Buscar:o rem

Wie gerne spielen Fettes Brot mit Bedeutungen? Ihr Album-Titel "Am Wasser gebaut" birgt bspw. zwei offensichtliche Ebenen. Entweder er meint: dir kommen schnell die Tränen. Oder: du kommst aus einer Hafenstadt. Ausgangspunkt 1 ging mit dem Plan konform, eine Art neuer Hip Hop Soul Music zu erschaffen. Wer sich starke Feelings leistet, macht sich natürlich auch verletzlich. Ausgangspunkt Numero 2 bedingte konsequenterweise den auf dem Artwork in den vielen s/w-Bildern gezeigten Hafenarbeiterlook - u.a. im großen Hamburger Blohm & Voss-Dock fotografiert. FB hoben damit auf den legendären Marlon Brando-Spielfilm "On The Waterfront" ab und auf Dexys Midnight Runners in deren früher "Soul Rebels"-Phase.

"Am Wasser gebaut" war das erste Fettes Brot-Album auf dem bandeigenen Label FBS. Mit "Emanuela" und "An Tagen wie diesen" protzt die Platte gleich mit 2 Smash Hits. Auf der vorliegenden Trockendock-Edition sind zudem 11(!) Bonussongs (B-Seiten, Outtakes, Single-only Songs) verewigt. Dazu gibts Presseclippings und Linernotes der Band und ihrer Gäste wie Bela B, etc., sowie ein umfangreiches Artwork-Update.

June 16th 2023 sees the long overdue vinyl re-issue of Coldplay’s Prospekt’s March EP, the 2008 companion piece to their fourth number one album, Viva La Vida Or Death And All His Friends.

Featuring a selection of new (at the time) tracks, a re-work of Lost: Lost+ with Jay-Z and a remix of album track Lovers In Japan.

Pressed on 140gm, black recycled vinyl, housed in a 4-colour outer sleeve and printed inner sleeve, featuring a matt dispersion varnish.

CREEPING DEATH befinden sich auf einem schnellen und rasanten Aufstieg aus dem Untergrund.Die texanische Death-Metal-Crew liefert immer wieder ein unerbittliches Geknüppel, das aus den entlegensten Winkeln der Vergangenheit, Gegenwart und Zukunft des Genres stammt. Der Fünfer aus dem Lone Star State zelebriert den Stil triumphierend und peitscht grausame Riffs und Südstaaten-Grooves mit einer unwahrscheinlichen kathartischen Freude auf.Boundless Existence wartet mit Future-Death-Metal-Klassikern wie dem superschweren, schnellen und groovigen "Intestinal Wrap" auf (bei dem George "Corpsegrinder" Fisher von Cannibal Corpse mitwirkt). "Vitrified Earth" zeigt die zunehmenden Fähigkeiten von Creeping Death in Sachen Songwriting, was vor allem an der Kadenz und Phrasierung von Alavis Gesang zu erkennen ist, während die kranken
Riffs nie vernachlässigt werden. Gegen Ende des Albums gibt es sogar eine etwas entrückte Atmosphäre, mit Gitarreneffekten, Harmonien und berauschenden Taktarten."CREEPING DEATH versammeln gewaltige Riffs, schreiende Gitarrensoli und bedrohliche Gesangseinlagen und spielen sie mit dem treibenden Schwung einer erstklassigen Hardcore-Band." - Revolver Magazin.

CREEPING DEATH befinden sich auf einem schnellen und rasanten Aufstieg aus dem Untergrund.Die texanische Death-Metal-Crew liefert immer wieder ein unerbittliches Geknüppel, das aus den entlegensten Winkeln der Vergangenheit, Gegenwart und Zukunft des Genres stammt. Der Fünfer aus dem Lone Star State zelebriert den Stil triumphierend und peitscht grausame Riffs und Südstaaten-Grooves mit einer unwahrscheinlichen kathartischen Freude auf.Boundless Existence wartet mit Future-Death-Metal-Klassikern wie dem superschweren, schnellen und groovigen "Intestinal Wrap" auf (bei dem George "Corpsegrinder" Fisher von Cannibal Corpse mitwirkt). "Vitrified Earth" zeigt die zunehmenden Fähigkeiten von Creeping Death in Sachen Songwriting, was vor allem an der Kadenz und Phrasierung von Alavis Gesang zu erkennen ist, während die kranken
Riffs nie vernachlässigt werden. Gegen Ende des Albums gibt es sogar eine etwas entrückte Atmosphäre, mit Gitarreneffekten, Harmonien und berauschenden Taktarten."CREEPING DEATH versammeln gewaltige Riffs, schreiende Gitarrensoli und bedrohliche Gesangseinlagen und spielen sie mit dem treibenden Schwung einer erstklassigen Hardcore-Band." - Revolver Magazin.

Who would be better suited for remixing the Skudge classic? It's not a far-fetched idea, as we now see the remix 12" of Convolution featuring Levon Vincent.

Classic late 00s Levon Vincent style of rhythm and pace meets Skudge's hallmark sound.

It's been over a decade since Skudge took charge and urged us to "Give it all up". 'Convolution' forged two distinct genres while avoiding the trap of losing the attitude of both. The track was a strong take on Techno and House simultaneously and brought something new and interesting to the table.

Fast forward a decade since this effort marked the beginning of the Skudge journey, which not only caught the middle ground between Techno and House but also the ears of fellow producer Levon Vincent.
Levon is a prominent name in the oceanic underwater funk, touching strands of Dub, Techno, and House.

Levon delivers two versions, where the Scream Version captures the UK sound of anarchistic basslines similar to 'Basemental' from '95, on the A-side.

Flipping over to the B-side, one can hear the 'Convolution' atmosphere echoing between Levon and Skudge respectively.

In the digital age, words are no longer just symbols of communication, but a powerful tool that gives rise to meaningful interconnections between different universes.

Words have the power to transcend time and space, connecting two souls destined to meet.

Il Significato delle Parole (the meaning of words) is Adiel's new effort on her DanzaTribale, a crossover of two minds, generated together with musician Flavio Accorinti: techno sounds like the restless soul that pervades our days, deconstructed atmospheres like shattered generational dreams. The fusion of two cosmic currents, two ways of thinking and creating, characterized by an immanent power, pushing us to imagine new urban primitivism. Two creative processes, transcending individual boundaries to connect into a single overarching vision, to explore new forms of art and storytelling.

The EP, mixed by Donato Dozzy and mastered at Rome's Enisslab Studio by Giuseppe Tillieci, starts with Nulla Resta, a defragmented, dreamlike, ascending climax markedly cyberpunk: dense with references to 90s Progressive Dream, Nulla Resta, with its dulcet melodies, transports us to an artificial reality, a spiritual reality albeit dominated by technology. A reality suspended between fantasy and materialism.
Suspended, like the second track (Sospesa): dark trip-hop's echoes adorned by the voice of Jordie Devlin Mcmorrow. "Shadows on the walls orchestrate our downfall." Dystopian futures intertwine with mysteriously dreamy pasts in a fatal spiral of redemption.
But words remain the catalysing element of this EP.
Parole(words) represents a communicative rare faction that embraces tribes near and far. Black drums echo in the distance in an intimate ballad, in an epic ride, in an ethereal metaphysical journey to the dissolution of the boundary between time and space, between memory and perception.
Notturna, on the other hand, is the epilogue we all deserve; a solemn twilight, a lysergic, dragging escape from the objectivity of the real world.

The images of life do not simply exist in a vacuum. They are defined by the energy that surrounds them, and it is the explanation behind each of these words that we must find if weare to truly understand them. Thanks to the meaning of words, sooner or later, we will be all united again.

Opeth wurde von den Kritikern für ihre Kombination aus progressiven Einflüssen und vernichtendem schwedischem Death Metal gelobt. Diese farbigen 140g Re-Issues sind ein Muss für Fans und Sammler, denn sie wurden von keinem Geringeren als Jens Bogren (Opeth, Katatonia, Amorphis, Sepultura) mit Unterstützung von Mikael Åkerfeldt ein liebevoll remastert. Die Aufnahmen wurden mit halber Geschwindigkeit in den berüchtigten Abbey Rd von Miles Showell (ABBA, Beatles) geschnitten, und das gesamte Artwork wurde von Dan Capp sorgfältig restauriert und so gestaltet, wie es die Band ursprünglich beabsichtigt hatte.

Es gibt nur wenige Bands, die es mit den Schweden von Opeth aufnehmen können oder wollen. Seit ihrer Gründung 1990 in dem kleinen Stockholmer Vorort Bandhagen haben die Schweden alle Konventionen über den Haufen geworfen, sich trotzig gegen alle Widrigkeiten durchgesetzt und - was am wichtigsten ist -12 atemberaubend schöne und intensive Alben geschaffen und sich damit zu einer der besten Bands der Welt entwickelt.

Opeth wurde von den Kritikern für ihre Kombination aus progressiven Einflüssen und vernichtendem schwedischem Death Metal gelobt. Diese farbigen 140g Re-Issues sind ein Muss für Fans und Sammler, denn sie wurden von keinem Geringeren als Jens Bogren (Opeth, Katatonia, Amorphis, Sepultura) mit Unterstützung von Mikael Åkerfeldt ein liebevoll remastert. Die Aufnahmen wurden mit halber Geschwindigkeit in den berüchtigten Abbey Rd von Miles Showell (ABBA, Beatles) geschnitten, und das gesamte Artwork wurde von Dan Capp sorgfältig restauriert und so gestaltet, wie es die Band ursprünglich beabsichtigt hatte.

Es gibt nur wenige Bands, die es mit den Schweden von Opeth aufnehmen können oder wollen. Seit ihrer Gründung 1990 in dem kleinen Stockholmer Vorort Bandhagen haben die Schweden alle Konventionen über den Haufen geworfen, sich trotzig gegen alle Widrigkeiten durchgesetzt und - was am wichtigsten ist -12 atemberaubend schöne und intensive Alben geschaffen und sich damit zu einer der besten Bands der Welt entwickelt.

Opeth wurde von den Kritikern für ihre Kombination aus progressiven Einflüssen und vernichtendem schwedischem Death Metal gelobt. Diese farbigen 140g Re-Issues sind ein Muss für Fans und Sammler, denn sie wurden von keinem Geringeren als Jens Bogren (Opeth, Katatonia, Amorphis, Sepultura) mit Unterstützung von Mikael Åkerfeldt ein liebevoll remastert. Die Aufnahmen wurden mit halber Geschwindigkeit in den berüchtigten Abbey Rd von Miles Showell (ABBA, Beatles) geschnitten, und das gesamte Artwork wurde von Dan Capp sorgfältig restauriert und so gestaltet, wie es die Band ursprünglich beabsichtigt hatte.

Es gibt nur wenige Bands, die es mit den Schweden von Opeth aufnehmen können oder wollen. Seit ihrer Gründung 1990 in dem kleinen Stockholmer Vorort Bandhagen haben die Schweden alle Konventionen über den Haufen geworfen, sich trotzig gegen alle Widrigkeiten durchgesetzt und - was am wichtigsten ist -12 atemberaubend schöne und intensive Alben geschaffen und sich damit zu einer der besten Bands der Welt entwickelt.

Opeth wurde von den Kritikern für ihre Kombination aus progressiven Einflüssen und vernichtendem schwedischem Death Metal gelobt. Diese farbigen 140g Re-Issues sind ein Muss für Fans und Sammler, denn sie wurden von keinem Geringeren als Jens Bogren (Opeth, Katatonia, Amorphis, Sepultura) mit Unterstützung von Mikael Åkerfeldt ein liebevoll remastert. Die Aufnahmen wurden mit halber Geschwindigkeit in den berüchtigten Abbey Rd von Miles Showell (ABBA, Beatles) geschnitten, und das gesamte Artwork wurde von Dan Capp sorgfältig restauriert und so gestaltet, wie es die Band ursprünglich beabsichtigt hatte.

Es gibt nur wenige Bands, die es mit den Schweden von Opeth aufnehmen können oder wollen. Seit ihrer Gründung 1990 in dem kleinen Stockholmer Vorort Bandhagen haben die Schweden alle Konventionen über den Haufen geworfen, sich trotzig gegen alle Widrigkeiten durchgesetzt und - was am wichtigsten ist -12 atemberaubend schöne und intensive Alben geschaffen und sich damit zu einer der besten Bands der Welt entwickelt.

Streng limitierte Stückzahlen!

Opeth wurde von den Kritikern für ihre Kombination aus progressiven Einflüssen und vernichtendem schwedischem Death Metal gelobt. Diese farbigen 140g Re-Issues sind ein Muss für Fans und Sammler, denn sie wurden von keinem Geringeren als Jens Bogren (Opeth, Katatonia, Amorphis, Sepultura) mit Unterstützung von Mikael Åkerfeldt ein liebevoll remastert. Die Aufnahmen wurden mit halber Geschwindigkeit in den berüchtigten Abbey Rd von Miles Showell (ABBA, Beatles) geschnitten, und das gesamte Artwork wurde von Dan Capp sorgfältig restauriert und so gestaltet, wie es die Band ursprünglich beabsichtigt hatte.

Es gibt nur wenige Bands, die es mit den Schweden von Opeth aufnehmen können oder wollen. Seit ihrer Gründung 1990 in dem kleinen Stockholmer Vorort Bandhagen haben die Schweden alle Konventionen über den Haufen geworfen, sich trotzig gegen alle Widrigkeiten durchgesetzt und - was am wichtigsten ist -12 atemberaubend schöne und intensive Alben geschaffen und sich damit zu einer der besten Bands der Welt entwickelt.

Streng limitierte Stückzahlen!

The Marshall Suite is the 1999 album by the Fall. The album builds on the techno-influenced beats of its predecessor Levitate, while also returning to a more rockabilly-influenced sound reminiscent of earlier Fall line-ups with songs such as the catchy “Touch Sensitive” and the strange, complex, thumping jungle beats of “The Crying Marshal”.

The Marshall Suite was made immediately after an American tour during which Mark E. Smith had an onstage fight with members of the band and was arrested following ongoing altercations at the hotel at which the group were staying. While the remaining band members quit and returned to England, leaving Smith in a cell in Manhattan, Julia Nagle chose to stay in the band, helping to assemble the group’s new line-up.

During the recording of the album, this new line-up was still taking shape and the album features two different bassists. None the less it was very well-received album at the time and highly collectible by now.

Long out-of-print release available digitally for the first time. Extensive notes by a local writer in English and French. Previously unpublished family photos. Urbanized traditional music at a dance-floor-friendly tempo. The very definition of an "Awesome Tape From Africa". Roger Bekono made a deep mark in the contemporary history of Cameroonian music through the four-on-the-floor, ribald intensity of bikutsi. The Ewondo-language dance-pop style that forms an undulating tapestry of interlocking triplet rhythmic interplay came to international prominence in the European "world music" scene as the 90s began. But the relentless sound of bikutsi developed in Yaoundé at the hands of Bekono and many others, as it developed from a village-based singing style performed mostly by women into a cosmopolitan music force that rivaled the popularity of established musics like Congolese rhumba, merengue and makossa. With his unique—some say suave—voice, Bekono contributed much over a period of more than 10 years as part of the evolution of this traditional rhythm-turned-urban dance movement. Bekono worked with legendary producer Mystic Jim, who had built a prolific home studio along with a crack team of musicians. They joined as part of the production of his self-titled album, which became known locally as "Jolie Poupée," the name of the album's lead single and most popular song. For "Jolie Poupée" Mystic Jim programmed the kick or bass drum, adding effects to have a heavier bass. Overall the album represented a new level of finesse and professionalism for his second release. In the middle of 1989, Jolie Poupée was released by the label Inter Diffusion System and aggressively hit the radio, discos and national television. The music video for the title track was on loop on TV. It felt like everyone was talking about it, even artists in adjacent music scenes like makossa. The album came out on vinyl and cassette and remains Bekono's best-selling recording to this day. With Jolie Poupée Bekono finally made an impact outside Cameroon as the record captured listeners in some Central African countries like Equatorial Guinea, Gabon, Republic of Congo and Sao Tome & Principe. In these countries, we find the Fang or Mfan people (also known as Ekang), Bantu-speaking ethnic groups that are also found in Cameroon. This umbrella language group includes the language in which bikutsi is mainly sung. Most of Bekono's songs are in French, Ewondo (of which Beti is a dialect) and Pidgin. The four songs on Jolie Poupée are all considered bikutsi classics. On September 15, 2016, Bekono died of a long illness at the age of 62. In the wake of his passing the media published a wave of tributes, thanking him for what he did for Cameroonian music. He was an admired musician, songwriter and guitarist, and some of his old colleagues and some of the new generation of performers showered Bekono with vibrant tributes via social media, many of which noting something to the effect of: "The artist dies but his works remain."

From small beginnings in 1974 as a local cinema and university event, Film Fest Gent has grown yearly in stature and is now recognised as one of the major destinations for the film industry. A vital component is the celebration of film music in the shape of the World Soundtrack Awards which honours the very best composers at work in the world of cinema. In 2016 the award went to one of the most brilliant composers of his generation, Ryuichi Sakamoto. This is the first overview of his remarkable catalogue of film scores, fully approved by the composer and performed by the masterful Brussels Philharmonic under the baton of Dirk Brossé. Sakamoto was already a celebrated pioneer in electronic music and composer/pianist/singer in Japan when director Nagisa Oshima asked him to write the score for Merry Christmas Mr. Lawrence in 1983 and also to star alongside David Bowie. In a 30 year plus career since then he has worked with the cream of film directors including Bernardo Bertolucci (The Last Emperor), Brian De Palma (Snake Eyes), Pedro Almodovar (High Heels) and most recently Alejandro Gonzalez Inarritu (The Revenant). This compilation is a fitting tribute to his status as one of the greatest living musicians and film composers.

LDS takes no prisoners on this blistering new techno workout for Exos' Planet X & X/OZ labels.

Opener 'Karplusfunk' is a 100-mile-an-hour assault with caustic hit hats over clipped, kinetic drums. Manic synth lines ride up and down and the energy levels are off the chart. 'Mvoper FM' is slightly paired back but is still warp-speed icy techno to take dance floors on a white knuckle ride through the cosmos.

The Exos remix of 'LD5' has snares that sound like sheet metal blowing in the wind while solar clouds peel off the groove. The flip side offers two more cuts of head-melting techno experimentalism.

Electro and dark techno ambiances...
Album with a cool sound dynamic through.

The Valley and the Mountain aka TVTM aka Josh Dahlberg makes a bold return with 'A Number of Northwests', an EP which tells the tale of an artist in transition. Quite literally, that is, as he moved from Detroit's westside to the very far edges of the Pacific Northwest. Musical this is a stylistically diverse offering with four cuts starting with the mid-tempo smooth grooves of 'Bretton Drive' and glistening synths and pads of the cosmically minded 'Grand River Slide'. The chugging 'Ramps to Nowhere' is a dubbed out afters classic and then the one and only dusty deep house don DJ Aakmael remixes it into another cuddly classic.

*The product of a move from South Carolina to Berkeley, CA and the subsequent extended separation from loved ones, Toro Y Moi's third full-length, Anything in Return, puts Chaz Bundick right in the middle of the producer/songwriter dichotomy that his first two albums established.

*There's a pervasive sense of peace with his tendency to dabble in both sides of the modern music-making spectrum, and he sounds comfortable engaging in intuitive pop production and putting forth the impression of unmediated id.

*The producer's hand is prominent- not least in the sampled "yeah"s and "uh"s that give the album a hip-hop-indebted confidence- and many of the songs feature the 4/4 beats and deftly employed effects usually associated with house music. Tracks like "High Living" and "Day One" show a considerably Californian influence, their languid funk redolent of a West Coast temperament, and elsewhere- not least on lead single, "So Many Details"- the record plays with darker atmospheres than we're used to hearing from Toro Y Moi. Sounding quite assured in what some may call this songwriter's return to producer-hood, Anything in Return is Bundick uninhibited by issues of genre, an album that feels like the artist's essence.

*Born and raised in Columbia, South Carolina, Chaz Bundick has been toying with various musical projects since early adolescence. Having spent his formative years playing in punk and indie rock acts, his protean Toro Y Moi project has been his vessel for further musical exploration since 2001. During his time spent studying graphic design at the University of South Carolina, Chaz became increasingly focused on his solo work, incorporating electronics and allowing a wider range of influences- French house, Brian Wilson's pop, 80s R&B, and Stones Throw hip-hop- to show up in his music. By the time he graduated in spring 2009, Chaz had refined his sound to something all his own. Music journals across the board touted his hazy recordings as the sound of the summer, and he released his debut album, Causers of This in early 2010.

*Since then, Bundick has proven himself to be not just a prolific musician, but a diverse one as well, letting each successive release broaden the scope of the Toro Y Moi oeuvre. The funky psych-pop of 2011's Underneath the Pine evinced an artist who could create similar atmospheres even without the aid of source material and drum machines. His Freaking Out EP, a handful of singles and remixes, and a retrospective box-set plot points all along the producer/songwriter spectrum in which he's worked since his debut, and Anything In Return is another exciting offering that shows he's still not ready to settle into any one genre.

‘Y Dydd Olaf’, which is sung entirely in Welsh,
apart from one song penned in Cornish, draws
inspiration from Owain Owain’s 1976 novel of the
same name. The book is set in a dystopian future
where robots enslave the human race through the
use of medication, while Gwenno’s album covers
such themes as patriarchal society, governmentfunded media propaganda, cultural control,
technology, isolation and the importance of
minority languages.
 ‘Y Dydd Olaf’ was initially released by Peski
Records in October 2014, before being released
worldwide in 2015 by Heavenly Recordings.
 Now available on crystal clear vinyl. Includes
digital download of ‘Y Dydd Olad’ plus nine bonus
tracks of remixes and rarities.
 “This record demands what’s left of your time.” - Q
(★★★★)
 “Blissful, dreamy psychedelia, full of twinkling
electronics and metronomic drums.” - Evening
Standard (★★★★)
 “Language as a metaphor for political defiance…
floats beautifully over the krautrock/space-rock
soundscape, a Goldfrappian album you should
hear.” - The Sunday Times (★★★★)

Taiwanese label JIN records enters autumn 2022, with a new promising release by South Korea’s Yetsuby. As always searching for gems in the pan-Asian domain, JIN is delighted to have Yetsuby for its latest/6th release.

On this EP, one-half of the ambient duo Salamanda, Yetsuby showcases her expertise in mood setting soundscapes, taking listeners on a sound journey across a wide array of musical spectra.

Opening on A1, Yetsuby reinterprets a traditional Korean folk story of a bear devouring garlic and green onions, transforming the animal into a human being. Aptly named ” Bear Becomes The Human,” she transforms the transformed, turning the bear into a buzzing modern drum & bass-fused energetic tune. It turns out garlic is a powerful source after all.

B1’s “Jelly” showcases Yetsuby’s talent for stripped-back glitch music: With a minimal bass and drum pattern, the track gently muddles along and presents itself as well suited warm-up track for the earlier hours of any party.


For the remix sides, Cleveland delivers a vinyl only remix of “Bear Becomes The Human” with a futuristic house tune filled with jungle like drum pattern and techy yet smooth atmosphere on A2.


On B2, New Zealand’s Eden Burns takes an entirely different path on his reinterpretation of Jelly. Embarking from the original pattern, he turns the original into a slow brewing psychedelic trance cracker that seems most suited for the early morning after hours that need an energy boost.

Shinoby is back on the iconic label that launched in the end of 2015. Each side includes one original mix and one remix from a few the most interesting and creative artists of the last years. Mass Prod delivers a sneaky techno banger carachterized by a warm modular feeling. Buttechno & Triš built a techno dub aesthetic track in a quietly perfected formula as in the mid-90’s.

Vienna impact on RFR! PELETRONIC blesses us with his own unique blueprint of abstract house.

„Riddim & Bassline“ are the main ingredients for the opener of his
„Honey Badger EP“. A rumbling, buzzing and funk loaden predator digs his way into our ear canal.

„Sry I’m dazed AF“ - words we‘d sometimes like to address our supervisor with, especially after a serious weekend night out. A grating, distorted Miami Bass variant on a Deep House bouquet that lives up to his title.

„True Brew“ also starts wonderfully imperfect. Blustering beats and scruffy hi hats are being perfectly paired with a piano harmony. Bring us another two or twenty of this special drink!

Last but not least we got a remix by none other than DMX Krew, who provides a bubbly finish to „Riddim & Bassline“. There is not much left to say, cos if you got Ed DMX on your record, really everything has been said.

repress

The 7-inch edition of the Ep includes 2 songs and 2 scratch cuts made with vinyl samples, akai mpc 1000 and synthesizers.

Written & produced by Dj RosviL for Remedy Music 2021.
Mix & mastering by Jorge Alamar.
Design by Noema aka Gogals illustration

Dry Tears is the latest release from the Bruto Industries label and their first release in 12" format. On this occasion, xKukum, one of the founding members of the label, presents his first EP.

The record, which was recorded in late 2020, traces an emotional journey from the distortion of reality caused by melancholy to the determination to move away from it. The EP consists of four original tracks that guide the listener through this journey, with influences from EBM, Dark Wave, Techno, and more. On side A, we find more introspective and melodic tracks, while side B offers sounds more focused on the dance floor. As a special addition, Colombian artist Filmmaker contributes a remix of the track "No More Dramas," complementing the atmosphere of the album with his characteristic powerful sound.

Like previous releases from the label, this work has been mastered by Dan Böhler, who has provided the EP with a sound quality that will not disappoint genre lovers. The artwork is done by Marcos Abella, who completes the concept with an imagery influenced by manga and cyberpunk aesthetics.

Snuff Trax is back on wax! After a loooooong forced break full of exhausting twists and turns, we finally can go on with our little label.

We are so grateful and glad that most artists kept waiting with us, even if it took some years to come back. Now we are super excited to bring you Snuff Trax 20, the „Twilight E.P.“ by our dear friend and long-time supporter Moralez, including dope remixes by the great Etcher.

Those 5 house music and acid house gems will be released on vinyl only, limited to 100 copies, distributed by Melting Pot Records from Madrid. Better be quick!

Repress!

Bonzai Classics is thrilled to announce the highly anticipated release of the 3rd installment of the Bonzai Power Vinyl series. This 2 x 7" vinyl set comes in a stunning orange color and includes Phrenetic System's "Wayfarer," Aqua Contact's "Cinderella," B.W.P Experiments with "Organic," and Cyberdelia with "Deconstruction”.

This vinyl set is essential to any electronic music lover's collection. The tracks have been remastered for optimal sound quality and are presented in a beautiful gatefold sleeve. Be sure to grab your copy and experience the power of the 90s again!

Mit der Single UNITED konnte sich der DJ & Produzent MARK OH wieder eindrucksvoll in den deutschen Single-Charts zurückmelden und an seine großen Erfolge nahtlos anknüpfen. Nach UNITED folgt nun die Follow-Up Single, und die hat sich gewaschen: SCATMAN !!!

French electronic post-punk/krautrock trio Veik recruit Sonic Boom and Vanishing Twin to reimagine tracks from their 2021 debut album, 'Surrounding Structures'. Both remixes have been pressed to wax by Fuzz Club, due out June 9 2023 on a heavy clear-blue 7" limited to 250 copies. On the A-side Sonic Boom (aka Pete Kember of Spacemen 3 and Spectrum) takes album-opener 'Difficult Machinery' and deconstructs it into a spaced-out, oscillating drone. Shifting gear on the B-side, 'Honesty (I Don't Wanna Know)' was already a piece of throbbing and discordant proto-punk and on this remix London psych-pop experimentalists Vanishing Twin turn it into an even more abrasive and unpredictable beast. Now being revisited via these remixes, Veik's 'Surrounding Structures' album was rooted in avant-garde krautrock and 70s no wave and inspired by brutalist and modernist architecture. It came highly praised by the likes of Loud & Quiet, Line of Best Fit, Louder Than War, BBC 6 Music, KEXP, France24, France Inter and more.

Ibiza legend and all round well respected industry man Chris Coco is back with more of his seaside sounds. This time his Mediterranean magic is cast over 'La Guitarra' which as the title hints has Flamenco style acoustics with tropical house drums and heartfelt synths. There is a pair backed and delicious dub also, and then modern disco don Rune Lindbaek comes through with a mesmeric take that is laidback and lush in its design. Last of all is Daniel Braca with a Deep In Brooklyn remix thing brings some fine Latin house styles.

Intrinsic Rhythm is proud to present a new EP by John Heckle entitled "Return To Titan" and the first on the the label from a different artist other than label owner Tr One.

This will be John's first release under his own name for a number of years and also includes a remix by Michigan techno visionary John Beltran.

The EP kicks off with "A" where energetic skillful production combines with Chicago and Detroit influences to concoct a brilliant mix of styles very much focused on the floor.

Next up is 7C where melodic bass and chords merge together to offer a brilliant whimsical approach towards analogue music that only John has mastered over previous releases.

Following this is the brief and one of the most beautiful tracks on the EP entitled "DSI" where building strings engage with soft percussion and kickdrum interplay to pull the listener in to the musicality on show.

On the B side we kick off with the beatless and ambient driven "CII" where 8 minutes of melodic density and synth interplay swirl between crescendo and musical culmination.

Finally John Beltran steps up and delivers a beautifully hypnotic club ready version of "A" where the Michigan artist teases between Detroit techno elegance and organic flair to show why he is one of electronic music's all time great producers.

Das selbstbetitelte Debüt von ENVY OF NONE, der bunten Zusammenrottung von Gitarrist/Keyboarder Alf Annibalini, Rush-Gitarrist Alex Lifeson, Bassist Andy Curran (Coney Hatch) und Singer/Songwriterin Maiah Wynne war eine der spannendsten Grenzgänger-Platten des Jahres 2022 und hat sich bis heute nicht abgenutzt. Die Band schreibt schlicht verdammt gute, emotional greifbare und musikalisch fesselnde Lieder in einem Spannungsfeld aus State-of-the-Art-Elektronik und Rock/Pop-Tradition.

Die nun nachgeschobene EP "That Was Then, This Is Now" dient ihrem Titel entsprechend als Standortbestimmung und enthält zwei Tracks aus den Debüt-Sessions, zwei Remixe und das erste nach "Envy of None" komponierte ´That Was Then´. Stilistisch war das Quartett von Beginn an so vielseitig, dass man nun nicht von einer zusätzlichen Erweiterung ihres Repertoires sprechen kann - doch das famose Songwriting bleibt erhalten, und für Rush-Fans noch besser: Lifesons Spiel schimmert noch einen Tick präsenter durch.

´Lethe River´ ist dem Album-Opener ´Never Said I Love You´ relativ ähnlich, aber insgesamt doch ruhiger. Darauf folgt mit ´You´ll Be Sorry´ sachte brodelnder und zischender Industrial light, der ebenfalls auf "Envy of None" hätte stehen können - was ja auch plausibel erscheint, weil beide Stücke im gleichen Rutsch entstanden sind.

More than four years after his previous EP and after having released some remixes and collaborations with Agar Agar, Black Devil Disco Club or the Italian design studio Burro Studio, LeonxLeon comes back with a new EP, passing to the electronic shaker the styles of music listened since the last release.

4 tracks all as different as each other with first Itanewa, where the Parisian producer tries for the first time to give voice, without vocoder, well aware that on a track inspired by South African productions of the 80s, an instrumental version only would not be enough to do justice. It is thus in a kind of invented Esperanto that the lyrics, a call to lightness and simplicity according to the artist, are distilled between synthetic bass, keyboards and other percussions.

On Piano Mondo, we leave rather in the direction of South America with pianos of Bossa inspiration on a bass italo-disco, rises and descents as if we were in Val d'Isere and breaks just long enough to catch its breath.
The idea of Solid Dose is completely different since it was a question of taking the post new-beat dance sound of the beginning of the 90s, with a big blow, hence the title, of the synthetic bass sound "Solid Bass" which will be used in a lot of ways at this period and which is coming back in force nowadays, and to mix it with the Nordic touch of dance music for a soaring, evolving track, with arpegios which cross each other and an acid line which finally makes its appearance here.

The last track is a wink to the well-known movie that gave its name to the whole project: it is indeed Luc Besson's Léon that we are talking about, re-cut on the dialogues of Nathalie Portman and Jean Reno, supported by a simple rhythmic, analogical bass and electronic kick at the service of a dark atmosphere, closing the record at the antipodes of the first track, without ever having left the universe of melodies and percussions that already characterized the previous releases of LeonxLeon.

Fast-rising pianist and producer Yoni Mayraz presents his debut LP ‘Dybbuk Tse!’ revealing the story of a malicious possession that is taking over one’s body and soul.

Dybbuk, known from Jewish folklore, is a malevolent wandering spirit that enters and possesses the body of a living person. It’s a cursed soul of a dead one that wanders tirelessly for sins committed during their life. The most vulnerable victims are the young and the sinful. Possession can be taken literally or as an analogy to the burden that young people carry generations back, which they have no influence on, and which they have to accept. Dybbuk can only be removed by exorcism. The titular ‘Dybbuk Tse!’ is a command to remove the spirit from the possessed body. The album is a story about possession but also about exorcism through music.

Recorded live with his band in a dusty wooden studio, ‘Dybbuk Tse!’ is indeed experimenting with the ‘darker side of things’, but yet with a somewhat lighthearted approach which is so typical of Yoni’s work. He easily combines jazz with the sound of 90’s New York hip hop and raw old school breakbeat. The album interweaves unique Middle Eastern melodies, sophisticated structures and sounds, and beautifully crafted solos played by some of the promising talents on the scene.

London based Israeli born pianist and producer Yoni Mayraz has set foot in the instrumental music scene with his EP ‘Rough Cuts’ released in 2020. Since then, Yoni and his band have been playing major venues and festivals around the world including the legendary Ronnie Scott’s and The Jazz Cafe, to name a few, bringing raw energy to stage with live versions of the studio materials, and stretching the melodies and structures into a Dancefloor-focused take on jazz.

‘Dybbuk Tse!’ album will be released by Astigmatic Records on LP in regular and limited (B1 poster included) editions, as well as on all streaming platforms.

Since we've known him, Robert Lloyd has made quite clear his enormous affection for the songs and sounds of Freakwater, the duo of Janet Beveridge-Bean and Catherine Irwin who've been wrongly denied their place as rightful and willful progenitors of alt-country's 'movement', which (frankly) is to their credit. Their genius in offering absolute authentic to the sound old-time Appalachian folk music with a modern façade that in no way negates tradition (one of their albums is titled Feels Like The Third Time) is unparalleled within the genre, and Freakwater remain under-appreciated. After the start of Covid, Robert dared approach Janet with the idea of recording together. Over the course of the long pandemic, songs were bandied about for months, and when recording was finally practical, a band was assembled with dates set up for a recording session in Valencia, Spain. Robert and Janet were joined by Robert's long-time ally, Pete Byrchmore, the musical foil for Robert's solo album on Virgin and a former Nightingale, Mark Bedford, the bassist for Madness and Terry Edwards' Near Jazz Experience, and Pablo Roda, Spanish mystery drummer, couldn't have worked out more perfectly. Tracks were selected without regard for collective presentation, just the goal of walking out of the studio with an album of perfect gems. Forget Lee & Nancy or George & Tammy, Rob and Janet have an immediate chemistry that only sounds long-lived - and too uniquely them to merit any comparison. The title track, Black Cat, Dark Horse is the sole Lloyd / Bean / Byrchmore composition and one of the record 's highlights. Jim Elkington, collaborator with Jeff Tweedy and Richard Thompson, contributes Heavy Reckonings and a song written with Janet, The True Lovers' Knot And The Lie, while Robert adds reworkings from past releases - Sweet Georgia Black and Black Country (with Pete) - not to mention the unreleased Eggs And Bacon. Janet brought One Shot and the unheard Freakwater song Arc Of A Smile. Covers of tunes from Dion and The Monkees and a magnificent Jon Langford song, "Tears Like Stars" round out the album. We daresay the album is among the finest you'll hear in 2023. That it doesn't fit perfectly into any preconceived genre is a testament to its quality. "Songcraft" is a word used infrequently today, yet Black Cat, Dark Horse will show that good songs endure. We're proud that Robert and Janet will find some new admirers through this album's release. The Michael Cumming / Stewart Lee film King Rocker made a case for Robert Lloyd-as-losthero; this album furthers that idea and shows a compelling side of Janet's talent and abilities which will be a surprise to her fans and serve as an entry point to exploring her many other compelling projects.

Andrius Arutiunian’s debut album »Seven Common Ways of Disappearing« was first conceived as an installation for the Armenia Pavilion at the Venice Biennale in 2022. The Armenian/Lithuanian artist and composer uses hybrid forms of music, focusing on sonic vernaculars, hypnotic musical forms, and aural cosmologies. Arutiunian is known to work with installations, sound objects, and time-based collaborations with ensembles and performers. The piece on this record was written for two musicians, a retuned piano and analogue electronics, and it borrows an enneagram as its score—the world-ordering model introduced by the controversial Armenian-Greek mystic and composer G.I. Gurdjieff. The result is an album that is both aesthetically and spiritually intoxicating music of the spheres, at once reminiscent of the masterpieces of minimal music and improvised, if not stochastic music. G.I. Gurdjieff was one of the first thinkers and (quite possibly charlatans) to introduce a syncretic idea of Eastern philosophy into the West. His unique way of teaching was based on an esoteric blend of Middle Eastern, Buddhist, and Dervish philosophies, and oscillated between a genuine search for enlightenment and a complex form of trickery. Borrowing from Gurdjieff’s writing on the world ordering and musical tuning, Arutiunian used the enneagram to organise the musical and structural matter of the piece that was originally conceived as a live performance.»Seven Common Ways of Disappearing« is written for a grand piano—the epitome of Western composition and musical production—and follows a simple set of rules: the two musicians have to navigate the topography of the score, rendering the piece in a different configuration each time. In a sense, this gripping recording is thus only one of the potentially infinite versions of how it could be played, but also seems to take on different shapes and forms with each new listen. It documents a truly mystical composition that follows its own logic

Jay - Jay Johanson 's 14th album is one of the most refreshing of his discography. After an introspective and intimate trilogy (“Bury the hatchet” (2017), “Kings Cross” (2019) “Rorschach Test” (2021), FETISH open a new era for the iconic Swedish artist. With this new album Jay - Jay Johanson explore the melancholic, aerial atmosphere that makes the DNA of his music with a cinematographic view. On the other side he offers songs made for the most elegant dancefloors with "Stars Aligns" and "Jeopardize" with their electronic hypnotic melodies. The new Album will drive you from intimate and lounge atmosphere to the dancefloor. An epic journey on the line of the most popular album of the artist. The opening track "Seine" is inspired by the one who disappeared in the water of the Seine in Paris in the 19th Century. It opens with all the romantism of Jay - Jay. "Finally“ sounds like a new classic, sampling the famous 3rd Symphony by Brahms, it reminds all the movies of the 50's calling the phantom of Chet Baker, one of his inspirations. The First part of the album is based on quartet of modern Jazz mixed with Jay - jay's Touch like in Puppet on a String. With the Uptempos "Jeopardize", "The Stars Align", "Summer Night of Love", he brings us from the NY voguing scene to the decadent Berlin clubs. Flesh For Frankenstein offers a rendition of the piano melody by Andy Wharol. One of the icon of the artist. The Album close on Happy Birthday, a smooth and shiny song, with his crooner and lovely voice that will ravish all the lovers. After 27 years of career, the prolific artist continue to deliver an ambitious and marvellous album that would be appreciate by the fans of the first area and the new ones who discovers him this last decade and with his live performances

Yugoslavian synth-pop band Videotex formed in 1982 but settled on its more lasting line-up in 1983 with Anja Rupel on vocals, Janez Kriaj playing bass, Iztok Turk drumming, and Matja Kosi and Nina Sever both on keys. A year later they broke through with their Videosex 84 debut album and then had another local hit with the follow-up, 1985's Lacrimae Christi. It now gets a first-ever international release, all remastered and on nice heavyweight vinyl. The group had plenty of mainstream hits - two of them are on this album in the form of 'Sivi dan' (or Gloomy Day) and 'Tko je zgazio gospo?u mjesec' (or Who Ran Over Mrs. Moon), played some big concerts and even appeared on national TV before eventually splitting up in 1992.

Damian Lazarus’ Secret Teachings imprint welcomes a unique project from Malian and French pairing Siraba, unveiling their debut single ‘Ngana Fôlly’ alongside remixes from Philou Louzolo and Peaking Lights. Meaning ‘The Great Path’ in Bambara, Siraba - the duo consisting of Malian hunter Boubacar Samake and Damien Vandesande, one half of French electronic band dOP - are on a path of bringing the traditional sound of the Wassoulou to the world. They met in 2003 when Damien visited Mali to work with local artists and met Boubacar’s father - the legendary Sibiri Samake. Working together on multiple occasions, the two promised to work with one another and Boubacar on a project one day, and 17 years later, the two connected to begin to develop their unique sound and showcase their shared universe.

Inspired by the music of the master hunters from across Mali, the ‘Dozo’, the project transmits values based on justice and righteousness, love and respect for others, moral and spiritual rectitude and protection for everyone. Debuting on Damian Lazarus’ Secret Teachings imprint, an outlet for the Crosstown Rebels boss to delve deeper into musical realms outside of the norm and away from the dance floor, the pair will release their debut album in September, with a series of live performances set to be announced. Their first single arrives in early June with ‘Ngana Fôlly’

A spiritual and hypnotic production rooted within Dozo musical tradition, featuring Boubacar playing the Ngoni while singing in Bambara, ‘Ngana Fôlly’ is a resonant and rich production combining organic textures with warping synths, rich bass and sweeping electronics, capturing the magical essence of Mali across a fascinating journey. Providing the first remix on the package, Dutch DJ/producer and DJ Mag ‘Artist To Watch for 2023’ Philou Louzolo harnesses Boubacar’s vocal and places it at the heart of his soaring remix as stripped-back percussion and a commanding low-ends guide sweeping synths, before handing over to San Francisco husband-and-wife pairing and Dekmantel signees Peaking Lights who tip things down a bright and blissful rabbit hole of soundscapes as vibrant guitar riffs and twisting leads work amongst off-kilter melodies and acid flecked tones for an eight-minute trip.

Carla Durisch unveils her debut EP ‘I Just Wanna Dance’ on Crosstown Rebels, with long-standing label favourite and close friend Seth Troxler on remix duties.

An exciting name who looks set for a breakout year in 2023, DJ/producer Carla Durisch is an artist whose passion and deep- rooted understanding of electronic music led to her being marked as a talent to keep an eye on. An integral part of the Swiss electronic and club landscape through residencies at the likes of Nordstern (Basel), plus both Hive and Zukunft (Zurich), her recent explorations within the studio have seen her deep and groove-led style translate into her own productions. These explorations are on display for the very first time as she debuts on Damian Lazarus’ renowned Crosstown Rebels imprint, following appearances at Get Lost in Miami and Watergate Berlin, plus forthcoming Ibiza sets alongside the label boss this summer at Hï.

Led by the captivating words of Nanghiti and Carla’s own vocals ‘I Just Wanna Dance’ is a warping and colourful ride through rich synths, refined drums and bright stabs as it builds and descends across an engrossing near-seven-minute journey. Next, ‘Be The Thing is a stripped-back, hypnotic house effort as snaking percussion merges with sharp lead melodies and further vocal interjections.

Needing little introduction, Seth Troxler’s remix of the title cut is an example of the American at his best, fusing bubbling acid-dipped bass patterns with skittering percussion and surging synth lines for a trippy, late-night take. To close, ‘4AM’ picks up those early hours sonics as crisp claps, echoed vox snippets and dubby grooves take a hold.

After the success of their previous "Get Mine/I'm Gone" 7" vinyl 45 release LRK Records is proud to announce the digital single follow up by Bella Brown & The Jealous Lovers!!

Bella Brown & The Jealous Lovers are a Los Angeles based, transplanted fromChicago, unit that specializes in 60s/70s soul and funk. The band is fronted by the dynamically charismatic Bella Brown. A fiery female lead singer that is a mixture of Tina Turner and Sharon Jones, with a persona that is reminiscent of the empowered female
leads of 70s Blaxploitation films. Backed by the musicianship of The Jealous Lovers they form a unit that expertly expresses a uniquely modern interpretation of the traditionalsoul and funk genres.

Their new single "What Will You Leave Behind" exemplifies this
ideal. The track is a heartfelt call to action in these times of failed humanity and injustice. A Motown influenced message of hope that features sympathetic vocals, supportive horns, and a funky twist that asks us to create a better future by considering the effects of our present.

Look for "What Will You Leave Behind" March 3rd, 2023 on all streaming platforms, and stay tuned for an announcement from LRK Records regarding "What Will You Leave Behind" and a future Bella Brown & The Jealous Lovers 7" vinyl 45 released!

Discover all the gems of Synthwave music in a double vinyl special release! Let yourself be carried along by the return of the 80's wave in a trendy electro style!

Colombian sisters Elia and Elizabeth Fleta recorded a handful of songs between 1972 and 1973, accompanied by Jimmy Salcedo and his group La Onda Tres, mixing soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and psychedelia. We are now happy to present two of the most celebrated songs by the Colombian sisters together on a 45 for the first time. A Tropical funk pop gem! Colombian sisters Elia and Elizabeth Fleta recorded a handful of songs between 1972 and 1973, accompanied by Jimmy Salcedo and his group La Onda Tres, mixing soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and psychedelia. These elements blended graciously, brimming with freshness, in a perfect partnership of sharp melodies with lyrics inspired by a genuine juvenile curiosity about life's mysteries, love and nature in their simplest forms. The songs of Elia y Elizabeth remain among us as part of the most wonderful pop legacy of all time. ‘Alegría’ and ‘Ponte Bajo el Sol’ are two of the most celebrated songs by the Colombian sisters. We are now happy to present them together on a 45 for the first time. TRACKLIST Side A Alegría Side B Ponte bajo el sol

A kaleidoscope of harmony vocals - as Crosby, Stills and Nash might have sounded with a funky back beat. Delicate acoustic fingerpicking, warmed by a swell of brass before a drama of electric unfolds. Guitar band music, delivered with the sensibilities of someone who knows how to make you dance. Sun-kissed blue-eyed soul, reminiscent of Ned Doheny, but emanating from a beach far from California.

These are the sounds of Jim, as heard on debut album 'Love Makes Magic'.

Debuting in 2021 on the folk-informed 'Falling That You Know' EP, Jim is the latest alias of songwriter, multi-instrumentalist and renowned DJ Jim Baron. Famed as co-founder and musical director of festival-stunning favourites Crazy P, his latest Jim project is a musical journey unlike anything he has done before.

Following on from the well-received release of Toc De Breaks earlier this year, Spanish duo JP Sunshine and Guim return with a full collaborative EP, Toc De Jaume, released on Steel City Dance Discs.

Coordinating a masterful blend of funk-infused instrumentals, melodic breakbeats and acid-tinged basslines, Toc De Jaume is unique in its character, which bears its defining traits from its two creators, JP Sunshine and Guim, whose partnership is nothing newfound, yet, in light of this EP, feels as fresh as ever.

Toc De Jaime contains a vast variation of sounds within its entirety, from the funky, acid dripped breakbeat of La Fiesta, which was released earlier this year, to tracks like JP Sunshine’s I Want To Stay, released in 2020, which offer a more melodic, feelgood aspect to this EP, and the sound of both artists as a whole.

Through Toc De Jaime, JP Sunshine and Guim present an EP that feels like an ode to the sounds of their shared native homeland; sounds which the duo manipulate and rework within the confines of an electronic dance music context, resulting in a perfect marriage of diverse sounds.

London-based producer Prayer is set to release a 3-track EP titled "Io" on Rua Sound's SPHERES series. Following previous releases on esteemed imprints such as Hooversound, Black Acre, and Grade 10, Prayer is known for creating atmospheric jungle with an emotive energy that can range from poignant to ecstatic.

Prayer flexes that muscle on opening track 'Set Me Free' with layers of vocals over euphoric breakbeats. "Break Through" takes a turn towards trance-influenced synths, building to a four-on-the-floor finale that reaches for the sky.

On the B-side, Reteoric takes over with an epic jungle track that clocks in at just under 12 minutes. The emotive energy of this track is aptly described as "epic" and serves as a fitting conclusion to the EP. Tim Reaper comes through with a remix of this track as a digital bonus.

Named after the third-largest moon of Jupiter, "Io" is the third release in Rua Sound's SPHERES series. The EP will be available on June 16, 2023.

A double 12" album with brand new music produced in collaboration between DJ Fett Burger and Dama. All produced between April to October 2021.

An explosive creative collaboration between the two artists.
Unfinished sketches by Dama have been reproduced, reworked and remixed in various ways, and new tracks have been created. There have already been released three digital singles on DJFB's Digitalised Planet B, now the double album on vinyl, Emotional Tripper.

A tripped out left field house and techno record, with experimental and ambient elements. Early Italian dance music meets UK and Norwegian percussive house. Techno, electro and minimal elements all in their place. A pure mix of influences mixed and reworked together in a creative, fun and surprising way. Staying true to their original influences and moving towards something new and original.

Bristol’s Remotif makes his highly-awaited debut on space•lab with his wormhole of a new EP, ‘Substation Fever’. Kicking things off on the A side, the title track enters the scene with spacious, organic drums, building in energy as we tunnel through its course; travelling from the cool, oxygenated air of a forest-scape into dazzling, far-reaching intergalactic realms.

Next up, ‘Substation Fever’ gets a dreamy reimagining courtesy of Leeds legend and space•lab regular, Adam Pits. Channelling the energy of Remotif’s original into a hazy, blissed-out cloudscape, this track was made for accompanying early morning sunrises where orange-hued dashes of light reflect off the surface of gently rippling water.

On the flip side, ‘Hi Tek Lo Life’, crackles with the fluctuating electrical impulses of a TV without signal or a radio between channels. Flecked with corroded vocal samples and billowing synthlines, this is a track that explores the inbetween - the moment when connection is almost lost, but not quite. There is a beauty in the roughened-edges of these partially obscured details.

The final track of the EP, ‘The Signal Prevails’ is perhaps an answer to its precursor. Opening out onto trip-hop-esque terrain, this track follows the path set out by a blurred-out, echoing vocal as it deftly works its way through narrow, winding pathways of powerful 90s-style breaks.

A much-loved DJ regularly making an appearance on space•lab’s lineups, we are delighted to now showcase Remotif’s skill in the studio with this mind-opening new EP.

"I was asked to remix this pop-rock hit when it came out 10 years ago, I loved the vocal and the idea of giving it a nu-disco flavor so I started working on it but unfortunately, I couldn’t deliver it on time. A few years later I finished the remix and started playing it in my DJ sets, the feedback is always great and I kept getting “track id” requests for it. So we talked about it with Paul Hammer from Savoir Adore, their label kindly agreed to license it to us, and here it is! This is the 20th release for Nano Rec on the 20th year anniversary of the label and after a 10 years break in which I was focused on a number of other musical projects and also amassed a lot of unreleased Spiller music that we’re now gonna bring to light." Spiller

UK artist Jayson Wynters debuts on Pulp with four tracks of atmospheric house and funk that come complete with remixes by Jarren and Mogwaa.

Kung fu master Wynters hails from Birmingham and has been a key player on his local scene for years. More recently he has broken out with impressive EPs on mighty Dutch label Delsin and Adam Shelton's EON. He has a real love of hazy house and always brings his own unique take on that to his timeless analogue grooves. This latest EP was written during lockdown, which provided Jayson a chance to explore different sounds and delve into different styles.

Opener 'Solitude' proves that with its misty-eyed melodies and dreamy pads. The drums tumble loosely, the percussion has a frayed edge and the whole thing is coated in warmth and soul. Half Moon's Jarren is based in LA and brings plenty of that city's musical charm to his remix. It has far-sighted chords, soft-focus harmonics and well swung claps and drums that are simply irresistible.

Wynters then offers 'Corns Funk,' which pairs another dusty drum line with pinging kicks and woodpecker-like percussive hits. A superb twanging bass riff brings some real funk and retro-future feels as the groove builds and bright synths shine through the haze to enrich your soul.

'Night Drive' is a lush downbeat tune for sunset cruises. It has heart-melting chords that prompt deep inward reflection and features an aching guitar riff full of melancholy. The remixer for the one is Seoul musician and master beatmaker Mogwaa who layers in squelchy synth bass and dreamy, loved-up pads. Last of all, 'Uncle's Jam' is Dam Funk-style electro bliss doused in lo-fi chords and languid late-night funk and packed with romance.

Jayson Wynters shows off another superb side to his sound with his expansive Solitude EP.

Assured UK house producer Andy Ash takes care of the next EP on SAFTX while the equally esteemed Mark E steps up to remix.

For well over a decade now, Andy Ash has been turning out high-quality house music on a range of labels. Last year he served up a tasteful full-length on Quintessentials, the year before he dropped a double 12" on Still Music and he is also a regular at the likes of Delusions Of Grandeur. From deep and dusty to disco-tinged and dynamic, he has a stylish sound that is well-versed in the classics but always his own twist. He shows that again here with four fresh tunes which cannot fail to make you feel good.

Opener 'You:Me' features Faber and os brilliantly warm house groove. The drums and hi-hats are prefectly designed, the vamping chords bring a playful funk and swirling pads add diffuse late-night energy. It's timeless cut with nods to the US midwest and subtle vocal sounds.

Remixer and Merc label boss Mark E has a rich history of edits and originals on the likes of Running Back, Delusions Of Grandeur and Studio Barnhus. On this version, he lays down hazy, heavy kicks for a beatdown workout that comes alive with gorgeous synt work akin to all the best Detroit dons.

Ash's 'Momentary Days' is a slow and roomy, dubbed-out house swinger. Well-placed samples - vocal coos, guitar riffs, jazzy chords - all peel off the loose drums and can't fail to get you moving. 'Reach' is another humid house cut for cosy back rooms and basements. The Scruffy drums have frayed edges while dreamy melodies loop up top. It's a heartfelt sound that slowly turns you to deep inward reflection.

Last of all is 'Rico! Rico!', a downtempo jazz-funk jam with crisp broken beats, keys that take you to the Riviera and strings so lush you can almost feel the sun on your face.

This deep house music as it should be - raw, expressive and full of human soul.

Blue Vinyl

French producer Timothee Milton debuts on Local Talk with an EP that fumes of soulfulness in every direction.

Written by Angela Johnson, the original is a big vocal deep house jam that got some hints of the 90s Jersey sound..but not too retro ;).

To give the package an extra edge we enlisted deep house connoisseur Hugo LX and boogie-house maestro Art Of Tones for the remixes, and our boys really delivered the goods.

Hugo's mix is a classy as it gets, supa bumpy deep house where everything little production detail is delivered with good taste.
The Art Of Tones remix is equally strong but goes for a more uplifting approach and puts the funk, boogie and soul front & centre.

We are delighted to welcome from the Finnish electronic music underground the artists MESAK to the n s y d e family. Mesak's dedication to experimentation and sonic exploration always excited us. With an extraordinary sense of futuristic sound designs, these tracks are a perfect example of finding the sweet spots between established and new techniques. The First track "Katosi" shows impressively how a contemporary dertroitish sound design is still able to transport ancient human feelings like hope and melancholia at the same time.

The acidic grounded "Narina" creates a dungeon space constantly hitting the whiplash snare drum, while "Post Sweat" is pouring golden Larry Heard-like warm Deep House neutrons upon you.


For the Remix, he has invited one of the most interesting artists in the field of electronic experimentation coming out of France, Poborsk, also known under his Bill Vortex moniker.


Mesak's music invites listeners to explore a range of emotions and moods, from the contemplative to the ecstatic, with a sense of sincerity and authenticity that is extraordinarily rare.

House Nation is still under one Groove.

Vinyl Only

Hidden behind the walls lies a world of people, words, music and machines.

Yuna has arrived.

The Mystery Continues..

A recognize artist from the mouth to mouth is presenting this Ep on his own Label, Monotale Records, a part of Monotale's Instruments.

First track "Number 9" Begins with a barely intelligibly male vocal, that goes and comes in all kinds of glitchy processed ways, always surrounded by bass lines that comes from a non specific source or direction accompanied by pads who sustain the groove .
All of this mixed in a harsh rhythm that remains a classic techno house track.

Next track "If I was you..." is a lovely and capricious ambient passage with some blinks to pop songs inside, a very deep chords on synths that moves the track to another time/space.

The B sides opens with a energy, crazy, resonant and ever changing groove called "Creepy Little Heart", is a kind of track more close to breaks than techno and with some IDM remains of how is developed, cut it in the middle by a female vocal and morphing pads, it is the perfect balance between craziness and dance floor scenarios.

Second B side, "Manifest 9" closes the idea from the artist around the number 9. Is an unclassified style, maybe we can call it as a avant-garde propose, where there is no recognizable or obvious groove. The track is leading again by a male voice put it inside a glitch group of instruments and non standard mixing technics with thru all it is possible to hear a real manifest about music.

When approached several years back by the highly revered Toy Tonics crew/ record label to participate in a remix for artists Karl Hector & Nicolas Tounga for their song titled Ngunga Yet Fofa; just on the strength of a sincere enthusiasm showed by the request alone, it wasn't long after that Joaquin Joe Claussell accepted the challenge to remix an already original dope composition. Originally released, and still available on their Mushroom House Concept 12" EP 4 Cat number TOYT 068; on it Joaquin produced a unique remixed and married Acoustic art with electronic ecstasy. Fast Forward to today Sacred Rhythm with the blessings of Toy Tonics brings forth a dope 12" the compliments that precious version, but with dope different, more experimental takes all in the rhythm of Afro Electronics.
Housed in Limited Red vinyl more dopeness is about to take its place in the airwaves. Let's take flight...

Jayda G, die Grammy nominierte Produzentin, DJ, Umwelttoxikologin und -aktivistin, meldet sich mit ihrem neuen Album, „Guy“, zurück. Das Album wurde gemeinsam mit Jack Peñate produziert (der bereits mit Künstler:innen wie Sault, David Byrne und Adele zusammengearbeitet hat), mit Beiträgen von Lisa-Kaindé Diaz (von Ibeyi), Ed Thomas (Stormzy, Nia Archives, Jorja Smith) und anderen.

Das Album erscheint nach ein paar ereignisreichen Jahren, in denen sie für einen Grammy nominiert wurde (für ihre Single mit Fred Again.., „Both Of Us“), eine Reihe hochkarätiger Remixe für Taylor Swift und Dua Lipa veröffentlichte, auf den größten Festivals und Bühnen der Welt spielte, darunter Glastonbury und Coachella, eine Compilation für die renommierte „DJ Kicks“-Reihe und eine hochgelobte Zusammenarbeit mit Aluna veröffentlichte, als Gastjurorin bei der BBC-Show „Glow Up“ auftrat, ihre Jugendliebe in ihrer kanadischen Heimatstadt Grand Forks heiratete und an der immersiven Installation „Undercurrent“ (New York, Juni '21) mitwirkte, die sich neben Künstler:innen wie Khruangbin, Nosaj Thing, Mount Kimbie und Bon Iver mit der Klimakrise befasste.
Das neue Album, „Guy“, stellt Jayda Gs eigene Stimme und ihre Lyrics stärker in den Mittelpunkt als je zuvor. Die 13 Tracks basieren auf ihren House-, Disco-, R&B- und Soul-Wurzeln und betonen gleichzeitig ihr Feingefühl als Pop-Songwriterin, durchsetzt mit Archivaufnahmen ihres verstorbenen Vaters, William Richard Guy. Trotz der manchmal traurigen Natur des Ausgangsmaterials erweist sich das Album letztendlich als eine erhebende und positive Erfahrung, sowohl musikalisch als auch von der Botschaft her, die es vermittelt.

Formate:

- Standard CD in FSC-certifiziertem Gatefold. Um die Produktion der CD zu kompensieren, wird der Erlös aus dem Verkauf des Albums an verschiedene Klimainitiativen gespendet, die Jayda während der Dreharbeiten zu dem Film Blue Carbon besucht hat.
- Farbiges*, limitiertes Standardvinyl in FSC-certifiziertem Gatefold inklusive Downloadcode. Um die Produktion des Vinyl zu kompensieren, wird der Erlös aus dem Verkauf des Albums an verschiedene Klimainitiativen gespendet, die Jayda während der Dreharbeiten zu dem Film Blue Carbon besucht hat. *Haftungsausschluss: die endgültige Farbe kann vom Mockup abweichen

Tears for Fears debut album The Hurting was released on 7 March 1983, and peaked at No. 1 on the UK Albums Chart in its second week of release. The album reached Platinum status in January 1985. The album contains Tears for Fears’ first three hit singles – “Mad World”, “Change”, and “Pale Shelter” – all of which reached the top five in the UK.

This half speed was engineered by Miles Showell at Abbey Road Studios using a half-speed mastering technique which produces a superior vinyl cut.

blue marbled vinyl

Laura Poitras’ Oscar-nominated film »All the Beauty and the Bloodshed« is an epic, emotional and interconnected story about internationally renowned artist and activist Nan Goldin. Told through intimate interviews, photography, and footage, central to the story is her personal fight to hold the Sackler family accountable for the opioid crisis. The film cuts to the bone with its incandescent celebration of life and condemnation of those who threaten it. Art and activism are one and the same.

Helping to interweave Goldin’s past and present, multi-disciplinary duo Soundwalk Collective soundtrack her personal and political struggles to sublime effect. The contemporary sonic arts platform of founder and artist Stephan Crasneanscki and producer Simone Merli, the pair work with a rotating constellation of artists and musicians, developing site-and-context-specific sound projects through which to examine conceptual, literary, or artistic themes. And for all the beauty and the bloodshed on show here, the duo strike the balance just right; their compositions in collaboration with Zacharias Falkenberg and Johannes Malfatti producing a trance that oscillates between grace and madness.

Within the score, Crasneanscki draws connections with the life and work of German poet Friedrich Hölderlin, who was removed from society through confinement in institutions. In his last poems, written as fragments while he was plagued by mental illness, Hölderlin renders nature, in all its fragility and ephemerality. Similar themes merge in Laura's portrait of Goldin and serve as an inspiration for the composition of the choral songs and cantus within the soundtrack. Through the repetition of words and the layering of voices, the lyric scansion operates like a language possessed, echoing various styles from sacred music to modern minimalist techniques. The music is characterised by quivering strings and swells, de-tuning and lingering, shifting around the surreal, and creating a spectrum of musical experience. Exerts of Nan’s narration are featured in two of the tracks, her powerful narration offering a more direct approach to the storytelling.

In »All the Beauty and the Bloodshed,« Poitras shows protest is really Goldin’s great artwork: Her entire life had been leading to this moment of passionate expression, an inspired situationist gesture which fused the personal and the political. Art can change the world, which Poitras and Goldin tell us with powerful results. While there are multiple threads in this remarkable portrait which could have carried entire films, the soundtrack provides a sonic identity that helps keep track of proceedings. Utterly unique in their approach, Soundwalk Collective have delivered a gripping and thoughtful score, helping turn Goldin’s personal pain into culture-rattling impact.

Ruhig verlief die Karriere von Sieges Even nicht. Nach den ersten beiden Alben verzeichneten sie den ersten Besetzungswechsel auf der Sängerposition, auf den Album „Sophisticated“ (1995) und „Uneven“ (1997) betrieben die Holzwarth Brüder (Bass und Drums) die Band weiter.
Doch man fand sich wieder mit Gitarrist Markus Steffen zusammen
und rekrutierte den Ausnahmesänger Arno Menses, der zuvor als Schlagzeuger aktiv war. Mit diesem Line Up eroberte man die Herzen der Progfans, aber auch die von anspruchsvollen Metalheads. Erneut waren Sieges Even zum richtigen Zeitpunkt am richtigen Ort.

„The Art Of Navigating By The Stars“ wurde in dem Black Solaris Studio von Uwe Lulis (heute auch bekannt als Gitarrist von Accept) aufgenommen und erschien bei InsideOut Music, damals im SPV Vertrieb. Es folgten traumhafte Kritiken, auch für die im Anschluss stattfindende Tournee.

Natürlich war 2005 nicht an Vinyl zu denken, so dass diese Wiederveröffentlichung bereits von vielen Fans erwartet wird.
Aber auch die CD ist seit einigen Jahren „out of print“, so dass auch hier Handlungsbedarf bestand. Die Grafiken der Doppel-LP im Gatefold wurde vom Originalkünstler Thomas Ewerhard erstellt und das Audiomaterial getrennt für Vinyl und CD remastert.

Das Konzept rund um „The Art Of Navigating By The Stars“ begeistert heute noch ebenso wie die sowohl vertrackte und harte, aber eben auch gefühlvolle Musik. Hier waren Sieges Even einfach die deutschen Großmeister.

Sieges Even‘s career has not been quiet. After the first two albums, the band had its first change of singer. On the albums „Sophisticated“ (1995) and „Uneven“ (1997), the Holzwarth brothers (bass and drums) kept the band going. But they ended up with the guitarist Markus Steffen and recruited the outstanding singer Arno Menses, who was previously active as a drummer. With this line up, the band has won the hearts of prog fans, but also of demanding metalheads. Once again, Sieges Even was in the right place at the right time.

„The Art Of Navigating By The Stars“ was recorded in the Black Solaris studio by Uwe Lulis (also known today as Accept‘s guitarist) and released by InsideOut Music, then distributed by SPV. This was followed by dream reviews, also for the tour that followed.

Of course, there was no question of releasing a vinyl in 2005, so this reissue is already expected by many fans. But the CD has also been „out of print“ for a few years, so it was also necessary to act in this context. The graphics of the double LP in gatefold were made by the original artist Thomas Ewerhard and the audio material was remastered separately for the vinyl and the CD.

The concept of „The Art Of Navigating By The Stars“ is still exciting today, as is the music, which is both complicated and hard, but also full of emotion. In this sense, Sieges Even were simply the great German masters.

Fabio Monesi is back on his own platform after 3 long years and he decided to celebrate his return with 2 solid dance floor house anthems that are ready to remain in our record bags for long!

If you are an Omar s Fan then you cannot miss the A side: 'You are not supposed to know' .

Following on from the Bergisch-Brandenburgisches Quartett’s anarchic Live ’82 (BT095), Black Truffle continues its deep dive into the archives of legendary drummer/accordionist/photographer/composer/conceptual prankster Sven-Åke Johansson with Scheisse ’71. Recorded in November 1971 during the Berliner Jazztage at a heavy-hitting concert that also included the Spontaneous Music Ensemble and groups led by Peter Brötzmann, Manfred Schoof, and Masahiko Sato, Scheisse ’71 is the only document of a wild, otherwise unrecorded quintet featuring Johansson on drums, accordion and oboe d’amore, legendary free jazz vocalist Jeanne Lee, her husband Gunter Hampel on vibes, flute and bass clarinet, live electronics pioneer Michael Waisvisz on modified Putney (VCS 3) synthesizer, and the unknown Freddy Gosseye on electric bass. Part of a festival centred on giants of jazz like Duke Ellignton and Dizzy Gillespie, the radical performance shocked its audience, who can be heard heckling and yelling abuse at points, including the titular exclamation of ‘Scheiße!’ Clocking at just over half an hour and recorded in raw but detailed stereo by Johansson himself, the music burns with intensity while also making room for spacious passages and frequent dynamic movement. Beginning with Lee’s voice, Hampel on flute and Johansson on oboe d’amore in a bird-like game of call and response, the unexpected entry of Waisvisz’s tortured, squelching synth bursts prompts the first of many changes in energy and instrumentation, as Gosseye’s busy, roving bass enters and Johansson moves to the kit, his swinging cymbal work and juddering toms extending the approach of Sunny Murray or early Milford Graves. The presence of synthesizer, electric bass, and Lee’s highly amplified voice moves the quintet away from conventional free jazz textures, at times pushing into zones of abstract free sound reminiscent of what groups like MEV, AMM or Johansson’s MND were exploring in the same years. But the energy and joyful melodicism of the music keep it rooted in the tradition of American fire music and its European inheritors. Capable of changing gears in an instant from ferocious blow outs to fragile tapestries of chiming vibes and fizzing synth, the music finds space for Lee’s post-bop free scat (which integrates shrieks and howls just as a post-Ayler saxophonist might), Gosseye’s virtuosic bass runs (a rare attempt to apply the classic free jazz style of players like Alan Silva or Henry Grimes to the electric instrument), Johansson’s folkish accordion interjections, and even a sustained passage of unison bass clarinet and electric bass riffing in its second half. Special mention should be made of Waisvisz’s Putney performance, one of the earliest documents of this under-recorded instrument inventor and player, here playing a major role in giving the music its wildly exploratory, primordial air, his buzzing glissandi and bubbling filter sweeps at times howling like a distressed monkey. Arriving in an austerely stylish sleeve with beautiful black and white photographs by Johansson, Scheisse ’71 is an essential recording that adds yet another layer to our appreciation of this golden era of radical free music.

Hatıralar was Anadol's second album, originally composed between Berlin and Istanbul around 2012 and released years later only in digital form on the Istanbul based label Inverted Spectrum. The title Hatıralar ("Memories") turns out to be a self-fulfilling prophecy. Anadol recalled and revisited the music in 2023, gently editing and mixing the compositions for the newly mastered LP format in which they now see the light of day. Hatıralar represents an early version of the melodic, instrumental synth-pop that Anadol refined on her album Uzun Havalar (2019) before exploring the more free, krautrock-inspired musique concrète of her last album Felicita (2021). Here is the text that accompanied the original 2017 release:

Anadol, named after an old-fashioned Turkish automobile brand, is an instrumental synth-pop project by Gözen Atila, an artist, dj and keyboard player. She records with mini organs manufactured during the 70s and 80s, the built-in rhythms and arpeggios of these machines provide the backbone of her sound, and her melodies are influenced by pop music and soundtracks from France, Italy and Turkey from the same period. The music is awash with allusions to the moods of old Turkish and European cinema, from the erotic to the melodramatic, and with a reminiscence of the sound and spirit of so-called "tavern music" popular in Turkey's urban nightlife in the 1980s, a flexible pop style usually performed by a solo keyboardist-singer. Anadol is a continuation of the tradition of lone synth experimentalists like Bruce Haack and The Space Lady with their childlike curiosity for electronic sounds, and of the keyboardists pushing the boundaries of minimal equipment to entertain middle aged drunk couples in pubs and wedding parties of Istanbul.

The definitive reissue of one of rock’s rarest and most sought-after albums – “acid-folk” – equal parts pastoral folk and contemplative psychedelic. The rst time since 1971 that this album has been pressed from the original master tapes, recently discovered in Italy. Lacquered directly from tape in an all-analog transfer by Bernie Grundman. This is the single LP version that we issued after the Now-Again Reserve Edition sold out. Mark Fry was 19 – recently graduated from high school and in Italy studying painting – when he walked barefooted into RCA’s Italian subsidiary, played some songs he’d written on his guitar and was signed to record the album that would become legend. The first recordings he made proved stuff, so he was paired with members of the Scottish band Middle of the Road, who were in Rome while under contract to RCA Italiana. Convening in a basement home studio with two 4-track reel-to-reel record- ers, Mark’s visions coalesced in a dreamy, airy manner – “Nick Drake meets Dr. Strangely Strange with a touch of Lewis Carroll” The Word Magazine would later write. Pressed in small amounts for Vincenzo Micocci’s RCA sub-label It, Alice remained an out of reach masterpiece for many but its creator, who returned to England in 1971 and subsequently traveled the world, playing music, sometimes recording and painting. By the time of its rediscovery, its master tapes were assumed lost. Their rediscovery allows this pristine transfer to reveal nuances not heard on anything but original It pressings.

Angel Deradoorian and Kate NV are Decisive Pink - Ticket To Fame is their highly anticipated debut. After teasing the single 'Haffmilch Holiday' the duo amassed a rapturous response, with The Guardian calling it "a space-age-dancefloor swoon that brings to mind Kate Bush's Waking the Witch" and the New York Times highlighting the single as "substantive and thoroughly hypnotic". On their first LP they do not disappoint, calling on Kate NV's experimental pop leanings and Angel Deradoorian's taste for atmosphere and otherworldliness, Decisive Pink have created a playful and abstract album designed for escape and enchantment. Electronic pop at it's finest, the debut points to the fact that life is a puzzle, but you can still get a lot from living it. 'Destiny' is a smart take on the nature of belief, built on a question-and-answer format, where Angel plays a role as the seer, and Kate the enquirer. The poppy beat is reminiscent of Talking Heads' 'The Great Curve', from Remain in Light. There again, it could be a sinister take on Will Powers' 'Kissing with Confidence'. The synth squeaks, squelches and toots sound like the timid affirmation of the initiate. Ticket to Fame is also unashamedly romantic in atmosphere and tone. Romance is to be found in the simple pleasures, such as listening to a blackbird on the instrumental 'Rodeo', where warm synths, a melancholic guitar pattern and hissing rhythm combine with some vocal snippets to form a soothing contemplation. Then there is 'Ode to Boy'; a perfect pop track. The walking into the room of "more than just an ordinary boy" (doubtless "drunk with fire") allows a set of initially different, and shortened synth patterns to build to a glorious affirmation of the power of love. "Perfect pop music" Marc Riley, BBC6 Music And guess what? The vinyl comes in pink!

Jan Kincl, a Croatian artist with music released on BBE, Far Out, and Sonar Kollektiv, is launching his own label Cycle Records with an EP titled "For A Minute". Written and produced at Jan's Cycle Studio in Zagreb, the EP features two original tracks riding a thin line between techno and house, and a remix from Gene Hunt, one of the pioneering artists responsible for shaping the early sound of Chicago - "I loved the way the original had such an old school feel to it, jazzy vibes with a 70's touch. When I was asked to do a remix I was like yesssir! It reminds me of something that Moodymann would make. It contained a '94 vibe, Detroit and Chicago combo. Not to mention it was a totally different vibe for me, and I'm honored to be a part of something new and different." - said Gene about this collaboration.

As deem spencer gets into the flow of his purpose, that is being a provider, he’s cautioned by overarching worries of impending doom. The 27-year-old emcee has heard that in the next lifetime, New York City could be underwater – but even in these current tides of chaos, the native reflects and retraces his upbringing while wading towards a hopeful future on his third album, adultSW!M.

Five years into his journey, deem has elevated his craft while remaining grounded in the likelihood of being on to greater heights. Introspective in nature, deem’s abstract quality is both intrinsic and groundbreaking in the contemporary New York hip-hop landscape.

adultSW!M showcases evocative bars with worthwhile collaborations, while also making strides as a producer working alongside a few ‘flower shop’ favorites .On his latest, deem’s pensive mood hasn’t left – it’s evolved.

In the KID BE KID superhero universe, the fact that she is not only a singer but also a virtuoso pianist goes without saying. So much talent in one person would hardly be bearable if KID BE KID wasn't, above all, such a lovable funky freak!
"Naked Times! No More Lies! Here I am strippin' straight in front of your eyes," she chants in a futuristic dress with a gigantic shoulder width, and in the video clip she skillfully oscillates between the authenticity of her live performance and the complete unreality of the production.
Musically, it sounds like a finely curated neo-soul record collection pushed through a 2030s cyber-sound AI. Except that with KID BE KID, the beats don't come from the hard drive, but from her body: Human Beat Boxing. So hip-hop community members are welcome to nod their heads here.

In the 10 songs contained on "Truly A Live Goal But No Ice Cream" KID BE KID reflects on our existence between Internet publicity and Home Sweet Home, in which the mere start of the day can become a regular challenge! KID BE KID arms herself against the personified time and gives it an ultimatum: "Don't you dare not be better than last year!". As a result, everything in her life as well as musically finally takes a turn for the better...

KID BE KID has been touring Europe almost non-stop since last summer, has been recording vocals for Netflix ("Rumsspringa") and, in her remaining free time, has been hanging out in the young Berlin jazz and abstract beats scene.
All these influences can now be heard on her fantastic new album, where KID BE KID seems extremely determined to make the world a little bit better with her art:
"We are here for a reason, Move! Be the better Move!", she challenges herself and us in her song "Move" and of course: KID BE KID is a movement we are only too happy to join in 2023.

She has been a celebrated sensation for years for her live performances anyway, so it's no wonder that she is only too happy to make fun of all the boring online productions, including bloated self-marketing in her lyrics: "You'll have to post 5 times a week, at least 5 videos and one pic, if not your audience won't grow".
But since we have all become little self-marketing monsters with the desire for constant virtual pats on the back, KID BE KID directs this criticism primarily at herself: "Of course: For love everybody seeks, But it makes me sick, to do so, too" it also says in the song ("News Feed").

Well, when this album comes out in June, the ice cream parlors should finally be open again in real life. Walking there, with KID BE KID on the AirPods, we make a few jumps of joy! Because, honestly? This is really so incredibly good.

Long out of print (10 years!), this new edition of Soul Jazz Records' classic Delta Swamp Rock, features a killer all-star line-up of seminal artists who all first blended rock, soul and country together to create a stunning new sound of southern American music in the 1970s.

Featuring the Allman Brothers, Dan Penn, Leon Russell, Tony Joe White, Johnny Cash, Bobbie Gentry, Big Star, Link Wray, Area Code 615 and loads more!

This album comes as a superb limited-edition gold vinyl double vinyl release complete with extensive original sleevenotes, interviews and exclusive photography, all spread over a 12-page full-size magazine and two bespoke inner sleeves. The works!

Delta Swamp Rock is an interstate southern road-trip through the United States of America where country, rock and soul met at the crossroads - an exploration of the musical and cultural links between the cities of Memphis, Muscle Shoals and Nashville in the 1960s and 70s.

At the start of the 1970s, a new type of music emerged out of the southern states of Alabama, Tennessee, Georgia, Mississippi and Florida. Southern rock, the creation of young blue-collar white Americans, blended rock, soul, country and blues music together to present a new vision of the south – a post-civil rights southern identity complete with a celebration of the regions natural landscape and its way of life.

The Allman Brothers and Lynyrd Skynyrd epitomised the definitive southern rock groups – a mixture of blues-rock and country with a southern rebelliousness and attitude. Unfortunately both The Allman Brothers and Lynyrd Skynyrd were to be struck by tragedy, which would affect the movement’s rise and fall.

The backstory to southern rock is the fact that a number of the people involved in its creation had been central to the production of southern soul music in the 1960s mainly in Memphis, Tennessee, and the small town of Muscle Shoals (population around 10,000) deep within the bible-belt, liquor-free, deeply segregated state of Alabama, creating 100s of R&B hits on an almost daily basis.

Here in Muscle Shoals, with its proximity to Memphis and Nashville, an all-white group of in-house musicians, (famously referred to by Lynyrd Skynyrd in the song ‘Sweet Home Alabama’ as the ‘Swampers’), created countless classic soul records for the likes of Aretha Franklin, Wilson Pickett, Etta James, Clarence Carter and more during the 1960s.

This album charts the rise and fall of southern rock from its funky swamp roots in southern soul to its phenomenal success in the first-half of the 1970s, including its influence on Nashville’s ‘outlaw’ country and tracing it right back to the arrival of rock and roll in the 1950s - the first meeting of black and white American music at the crossroads.

Foundation is set in the future when the world is barely remembered and humans have colonized the galaxy. The record introduces Donnie Ozone, a brilliant visionary rapper and psychohistorian whose job is to use lyrics and rhymes to predict the future. It is divided into six chapters, each showing a part of the bigger picture portrayed on the outstanding cover by Infidel.

Teslasonic gathers together the galaxy's top scientists and artists on a bleak outer planet and sets out to preserve the accumulated knowledge of humankind and begin a new human galactic empire based on Art, Science and Technology. He calls his sanctuary the Foundation and designs it to withstand a dark age of ignorance, barbarism, and warfare that he predicts will last for a long time.

Blackened thrash veterans LEGION OF THE DAMNED slay on new studio album The Poison Chalice The LEGION slays again! Dutch thrash veterans LEGION OF THE DAMNED have once again entered into an alliance with the devouring depths of black and death metal and unleash another angry beast, The Poison Chalice, on May 26, 2023 via Napalm Records. The shredding monster delivers the most delicious pitch-black brew and tortures dark souls into demonic underworlds. Founded in 1990 as Occult, the thrash machine around founding members Maurice Swinkels and Erik Fleuren was reborn as LEGION OF THE DAMNED in 2005. On The Poison Chalice, the band unites with Fabian Verweij as second guitarist besides Twan van Geel and hails together with bassist Harold Gielen performing as a five piece for the first time ever on a studio album. Conquering the European charts for decades, the LEGION crowned itself at #17 in the Official German Album Charts with predecessor Slaves Of The Shadow Realms (2019). For almost 35 years, they have formed their aggressive signature sound from the most horrific ingredients of thrash and death metal, combined with brutal blackened influences, resulting in one of the most defined and unique sounds in the scene. The Poison Chalice comes to life by spreading its eerily beautiful wings within the first few seconds, then dives headfirst into a hellishly furious storm before the second song ""Contamination"" absolutely kills. In classic LEGION OF THE DAMNED manner, there is no escape as the track relentlessly drives into the abyss. The album spreads brutal and ice cold thrash soundscapes through relentless attacking drums and incredible guitar harmonies from both lead guitarists, underlined by angry bass lines. Infectious thrash treasures such as “Progressive Destructor”, and the almost seven-minute berserk “Behold The Beyond” break necks with hammering guitar riffs and bloody double bass infernos. “Beheading of The Godhead” delivers what the song title promises, before the past 48 minutes of hate closes with a final deep gulp from “The Poison Chalice” - leaving no one behind. Together with producer Erwin Hermsen, the band has closed the gates of the underworld in Toneshed Studio and demonstrates that they remain the unchallenged masters of brute and unrelenting death-thrash metal in 2023

“Come, Sweet Death” alternates between brutality and winding single string melodies that brings you back to the golden age of Swedish Death Metal! They say that the more things change the more they stay the same. If there’s one thing that has remained stable despite living in 2023 is that we love Swedish Death Metal. The style has become a favorite of ours over the past 35 years. Something about the guitar tone just makes you want to devour any release that can be described as “Inspired by early Entombed and Dismember”. The good thing is that there’s an incredible wealth of bands that draw from that well. The bad thing is that said wealth leads to a lot of bands becoming indistinguishable due to how same they are. Thankfully, Imperishable’s “Come, Sweet Death” manages to stand out from the pack, in no small part due to breaking away from the genre’s usual trappings. And in a way this is no surprise since the band members were or are involved in Vampire, Portrait, Nominon and Dr. Living Dead! As you might have already gathered, the band draws a lot from the Stockholm scene, more specifically Dismember, that is undeniable. What’s really interesting though is that they draw from their later, and more melodic influenced era as much as from the early days. Imperishable, like their peers effortlessly blends the aggressive buzzsaw riffing with leads brimming with melody, which most modern bands in the style avoid in favor of pure aggression. Said blend can be seen throughout their debut album, though it can be felt more on the longer tracks, like “Teeth of the Hydra” and “Fangs”, where the band has more room to develop their ideas and mix grinding Death Metal with NWOBHM-inspired leads and riffs. In short: Imperishable has great songs, great melodies, well-arranged structures and still is brutal, just like the great old bands were. And the production is spot on for this release. It is good to hear a band experiment beyond the confines of the original old school Swedish Death Metal sound. “Come, Sweet Death” is an extremely promising release, and a small breath of fresh air in an otherwise stale scene. Imperishable’s love for the more melodic aspects of the style make them worth keeping an eye on now and in future.

The 69 Eyes kickstarted the new millennium with this era-defining gothic rock statement of an album. With the band's blessings, Svart Records present an extended edition of the classic. Originally released in 2000 on Gaga Goodies, Blessed Be is a cornerstone of The 69 Eyes' career and contains songs like Gothic Girl and Brandon Lee. This expanded and thoroughly remastered 23rd Anniversary Edition features a bonus disc with three demo versions and two radio live tracks.

The 69 Eyes kickstarted the new millennium with this era-defining gothic rock statement of an album. With the band's blessings, Svart Records present an extended edition of the classic. Originally released in 2000 on Gaga Goodies, Blessed Be is a cornerstone of The 69 Eyes' career and contains songs like Gothic Girl and Brandon Lee. This expanded and thoroughly remastered 23rd Anniversary Edition features a bonus disc with three demo versions and two radio live tracks.

Donovan Woods was curious: What if he re-recorded Both Ways, his acclaimed 2018 record that won him a Juno Award for contemporary roots album, and distilled its 12 songs to their bare essence? An “acoustic reimagining,” if you will. “We started from scratch,” he says, from the instrumentation to his vocals to a fresh understanding of the heartache and regret that underpinned those songs. “There are no recording elements carried over from that album. It’s all brand-new.” Woods ended up with The Other Way, his album that brims with inspired interpretations of Both Ways that are intimate yet startling in their urgency. Released on May 3, 2019 on Meant Well, this release is a reminder of why the Canadian artist has become such a sought-after songwriter whose work has been recorded by Tim McGraw (“Portland, Maine”) and Lady Antebellum’s Charles Kelley (“Leaving Nashville”), with Spotify streams approaching nearly 90 million. You’ve always been able to hear and connect with Woods’ words. But an odd sensation washes over you when the varnish is wiped off of Woods’ songs. Somehow the lyrics burrow with even greater resonance and then linger like little smoke rings. For a producer, Woods enlisted ace guitarist Todd Lombardo, who produced Woods’ song “Portland, Maine” in 2015 and wrote and played most of the guitar parts on Kacey Musgraves’ Grammy-winning Golden Hour. Woods gave Lombardo artistic license not only to change the chords and song structures but to overhaul the arrangements with acoustic instruments and Lombardo’s luminous guitar work as the centerpiece. “I think this album draws out the pain and the darkness of these songs,” Lombardo says. “The record is about loss and failure and feeling like you fucked it up, and there’s no mistaking that. You hear every single word – and feel it, too.” Coming on the heels of “Go to Her,” Woods’ first song of 2019, The Other Way is so revelatory that it makes you wonder why he didn’t try this approach sooner. “It’s always been an interesting idea to me, especially when you’re an artist like me who inherently disappoints some people anytime your sound gets bigger,” Woods says. “But a really good song is a good song in any arrangement. It’s like a beautiful hardwood floor. You can put any furniture in there, and it’s going to look good.”

The Complex Inbetween is a mesmerising journey inspired by the spirit of krautrock early electronic music and experimental rock. JeGong return with their second full- length album which sees them continue their musical journey inspired by the spirit of krautrock, early electronic music and experimental rock. With The Complex Inbetween Dahm Majuri Cipolla (MONO, Watter) and Reto Ma"der (Sum Of R, Ural Umbo) put a dazzling spin on the timeless music of genre innovators like Can, Faust and Neu!, incorporating noisier and more abrasive elements to create a mental odyssey into the uncanny. Born from the collision of the most unreal moments of Ma"der's free-flowing musical associations with Cipolla's stick-wielding hands, these eight compositions form the duo's own mythical realm after the rhythm has been set. As the cradle of electronic music, krautrock is often viewed by outsiders in terms of the mechanical rather than the human, yet Ma"der and Cipolla manage to uncover a human side that has always been present in the music of their forebears. That driving beat which powers album opener «Come To The Center» was never meant to be called `Motorik', as explains its inventor Klaus Dinger of Neu! in one interview. "It is very much a human beat. I like to call it the endless straight. It's a feeling like a picture." With Cipolla behind the kit the machine becomes human, testifying to the power that rhythm can hold over us as a deeply communal obsession. Like their debut, The Complex Inbetween shows the profound knowledge these two musicians have of their source of inspiration as well as their tremendous skill in applying its principles. With the piece «Night Screaming Moves» JeGong expands their sound with atmospheric drone rock elements. A feedback laden guitar motif surrounds the oscillations of mellotron sounds, behind it pounds a slow motion drum beat that is reminiscent of dragging, shuffling footsteps in the dark of night. Evoking feelings of trench coat wearing film-noir or the cloying darkness of cult 70s horror flicks, «Night Screaming Moves» shows that not only are the duo of Ma"der and Cipolla experienced musicians, but cinephiles and soundtrack lovers with a strong sense for moods and emotions. RIYL Neu!, Cluster, Tangerine Dream, Swans, Mogwai, Sonic Youth, John Zorn Ltd Coloured Vinyl!

Fredfades is finally ready with his second album as a solo artist. The producer and DJ and has remained active as a musician ever since his debut single in 2008. Since he released his debut solo album 'Warmth' six years ago he's ben diving into a bunch of different genres and cross-ing musical landscapes such as ambient, hip-hop and house, which has led to releases and productions across labels like his own Mutual Inten-tions imprint, as well as bigger labels like Stones Throw, Fresh Selects and Jakarta Records. This sonic voyage has resulted in ‘Caviar’ - an album that tells the story of a producer who's ready to let go of his youthful love and indulge himself to electronic music.

Fredfades name is more often seen on foreign club posters than back home in Norway. This has colored the musical expression of the Oslo-born multi-artist, and on ‘Caviar’ he is gathering inspiration from every corner of the world where he has traveled. You can clearly hear the inspi-rations from the sounds of Rome, Manchester, South-Africa, Detroit, New York, Berlin, Paris and the Balearic ocean, which are all well repre-sented throughout the album's eight tracks. If you close your eyes and put your ears close to the speakers you will hear loons, running water, African percussion instruments, roaring saxophones, bit-crushed samples, moaning women, TB 303’s, bottom-heavy basslines and recordings of whales communicating at the bottom of the ocean. Everything seamlessly put together for Fredfades’ own sonic world view. The album features a bunch of talented friends of Fred, such as Telephones or the vocalists MoRuf and Kristian Hamilton.

Despite being known as more of a progressive and edgy DJ that haunts down a lot of indie and private press electronic music, Fredfades has cultivated a more elegant and controversial output in his own music. His progressions often consist of dwelling jazz chords from electric pianos or mellow sub-filtered synth patches that creates space where he can unleash rowdy basslines, rhythm sections and leads just as confident and captivating as the man himself. On the jazzy ‘Tenerife 1994’ you can hear a tribute to one of Fred’s greatest heroes in music: Pharoah Sanders, while on ‘My Heart Is On The Edge’ and ‘Summer of Love’ the energy and euphoria is boiling over and directs your mind towards the summer raves which Fredfades is known to throw down in Oslo.

On the LP covers backside Fredfades is posing with a Korg Wavestation in front of the block where he grew up in the suburbs outside Oslo, while the front cover is showing an airbrushed illustration of Caviar from sturgeon - ‘From block to Beluga’. The black vinyl contains magic grooves created by an electronic musical convertite, with the power to transport the listener from a perpetual winter to the 90s warm dance floors and the 'Second Summer of Love’.