most innovative formations of its time, unusually combining electro-acoustic elements, jazz and Brazilian traditional music.

Poema da Gota Serena was Zé Eduardo's first solo project and it was financed by the legendary Lira Instrumental, a collaboration between the ground-breaking venue, label and publisher for the São Paulo avant-garde, Lira Paulistana, along with the always interesting Continental Records, home to such luminaries as Tom Zé. The album was offered as a package deal simultaneously with the production of “Flor de Plástico Incinerada”, ensuring 2 studio sessions at JV studios in October 1982.

Each side of the album explores different duets which, with its suite formated tracks, give the album the feel of a cohesive whole. The first half of the A side, “Energia dos Três Mundos”, is shared with the improvised saxophone of Cacau. Nazário delves into free jazz rhythms and plays his drums with a rolling and tumbling swing, using the kit in full, demonstrating the power of Brazilian jazz fusion. The second half of the suite takes us into a more tranquil mode. “Só Prá Ouvir”, demonstrates Zé’s mastery on the glockenspiel, and Indian percussion instruments, such as the tabla and mridangam. Cacau, on his side, switches his saxophone for more delicate dancing flute driven passages, equal parts northeastern rhythms and deep Amazonian indigenous influences. The B side, with “Prá Pensar / Prá Sentir e Prá Contar”, contrasts heavily with the A side’s more organic and natural feel. In Prá Pensar Lelo Nazários’s synth clusters and electronic blasts strangely interact with the exploring, wandering percussion. This track leads into the sublime “Prá Sentir e Prá Contar” where South Indian inspired vocals, performed by Zé Eduardo, accompany the graceful synth chords and fluttering percussion. The result is a hypnotic, otherworldly feel to the music that is infectious and takes the listener on an extraordinary journey.
With Poema da Gota Serena, it is possible to hear music that extrapolates the lines of the avant-garde and popular music. It is an album the demonstrates that Brazilian jazz fusion can be both spiritual and challenging at the same time.

All the tracks were expertly remastered by Lelo Nazário, directly from the original tapes, maintaining the high quality of production that Lugar Alto are becoming renowned for. All the artwork was reinterpreted by the São Paulo design studio Sometimes Always, including an exclusive insert and unpublished images.

It seems that Lugar Alto have managed to excavate yet another gem from the seemingly bottomless Brazilian mines. Long may they continue to do what they do so well.”

Durban gqom ambassador DJ Lag and London-based Okzharp combine over four club heavy tracks rooted in their long-term long-distance connection, the EP’s title originating from the Durban nickname for the local clubs where much early gqom-style music was played. Opener ‘Now What’ layers a wooden percussion scraper with a ticking cow bell and chants. Set at a slightly faster pace than most gqom, the track harbours a dark energy at its core generated by a low rumbling background synth and pitch shifting claps.

‘Steam One’ - inspired by DJ Lag’s set at Hyperdub’s club night Ø after he brought the heavy steam room vibe - has a slow and entrancing build up with a subtle melody layering on stabbing syncopated kicks, leading up to awoozy synth breakdown. “We were inspired by that moment in the club when things get hazy and bendy and glowy. It has South Durban via South London DNA, so inevitably there's a heavy kwai-gqom vibe with a grimey funky London twist running through it”. ‘Nyusa’ opens with a grinding acidicbass line overlaid with a metallic and gravelly melody with suppressed chants.

Sharp kicks drive the track leading up to a wobbly synth breakdown and back up synth stabs raising the energy. Finally, ‘Sambe’ pairs menacingstrings with a steel drum melody, displaying characteristics of both funky house and gqom in a subtle meeting of the two styles. ‘Steam Rooms’ is a collection of dancefloor heaters set to make the club sweat, the amalgamation of a London / Durban link up reflecting both producers environments and sound palettes for icey cold gqom tracks with funky house shadings.

Limited to 200 copies. Sturqen is a highly overlooked techno duo from
Portugal … they have been releasing their own style of techno since 10
years Has been the style of Sturqen since they started … This new EP
showcases their style of dark beats … from EBM orientated to
pounding industrial to flirt with … Review: This is exactly the kind of
techno that also goes down well with the EBM and industrial group:
analogous, somber, hypnotic. The most important track here is
probably “Nik”, a high-pitched song, interspersed with atonal noise and
driven forward by a whipping 1987 EBM beat. Especially through this
song and also the experimentally broken “Absoluto”, “Marginais” owns
the weirdness of old EBM / Industrial records from the early 80s and
also the works of the legendary Alien Sex Fiend … Maybe “Nik”
became so after their own named by crazy singer; said “Absoluto”
certainly reminds more than a little bit of ASF’s old street tunic
“Hurricane Fighter Plane” … Either way: The Portuguese Sturqen fit so
well as a techno act on that label, that in the past has given us the
works of Agent Side Grinder, Sulfur Yellow, and the crazy techno /
EBM mystics Newborn Night Music. On vinyl, limited to just 200 copies.
Uwe Marx for Sonic Seducer

Jimpster: 4/5 - “So much to love on here! Loca is a mind-bending workout for dark sweaty basements. Hey Life is hypnotic, life-affirming warmth to make the soul soar. Proper job Santiago!”

Gerd: 4/5 - “dope collection of trax by santiago salazar. well executed as always. amazing.”
Dom (Sub Club): 5/5 - “love Santiago .top stuff as always”
Cosmin TRG: 5/5 - “Excellent material Santiago! Congratulations”
Photonz: 5/5 - “Loads of killer tracks in here!”
Deetron: 5/5 - “Love this LP!”
Norman Nodge: 4/5 - “Yes, right up my alley! This has soul and a strong drive!”

Following Santiago's debut album Chicanismo released on Love What You Feel in 2015, The Night Owl doubles down on the artist's balancing act between techno and house. The blend of LA roots, Chicano heritage, Underground Resistance training, and love of house music is represented as an eight track album worthy of any music fan's collection or DJ's set. Released on May 17th, 2019 as an eight track digital album accompanied by a four track 12" vinyl EP.

The Voice of Love is the second album by American singer Julee Cruise, known for her collaborations with composer Angelo Badalamenti (Twin Peaks, Lost Highway) and film director David Lynch (Twin Peaks, Mulholland Drive). It’s the voice of love we hear all over the record, even when the lyrics getting darker and darker. The lyrics are written by David Lynch, while Angelo Badalamenti is the musical creator. The pulsing drums are a little more upfront compared to her earlier work. Julee’s voice is amazing and she has no problem with creating different moods on the album. It’s a beautiful follow-up of her first record Floating Into the Night.

Shimza, one of South-Africa’s shining talents, makes his return to Cadenza with ‘Eminence’, a burning compound of profound percussions and late-night rapturing synths. This Gauteng-born artist is one of the most celebrated African electronic musicians and has garnered the reputation of the “Effect Master” and “Vinyl Assassin” for his technical prowess and intricate mixing abilities. The vibrating drums and persistent arpeggios of ‘Eminence’ make for a captivating peak-time anthem, offering the nostalgic essence of Detroit’s late-nineties splendour. As the EP journeys to ‘Dancefloor Keeper’, the slick trance-inspired stabs and permeating bassline expose its ominous nature as it swells to a seismic drop. On the B-side, Shimza expresses his creative flare with ‘Kunye’; a hypnotic cut that blends the spirit of futuristic synthwave with the soul of African tribalism. ‘Warrant For Arrest’ is a charged number, driven by a snappy compressed kick drum and chiming sequences. As its percussive forces fall away to the second break, a monstrous siren and obscure vocal cuts take focus, guiding it to its summit. The penultimate offering ‘MSC’, is a euphoric gem that flows with expressive phrases and evolving synth pads. The EP’s digital-only bonus track ‘Mirrors’ shuffles effortlessly with a funk-tinged riff, maintaining a high voltage pace, closing the EP in an emphatic manner. Shimza has been on a mission to make 2019 his biggest year to date. Launching his One Man Show concept in Soweto in 2009 to help raise funds for underprivileged children, the project has now matured into an annual event that draws in over 25,000 people each year, hosting some of the country’s most in-demand artists, such as AKA, Black Coffee and Black Motion. The show has seen international editions in France, Spain and Portugal and has helped position Shimza as one o