Suche:one touch

Editions Mego presents Bosko, landing exactly 30 years after the initial General Magic flights into the fantastic; the legendary first Mego release, a collaboration with Pita whereby all sounds were harnessed from the buzzing, drinking, humming sounds of fridges MEGO 001 General Magic & Pita and a 12” with Elin called Die Mondlandung (The Moon Landing) MEGO 002 which embarked on a minimal techno template so austere and strange it was one of the historic progenitors of austere and wonky rhythms alongside Sakho and other European explorers.

The initial return of the playful and mystical Austrian outfit General Magic came with the 20th year anniversary vinyl reissue of their classic debut Frantz eMEGO 010. A record so audacious and playful it still baffles as much as it entertains. At some point whilst working on this reissue GM’s Ramon Bauer and Andi Pieper were spurred on to rummage around with ideas and tools once more and after more than two decades of inactivity sonic sorcery was conjured once again. Live shows in honour of Peter Rehberg were performed in Vienna and London. Softbop, a limited risograph collaboration with Tina Frank came with the first new recordings as a digital download came out discreetly online. The first full length album following Rechenkönig in 2000 MEGO 032 “Nein Aber Ja” released in 2023 on Finlay Shakespeare’s GOTO Records on CD and cassette. An ongoing series of mix tapes online further highlights their interests encapsulating a new found angle on electronic mayhem. All of these elements retain the wildly eclectic and ecstatic glow that only they can harness and hand out to an unprepared world.

Now, we have General Magic’s second official full length comeback recording, Bosko. The new album is initially notable prior to the needle hitting the wax or the cursor identifying a track due to the artwork. Made by long term collaborator Tina Frank, this is Frank’s first analogue artwork, with a painting of a happy/nervous machine thing hovering in a landscape of no discernible identity. It’s quasi science fiction hovering amongst the potential for fun. Suited to the music? Natürlich.

Bosko sees Bauer and Pieper update and reframe their original investigations with a fresh supply of head scratching, heart racing tunes that hit the inexplicable with a wild mesh of drums, pianos, synthetic voices and all manner of immaterial sonic play. Startling sonics shock the ears on Club Duchamp which sounds like a conversation between synthetic adult ants in an environment still in development. Elfer features vocals supplied by a female-ish voice who, whilst grappling melody, has trouble executing a firm identity. Noorenhalt catapults along a mainframe of syncopation so unwieldy it feels like the voice, which is utterly alien, provides the only comfort. Seite 5 inhabits a fuzzy zone where a synthetic Horn of Jericho type ambience competes with rhythms never quite sure of who they are. Rise of the Ombré raises the spectral dread. Is this Science Fact? Absolutely nothing within Bosko is predictable.

The amount of change in the miasma of existence and the things we touch in order to make things has shifted so exponentially we are at the point where minds are starting to glaze over. All of this makes the return of the always original, always surprising, always fresh and exciting General Magic totally in tune with the artificial intelligent apocalyptic age we currently inhabit. The tools may have changed but the wonderfully warped gaze of Bosko offers a fresh new vision of perplexing funk and robotic punk.

"We're The Meatmen.And You Still Suck" wurde 1988 "live" aufgenommen und war zur Zeit ihres Releases das definitive MEATMEN Album. Unglaublich gut in der Qualität, wenn man bedenkt, dass es sich hier (hust, hust) um ein reines Livealbum handelt, ist "We're The Meatmen." der Sound der Band wie sie immer klingen sollte. Ohne sich auch nur einen Deut zurückzuhalten, ist dies hier aufgedrehter Punk/Metal mit dem männlichsten Mann aller Zeiten, Tesco Veer als Zeremonienmeister der Apokalypse. Die Songs sind ganz vorn mit dabei, wo die Originale "Tooling For Anus," "One Down Three To Go," "Lesbian Death Dirge" und so weiter mit fabulösen Coverversionen von "Razamanaz" von NAZARETH und "Rebel Rouser" von SWEET. Fünf Bonustracks geben dem Ganzen den letzten Schliff, der auch noch Material von 1986 mit Lyle Preslar (MINOR THREAT) in den Topf wirft.

Students of Decay presents The Dip, a new full-length recording by Berlin-based artist and composer Thomas Ankersmit, marking his debut with the label and sixth album to date. Comprised of two expansive, sidelong pieces composed entirely on the Serge Modular synthesizer, it signals a subtle yet significant shift in Ankersmit’s trajectory, imbuing the hyper-physical, psychoacoustic intensities of his live performances with introspective, atmospheric, and even melodic elements.

Primarily known for a site-responsive approach to sound, often realized in the moment of performance, Ankersmit’s turn toward the studio in the last few years has opened up a new dimension within his practice. It is in this quiet rupture that The Dip emerged, a study in internality and suspended states, rich with cinematic undercurrents and ghostly spatial suggestion. Here, electricity itself feels transfigured – becoming supple, even organic – within an environment shaped entirely by analog signals.

Over the past two decades, Ankersmit has established himself as one of the foremost practitioners of the Serge, the notoriously idiosyncratic and expressive instrument that has remained central to his work. On The Dip, he harnesses its potential not for brute force or disorientation, but for spaciousness, resonance, and lyrical abstraction. Without resorting to additional processing or effects, he draws out tones that feel simultaneously raw and refined, articulated and blurred – intricate structures that seem to breathe and evolve of their own volition.

The result is a kind of auditory hallucination, a “cinema for the ears,” wherein impressions, emotional arcs, and imagined topographies unfold. Each side of The Dip plays like a single gesture unfolding in time – a spatial narrative constructed through vibration, density, and the movement of air.

The Dip follows acclaimed works on PAN, Touch, and Shelter Press, and reaffirms Thomas Ankersmit’s position as one of the most focused and probing voices in contemporary experimental music. Quietly radical and meticulously constructed, it is less a departure than a deepening – a descent into a more private sonic world, where the boundaries between perception, memory, and pure signal dissolve.

White LP. Born out of the early 1980's Austin noise punk scene, Scratch Acid deliberately eschewed the loud, fast rules of hardcore as everything they didn't want to be and embraced a weirder, artier sound. Prior to the release of their 1984 debut S/T EP, someone gave Touch and Go Records owner Corey Rusk a cassette of the recording, and he was instantly a huge fan. Rusk was immediately interested in releasing the EP and contacted the band to express his admiration. At the time, Scratch Acid had already committed to working with Rabid Cat Records, who released the band's debut release S/T EP (1984) and their only full-length album, Just Keep Eating (1986). The group quickly developed a riveting performance aesthetic, and, as the debut S/T EP made its way around the country via fanzines, college radio, and word-of-mouth, the band mounted short tours to the Midwest and the East Coast. After playing a total of 146 shows, Scratch Acid broke up after the long tour that followed the release of the Berserker EP (Touch and Go Records, 1987). Since that time, the band have had many imitators, and many alternative bands have cited Scratch Acid as one of their influences.

When we did the first ever vinyl reissue of this 1972 masterpiece back in 2012 it sold out so fast and so many lost the chance to grab a copy has translated into continuous messages asking us to do a repressing of this marvel - which we did and, again, it sold like hot bread. So here is a new edition of this UK jazz masterpiece, this time with a twist :

- Silk-screened cover art : we respect the original design, but have upgraded the printing from regular offset to silk screen to give it an artistic touch!

- In adition to the limited black vinyl edition (400 copies), we offer an ultra limited clear vinyl version (100 copies-only!)

One of the big names in UK Jazz, Neil Ardley was offered the leadership of the seminal New Jazz Orchestra in 1964. Under his direction the Orchestra moved though different styles and changes of personnel, bringing in musicians such as Mike Gibbs (trombone), Harry Beckett andHenry Lowther (trumpets) or even Jack Bruce (bass), some of them also contributed with the writing of some original compositions, making the NJO the root from which the UK's 70's jazz scene was to blossom.

By 1972 the NJO was already defunct, but his legacy remained in the works of its members. Ardley's 'A Symphony Of Amaranths' is a perfect example of what was boiling in the UK jazz scene. It was Ardleys tribute to his idols Duke Ellington and Gil Evans, and featured the skills of some great musicians of the scene including Don Rendell,Stan Tracey, Henry Lowther, Harry Beckett, Jeff Clyne & Jon Hiseman. Side B is inspired by the words of Edward Lear, W. B. Yeats, James Joyce and Lewis Carroll that are musicated by Ardley and feature, among other highlights, Ivor Cutler's narration of 'The Dong With A Luminous Nose' and Norma Winstone's vocals on 'Will You Walk A Little Faster'.



Musicians that participated in the recording session :

- Derek Watkins, Nigel Carter, Henry Lowther, Harold Beckett (trumpets)
- Derek Wadsworth, Ray Premru (trombones)
- Dick Hart (tuba)
- Barbara Thompson, Dave Gelly, Don Rendell, Dick Heckstall-Smith (woodwind, saxes)
- John Clementson (oboe)
- Bunny Gould (bassoon)
- Dave Gelly (glockenspiel)
- Neil Ardley (prepared piano)
- David Snell, Sidonie Goossens (harp)
- Stan Tracey (piano, celeste)
- Karl Jenkins (electric piano)
- Alan Branscombe (harpsichord)
- Frank Ricotti (vibraphone, percussion)
- Chris Laurence, Jeff Clyne (bass)
- Jon Hiseman (drums, percussion)
- Eric Gruenberg, Jack Rothstein, Kelly Isaacs (violin)
- Ken Essex (viola)
- Charles Tunnell, Francis Gabarro (cello)
- Ivor Cutler (narrator)
- Norma Winstone (vocal)
- Jack Rothstein, Neil Ardley (conductors)

Welcome to a whole new stage from Akasha Records, introducing the label into the analog world.

To begin with, Delazar brings us three delightful dancefloor dishes together with an ambient mix from the timeless gem "Memory Access", released in the first Akasha's digital appearance.

Monkey Slayer, this new EP, brings us so much flavour with acid touch, funny percussive bounces and synth sounds. A1 brings the perfect mood. It's remix version from master Deep Mariano takes us to an intense and happy trip, so that alter on, "Reincarnation" makes us close the stadium. "After" well... You already know when to play this one. And to come back to Earth at some point, as dessert, you can delight with an ambient masterpiece.

“O(c)tavio’s EP brings together a global crew of producers who all share the same name and a passion for high-quality techno. The A1 kicks off with “Fadeface” by NY based producer Otavio aka Fadeface, a rolling, driving cut that balances weight with groove. A2 follows with a no-nonsense loopy techno heater by Octavio, 1/3 of the Paraguayan group LPZ — pure dancefloor pressure, stripped and effective. On the flip, Argentinian artist Octavio Octavio brings a bit more swing with a groovier B1, still rooted in the floor but with a fluid touch.

Closing things out is a collaborative B2, combining all their styles into one cohesive, heavy-hitting statement. Pressed to vinyl and wrapped in stunning artwork by the talented Brazilian graphic designer Otavio Santiago. Turns out, putting a bunch of O(c)tavios in the studio results in one hell of a techno record.”

The Ancient Greeks & Romans sure had that "classic" touch. Before their empires crumbled into ruin, they set the standard with their classical forms, in art, buildings, and philosophy. They've set the pace ever since with pretenders and imitators making "classical music," "neo-classical architecture," and of course "classic rock" _ Once something is a classic, it's untouchable. No one would dare attempt to improve it. That would be sacrilege! After all, who could do better than Ovid, Homer, & Virgil? Or the classic tunes of Rolling Stones, the Stooges, et al? They're the gold standard of perfection; no one would dare try to improve upon them_ until XYZ that is! That's right, XYZ -- those little-known legends -have achieved the impossible; they've taken the classics and made them even better! More relevant, more updated, more "now," more _ wow! They improved the classics using all the latest sensibilities, technologies & innovations. On "XYZ PLAYS THE CLASSICS," the XYZ band - the twosome that sang "Bubble Gum" - take the beloved but tired tunes of the classic rock canon - The Rolling Stones, VU, Neu!, The Seeds, Stooges, & the other Hall of Famers - and resuscitates them, pumping new blood into worn-out veins, revitalize them with new themes, new lyrics, and new riffs to make them new again! This is the record that merges the old with the new, that completes the circle of life; it's the cosmic record that everyone needs right now!

2025 Repress

Loose Grooves & Bastard Blues is Tommy Guerrero's sublime debut. Of this beloved masterpiece, the legendary skater himself says: "my 1st album. It was never meant to be released. I was just recording for the fun of it.. still my fave. Oh so naive..." And you know what? It's definitely Be With's fave too. An astonishingly great record. A chill, blissful, deeply moving album, it was rightly garlanded as an instant classic.

A laidback, fusionistic ride replete with loopy drum tracks underpinning Tommy's trademark reflective guitar stylings, Loose Grooves & Bastard Blues remains powerfully evergreen. Originally released in 1997, there's elements of jazz, trip hop, rock and downtempo groove. All shot through with a heavy dose of soul. Thirteen tracks of lo-fi (mostly) instrumental freshness fused with Cuban, Latin and blues, it's a must for fans of Money Mark, J Dilla, RJD2, DJ Shadow and Pete Rock. As ever with Tommy's records, the title sums up the music contained within most aptly. And writing about his songs, his vibes, is one of the trickier things to do, it has to be said. It's just all gorgeous!

A total vibe throughout, to blast Loose Grooves & Bastard Blues is a majestic experience, one that suits a start-to-finish listen and renders the picking out of highlights totally redundant. Featuring nagging, deeply melodic guitar lines - both electric and acoustic - over simple rhythms with such sumptuous elegance, the hypnotic playing against unrushed percussion releases a crystal clear stream of healing frequencies. It's ust divine. This album laid the blueprint from which Tommy Guerrero would subsequently explore further on A Little Bit of Somethin' and Soul Food Taquiera.

Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

CATCHY, MESMERIZINGLY BEAUTIFUL, DREAMY CHAMBER POP WITH A FOLKY TWIST

Music can have a multitude of emotional impacts and can create inner worlds out of voices, sounds, and moods.
If you open heart and ear to the mesmerizing, hauntingly beautiful soundscapes of AURI, you might find a beacon of light inside a sonic realm untouched by today’s often scary, grim realities; a dreamscape that can be profoundly uplifting.
On their third studio album, III - Candles & Beginnings’ the stars have aligned yet again. Propelled by the unique and celestial voice of Johanna Kurkela, the magical textures of Nightwish mastermind Tuomas Holopainen and the almost unlimited musical palette of Nigtwish multi-instrumentalist Troy Donockley, Auri have presented a world to be unlocked with the senses, blending folk, progressive and symphonic elements, world music, pop and avantgarde.
Right after completing Nightwish’s 2024 monument Yesterwynde, the songwriting for the third chapter in Auri’s musical adventures started in 2023, with Troy writing in Yorkshire and Tuomas and Johanna working their creative magic in Kitee, Finland. By Autumn 2024, a 10-song demo was complete, setting the stage for what would become another breathtaking Auri journey. The band and their trusted engineer Tero “Teecee” Kinnunen took the mixing process to sunny Spain, letting the Andalucian vibes infuse the music whereas in March 2025 mastering was wrapped up by Tim Oliver at the legendary Real World Studios - a ground-breaking recording complex started by Peter Gabriel in 1989.
The album is a tapestry of emotions - each song a world of its own, touching on childhood memories, vivid life experiences, and even a nod to one of the group’s most beloved places on Earth - The Lion Inn at Blakey Ridge, a historic spot nestled in the North York Moors and one of the most remote pubs you will ever find.
Visually, the cover artwork by Pete Voutilainen, layout and watercolors by Mikko Pankasalo plus calligraphy by Johanna Kurkela provide wonderful illustrations perfectly capturing Auri’s unique musical visions.
With guest musicians like Frank Van Essen (strings), Jonas Pap (cello), Juho Kanervo (basses), and the incredible drumming and percussion courtesy of Nightwish’s Kai Hahto, Auri III - Candles & Beginnings is as lush as it is atmospheric and provides astonishing dynamics.
Having been a studio endeavor in the past, Auri is finally going on tour with their first-ever live European trek kicking off in August 2025, followed by summer festivals in 2026, allowing you to hear, see and feel songs from their previous two albums, as well as brand new pieces from III - Candles & Beginnings.

New on Sublease is label boss Steve Bug teaming up with Herve Solar, an emerging talent from Geneva whose debut was featured on Poker Flats Under One Roof series previously. The two artists first crossed paths at the Mixmasters retreat in Ibiza, where Herve participated as a student under the guidance of Steve Bug. Impressed by Herves material, Steve Bug saw potential for collaboration. Upon returning to Geneva, Herve sent Steve a few unfinished tracks, sparking the idea for a joint EP. The creative process involved each artist sending a track for the other to complete, with Steve Bug adding the final touches in his Berlin studio.

No Faith, No Dreams highlights a slinky, sexy sound that will instanty win over other DJs and crowds, and is also shared here via a remix courtesy of Jürgen Kirsch. His rework is a little tougher, stripping the sound down to ist essentials before bringing up the energy with a dubby bassline and intricate percussion. Swamp Frog is the 3rd track of the release, a grooving bassline providing the anchor for the rhythm and detuned chords that lend the whole thing a wonky, loose feel for the heads.

2025 Repress

Roberta returns to her own Night Moves label with her most accomplished work to date on NMR012. After a string of recent underground hits on prominent labels like NDATL, Worldship Music, and Innermoods, it is easy to wonder where she would go next. With all that cachet built up, a return to her roots with increased confidence has paid off in this exquisite and refined record.

"Your Touch" kicks off with Roberta's signature dusty drum sound before sultry vocals and electric piano drop in, setting a proper atmosphere for dancefloor action. Moody strings along with instrumental solos including one from James Duncan on mute trumpet elevate this track to an even higher level, certain to be big with the best deep and soulful house DJs across the globe.

On the flipside, "All The Things" works with a similar sound palette, but focuses more on harmony. Jazzy Rhodes chords slide over each other into an extremely infectious and memorable pattern, playing off the bumping and melodic bassline. The vibraphone solos are the cherry on top of what would be an A1 killer on any other record. Here it has to settle for being an unreasonably hot B side jam for the heads.

A captivating deep cut from the golden age of Italian library music, Il Ponte Dell’Asia stands as one of Piero Umiliani’s most evocative and exotic soundscapes. Originally released in 1967 as a private pressing for Italian the TV documentary by Corrado Sofia, this elusive gem blends Far Eastern motifs with the elegance of mid-century European jazz and the textured experimentation that defines Umiliani’s best work.

On Il Ponte Dell’Asia, Umiliani constructs a cinematic bridge between continents, layering modal melodies, sinuous flutes, shimmering vibraphones, and richly orchestrated strings over hypnotic rhythms and subtly psychedelic touches. The result is a masterful fusion of East-meets-West that channels both travelogue fantasy and avant-garde sophistication — a rare synthesis of traditional instrumentation and modernist sensibility.

Exported from the original tapes, pressed on high-quality vinyl and with faithfully restored artwork, this reissue offers a long-overdue return to one of Umiliani’s most immersive sonic journeys, an essential for fans of Italian library music, film scores, and genre-defying jazz.

Rediscover a lost jewel from the vault of one of Italy’s most visionary composers — where bamboo forests, smoky clubs, and dreamlike landscapes converge in sound.

©℗ 1967, Liuto Edizioni Musicali / Licensed to Holy Basil Records by Liuto Edizioni Musica

HARMONY020— One year from Ayū’s debut on Harmony—Neon Affair, four artists closely connected to the release were invited to remix their favorite track from the record. The result is a new remix EP featuring a dancefloor-driven A-side, crafted for peak-time energy, and a B-side dedicated to closing sets and trippy storytelling.

Side A opens with Maara’s remix of “Space to Come”- a progressive, sexy spacey journey with muttered vocals and a blissed-out groove, blended with her iconic sound. Keeping up with the dance-floor energy, Spray delivers a dreamy yet bubbly take on “Point Nemo.” Spray’s take showcases his distinctive musical patterns and fuzzy textures.

The B-side remix by Harmony’s Alfred Czital and Jeku sends the record to the late hours of the party. Jeku’s version of “Neon Affair” brings driving drumlines and euphoric prog beats, layered with hypnotic, trippy touches – sweet, yet dirty. Alfred Czital closes the record with his Dream Mix of “Space to Come,” an exciting and misty journey through sound – playful, metaphysical, and the perfect closing track for extended parties.

Lee ‘Scratch’ Perry & The Upsetters’ classic Return of Django. Lee Perry had already been making name in the Jamaican music scene for about a decade before Return of Django hit the UK charts in 1969. It was released after Trojan released
a hugely popular collection of Perry’s biggest instrumentals. This album is a must for everyone that enjoys that good old vintage reggae sounds.

Lee ‘Scratch’ Perry was a pioneer of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys.

Return of Django is available as a limited edition of 1000 individually numbered copies on white coloured vinyl.

Naarm/Melbourne-based rock powerhouse Shepparton Airplane are thrilled to announce the upcoming release of their fourth album, Forecast, set for release on August 8th via Wing Sing Records.

The highly anticipated follow-up to their critically acclaimed 2020 LP, Sharks, Forecast marks a compelling evolution for the band, leaning into a more song-oriented approach while still retaining the raw energy their live shows are celebrated for. While previous albums embraced extended jams, Forecast showcases a collection of more traditionally structured songs, with only one instrumental track, the epic slow-burner "Thursday, Simply."

Forecast was written during the endless Melbourne lockdowns, however the music maintains a surprisingly hopeful and, at times, pop-influenced direction.

Lyrically, Forecast delves into the darker facets of the human experience - isolation and introspection - exploring everyday interactions in tracks like "Saw You Coming," "Scribbles and Noises," and "Someone To Blame." These sit alongside apocalyptic observations in songs such as "Forecast," "Septic Dream," and "Hell No," as well as fictional narratives like the tale of a disenfranchised battler in "Angry" and the tragic seafaring love story in "Heaven Will Take Us In." Adding a touch of levity is "Stereo Youth," described by the band as possibly their most feel-good tune to Date.

Forecast promises to impress fans of outsider guitar-driven sounds and followers of the band members' other projects. Ultimately, the album reaffirms that raw, honest, loud rock'n'roll is alive and well in Naarm/Melbourne, Australia.

Kobe Dupree unveils debut album, ‘Voice from the Inside’, arriving 21st May 2025. It lands on fellow Chicagoan DJ Hyperactive’s 4Trk (4 Track Recordings), and features twelve tracks already supported by the likes of Dustin Zahn, Truncate, Korea Town Acid, Amanda Mussi & more, coming out on wax alongside the digital release.

Dupree’s cosmic ambient opener, 'Jacurutu', sinks you into deep, sub-aquatic techno hypnosis before 'Heretics' layers up alien sounds and rolling kick drums. 'Syk' brings edgy, unrelieved loops and muffled spoken words over more mind-melting rhythm. The supple sounds and otherworldly atmospheres continue on 'Forms', which is marbled with static electricity, with 'Interlude of Voice' marking a moment to reset amongst gorgeous celestial synth smears.

The second half of the album takes in the more punchy but still perfectly loopy deep techno of 'Memory Replacement' and psychedelic swirls of 'Tongue of the Unseen'. There is a mystical charm to the harmonic tones of 'Gammu', a moodier vibe pervades the suspensory 'Fogwood', then 'Semuta Music' traps you in tightly coiled drums and hi-hats while a backlit glow soothes the soul. 'One of Many Faces' closes with a heart-aching piano piece that gets deeply emotional.

Kobe Dupree is a techno artist from Chicago with a deep interest in sound design and minimalism. His musical experiments have been released on Trax Research, Double Vision Records and DJ Hyperactive’s 4 Trk, on which he released the ‘Stimulate | Iterate’ EP in 2024. He has a hybrid approach to production, which involves using a modular rig for sound design before moving to a DAW for arrangement and final touches, heard on the sophisticated and cerebral ‘Voice from the Inside’ album.

Italian techno force Alarico makes a striking debut on KEY Vinyl with 'Sweaty Techniques', a seven-track LP that encapsulates his signature style: groove-centric, stomping and irresistibly danceable. Known for his prolific output, the Berlin-based artist delivers a fast-paced and energetic sound, interwoven by the thematic thread of the whole release: a sweaty encounter.

From the opening pulse of 'Cradle to the Grave', rhythm takes center stage-percussion-driven and primed for peak-time occasions. Snipped vocals and bouncy baselines carve out some sort of hypnotic patterns, while deep, rolling low ends keep the momentum locked in. Gritty textures collide with fragmented modulations, twisting into distorted, high-energy productions. Across the LP, tightly coiled bleeps and moaning snippets emerge, lending a sinister yet seductive edge.

Then there's 'Dammelo'-Italian for 'give it to me'-which subsumes the album's thematic essence into pure physicality, embracing its vocal motif with a knowing smirk. As the record progresses, Alarico shifts between functional, stripped-back rhythms and more tension-driven moments, culminating in 'Touch My Heart', where sharper drum programming meets hypnotic vocal loops. Closing on a high, 'Jamira' encapsulates the album's crisp percussive edge, rounding off a release that is as relentless as it is intoxicating.
With 'Sweaty Techniques', Alarico solidifies his place as one of techno's most electrifying new voices-an LP made of steel, but definitely built to move.

The incredible story that began with The Most Mysterious Song on the Internet (TMMS) now enters an exciting new chapter: Skyscraper, the debut album by FEX.

Skyscraper features ten original tracks recorded in the early to mid-1980s-carefully re-transferred, remastered, and brought back to life. The album cover, designed by Darius S., brings the story full circle. Darius is the very person who preserved the now-iconic track Subways of Your Mind by recording it from NDR radio in the mid-80s. Without him, FEX may never have been discovered.

FEX's debut opens with its namesake, Skyscraper-a brooding, previously unreleased track the band once described as part of their "psychedelic phase." With haunting synth-helicopter textures and deep guitar riffs, it immediately sets the tone and raises tension.

The release flows naturally into the energetic and fully remastered studio version of Subways of Your Mind. This version of the TMMS - re-discovered on the "yellow label tape" by Reddit user Marijn-was long believed to be from a smaller home studio, but was actually recorded in November 1984 at Hawkeye Studios in Ganderkesee, near Hamburg.

Goldrush, first teased in raw form on FEX's YouTube channel, bends toward mechanical rhythm and shimmering synths, a snapshot of the band's experiments with programmed drum machine sound. Rückwardt's lyrics point to greed and criticizes materialism, and while the music leans toward pop sensibilities, it carries a raw, fractured edge.

Heart in Danger and I've Got My Eyes On You offer contrasting experiences-one rooted in classic post-punk tension, the other floating in melodic synth layers. The latter in particular feels like a fragment from a parallel radio history: a precise and one of a kind synth pop love song with a progressive touch.

From a rehearsal tape comes Dirty Slapstick, its urgency intact. Missing keyboard parts were later reconstructed by Michael Hädrich using his original DX7 synthesizer-recovering lost elements without rewriting the past. The lyrics take a wry look at forced optimism. Also included are the songs Talking Hands, Jenny and Strange Feeling, the latter being a slower blues-tinged cut, revealing yet another facet of the band's reach and Rückwardt's songwriting diversity.

The album closes where the legend began-with the original radio recording of Subways of Your Mind from Darius' cassette. This version of The Most Mysterious Song features alternate vocal effects, contributing to the track's enigmatic aura. Digitally transferred using a high-end Revox machine and carefully remastered, it now has its long-deserved official release.

The cover features a photo of the Eichenberg Bunker in Kiel-one of FEX's original rehearsal spaces and a symbolic monument to their sonic legacy.

MIDICRONICA, known as the final legacy of Nujabes and the ending theme of the globally acclaimed anime "Samurai Champloo" and singer Hiro-a-key
(origami PRODUCTIONS), who is also active globally under the name Nenashi, have teamed up to release "Itsumosobani" on 7-inch vinyl.
This work is a split album of songs by Shin-Ski, the poster child of Lo-Fi Hip-Hop, and KO-ney, an official AKAI Professional player and one of Japan's leading finger
drummers, and includes two songs, the mellow and nostalgic "Itsumosobani" based on jazz, and the emotional and laid-back Itsumo Soba n".
Hiro-a-key's pale and fleeting singing voice and MIDICRONICA's unadorned words will touch your heart when you think of someone important.

Blue and orange Stardust vinyl, limited to 500 copies. Since 2016, Indiana's Wraith have been emitting their incendiary brand of blackened thrash and speed metal into the world. Summer 2024 will see them release their debut full length under the Prosthetic Records label banner; prepare for Fueled By Fear. What started as a one-man band many moons ago has evolved into a propulsive beast of a band. Channeling a reverence to classic metal from a bygone era, Wraith incorporate their distinctively blistering sonic signature to create something urgent and contemporary. The band have previously described their collective mission as follows: a war of aggression on the dour confines of the modern metal scene and total sonic annihilation. Fueled By Fear captures the raw punk edge of their previous releases; a sound that will already be familiar to converts who have caught the band live in all their full-throttled abrasive glory. The album was self-produced by the band in Griffith, Indiana -, with engineering, mixing and mastering handled by CJ Rayson. Each member brings their own influences and stylistic flourishes to the table, combining to create a tightly wound, cohesive collection of scorching tracks that reflect their individual personalities and tastes.

"Stop & Go", released in 1973, is o)en considered one of Hamilton Bohannon's finest works. This album showcases a dis6nct and primal funk sound, different from his later, more disco-oriented material. It is a highly regarded funk album, characterized by its deep grooves, inven6ve arrangements, and a unique blend of instrumental funk with soulful vocal touches. It stands out as a more nuanced and varied offering compared to some of his later, more direct disco releases, making it a must-listen for fans of early 70s funk.

In the world of Pharaoh Overlord, little is ever as it seems. This band is less comprised of tricksters or mischief makers than fearless obsessives whose musical instincts take twisted and wild pathways. Now, fresh from forays into Italo-disco and synth-pop, they have thrown another still more mighty statement of intent into the universe. Louhi is a thunderous and majestic epic of joyful repetition and earth shaking power. A two-track minimalist-rock monolith forged from guitars, synths and hurdy-gurdy, inspired by the band’s eternal touchstone influence Outside The Dream Syndicate by Tony Conrad and Faust, and constructed around a single riff and melodic idea, it builds and evolves to fearsome pinnacles of elemental intensity.Luminaries and constant compatriots in the Pharaoh Overlord
headspace were recruited for this voyage into the ether. Vocalist and longtime collaborator Aaron Turner (SUMAC, Isis, Old Man Gloom)and Tyneside maverick Richard Dawson were equally keen to get on board, the former taking a spontaneous and improvisatory approach to his vocal parts, and the latter largely playing a part consisting of one guitar chord. Yet whatever routes Pharaoh Overlord take to their destination, a common theme is the consciousness-warping singularity of the riff and the mantra, and the temporal disorientation this can provoke mirrors the broader designs of this record, which takes traditional folk elements and transports them in the band’s singular time machine. “It’s our 25th Anniversary this year, and from time to time we hear wishes that if just we could play more of the stuff that we did twenty or more years ago” relate Jussi and Tomi. “We totally understand this. You could say we used Louhi to reset ourselves to the past, to be able to continue again to the future.” Aaron puts it another way, evoking simplicity in the chaos – “The world of Pharaoh Overlord is a magical one - every album is an invitation to enter that place and rejoice in doing so…”

The Time Capsule label unites record collectors and DJs of Brilliant Corners and Beauty & The Beat communities in London. For each release, Kay Suzuki works alongside one co-curator to reinstate and repackage the music they hold dear into perfectly restored historic artifacts.

For the first release, Brilliant Corners regular and Meda Fury signing Ryota OPP curates the reissue of Il Guardiano Del Faro’s 1978 album Oasis.

Born 1940 in Milan, Federico Monti Arduini was a child prodigy who studied piano and was already performing at concerts from the age of eight. He composed pop songs for other artists which sold millions of copies, but his own solo success came after he encountered synthesizers in the early 70s.

Viewed as a precursor of New Age sound art, Arduini was one of the first producers in Italy to use the Moog synthesizer and a meeting with Bob Moog in New York only added to this obsession. He was also an early adopter of the tradition among electronic producers to use a moniker to disguise his identity. Il Guardiano Del Faro (translated as “the guardian of lighthouse”) is a nod to the small Italian fishing town Porto Santo Stefano, where Arduini created his studio in the mid-70s.

He produced a number of albums from this seaside idyl of electronic instruments and tape recorders, but Oasis stands out from the pack. Released in 1978, it became a cult classic for its experimental sounds and emotional expressions. Spiritual synth sounds cover the album in a dreamy haze, oscillating between ambient and psychedelic. Sparing deployment of the Roland rhythm box gives dance floor favourites ‘Disco Divina’ and ‘Oasis’ touches of space disco and even teases proto-house elements like the great Sun Palace.

“The passionate, sweet and dramatic sound of Il Guardiano Del Faro made me fantasise about so many romantic aspects of Italian culture. Oasis is sonically more interesting than his other albums and these exotic, eccentric rhythms sound quite familiar to the modern music fans.” – Ryota OPP

Held on the Tips of Fingers (2005) was the album that launched Polar Bear into the spotlight, earning a Mercury Prize nomination and cementing their status as one of the most influential British jazz groups of the 21st century. Now, for the first time, this landmark album will be available on vinyl, bringing new life to a recording that helped redefine jazz for a new generation. Expanding on the ideas introduced in Dim Lit, Held on the Tips of Fingers saw the band refine their sound while pushing their compositions further into uncharted territory. The interplay between Rochford, Pete Wareham, Mark Lockheart, Tom Herbert, and Leafcutter John was sharper, the structures looser, and the music more expressive. It was a rare feat: an album that felt both urgent and timeless, raw yet meticulously crafted. Held on the Tips of Fingers was widely acclaimed, securing a 5-star review in The Observer and a place in Jazzwise’s 100 Jazz Albums That Shook the World and The Guardian’s 1000 Albums to Hear BeforeYou Die. This long-awaited vinyl edition revisits an album that shaped modern British jazz and inspired a wave of experimental music that followed. Held on the Tips of Fingers remains as vital and forward-thinking today as it was in 2005, standing as a testament to the groundbreaking vision of Seb Rochford and Polar Bear.

To celebrate its 20th anniversary, Chinese Man revisits We've Been Here Before with a special expanded and reimagined edition. On the menu: unreleased tracks, remixes, live versions, and original reinterpretations featuring special guests such as La Yegros, OBF, and Chill Bump. This rework offers a fresh perspective on the trio's universe, driven by remixes from Manudigital, G?EG, and Lorkestra, who bring a wave of modern energy to the group's iconic tracks. The album also revisits Chinese Man's classics, including a brand-new version of Get Up and a powerful live performance of the legendary I've Got That Tune, featuring General Elektriks. A touch of the past, a bold step into the future - this shape-shifting album is a heartfelt anniversary gift.

Over the course of nearly a decade making music, Alicia Jeanine and Jed Smith have charted a distinctive course through the history of pop, evoking influences as varied as the 60s folk of early Fairport Convention and Vashti Bunyan, the sunshine pop of Margo Guryan and Laura Nyro, and indiepop touchstones like Dear Nora, Marine Girls and Dolly Mixture. The new album finds Jeanines grappling with themes of personal upheaval and self-excavation, adding weight to their finest set of songs yet. With Alicia's lyrics incisively interrogating connections, ruptures, and time and its reverberations, songs like "Coaxed a Storm," "What's Done Is Done," and "On and On" combine rich melody with co-composer Jed's crisp arrangements (along with contributions from longtime live show bassist Maggie Gaster) to stellar effect. Where How Long Can It Last really shines is, as always, in the songs. While the themes are sometimes heavy, the melodies and harmonies are simply heavenly, elevating these economical songs to give each the feeling of a lost classic. From the first notes of opener "To Fail" to jaunty closer "Wrong Direction," this album announces itself as the work of a band in full command of their art (and craft).

Two of the most prolific remixers in the world of Disco, Dave Lee and John Morales have teamed up for one of their biggest projects to date - 'Mixed To The Maxxx' After gaining access from the legendary original artists these two highly esteemed producers take the multi-track tapes of many classic Disco, Funk & Soul tracks and re-work them...to the Maxxx! Here we are treated to a 12" sampler of what is to come from the Album later this year.
First up, the Bass twanging floor filler version from Dave Lee of 'The Brothers Johnson - The Real Thing' which has already been causing a stir in his DJ sets of late, featuring lots of musical parts not audible in the original. Following up is Dave's Friday Night Fever Mix of Philly legends 'Bell & James - US chart hit "Livin' It Up (Friday Night)' where he beefs up and extends the original to re-step back out on the town, a masterclass in elevating something that is already great to start with. On the second 12" we have John Morales taking on a biggie! Inner Life's - Aint No Mountain High Enough. Here John handles the prestigious parts with the respect due, re-shaping key moments in a new light and bringing the sonics up to par for modern dancefloors, an Anthem Mix indeed. To finish proceedings Morales takes on British Jazz-Funk band 'Light Of The World' with their mum loved classic 'London Town' bumping the tempo a touch and beefing up the funk.

Pioneering British electronic musician Mark Van Hoen is set to release his latest solo album, The Eternal Present, on 23 May 2025 via Dell'Orso, a remarkable collection of tracks spanning nearly three decades of recordings from 1998 to 2024.
The Eternal Present embodies its philosophical title, inspired by Joseph Campbell's concept that "Eternity isn't some later time... Eternity is that dimension of here and now that all thinking in temporal terms cuts off." The album explores music as the ultimate expression of existing in the present moment, transcending time and creating a sonic experience that is simultaneously "spectral, ghostly, melodic, harmonic, and decayed."
An influential contemporary of Aphex Twin, Autechre, LFO and Boards of Canada, Van Hoen is best known for his solo work as Locust in the mid-'90s, which helped push post-rave electronic music into newly challenging realms. His extensive discography spans releases on influential labels including R&S, Touch, and Editions Mego. Van Hoen has worked on numerous collaborations throughout his career, including with Nick Holton and Neil Halstead of Slowdive under the moniker Black Hearted Brother—their album Stars Are Our Home was released in 2013.
The Eternal Present continues the lineage of Van Hoen's most significant works, with artwork by Ian Anderson (Designers Republic) reflecting the album's "eternal present" concept with a mysterious visual approach, allowing listeners to form their own imaginary landscapes. The mastering by Stefan Betke (Pole) enhances this document of the evolution of the artist over the years as he continues to hone his signature sound. Using a host of instruments including analogue synthesisers and employing various recording approaches, Van Hoen's equipment changed dramatically over the years—from early DSP processing used on his first solo record on Apollo ‘Playing With Time’ to various synthesisers, modular systems, tape machines, and digital workstations—contributing to the album's rich sonic diversity.
Throughout The Eternal Present, ideas are woven together through spoken word quotations and abstract vocals featuring notable collaborations from Rachel Goswell on the Slowdive cover "Shine" (from 1998), Megan Mitchell (Cruel Diagonals) on "Somewhere", and session vocalists Clare Dove and Dorothy Takev on "No-One Leave" and "It's Not You (In A Way)" respectively. The use of cleverly assembled vocal samples from an "undisclosed but very famous female vocalist" on "Multiplex" (2016) and the indistinct vocalisations on the Cabaret Voltaire-influenced "Only Me" (2017), constantly challenges and disorientates the listener through fluctuating, ever-changing musical elements.
The album was recorded across multiple locations including Somerset, London, Los Angeles, and New York—even beginning compositions during flights and in airport lounges—reflecting Van Hoen's changing personal circumstances, environments, and situations throughout the years.
Of Indian-Jamaican descent, Van Hoen was born and raised in England, absorbing diverse musical influences from his neighbors—African-Jamaican on one side and Punjabi Indian on the other. "Each family played their own music frequently, and I absorbed it." His musical foundations include Brian Eno, Kraftwerk, OMD, Tangerine Dream, Japan, Cabaret Voltaire, and Cocteau Twins, later finding inspiration in My Bloody Valentine, LFO, and '90s producers Robert Leiner and CJ Bolland.
These eclectic influences are evident on The Eternal Present, which contains snapshots of different periods in his life, with changing circumstances across decades creating a variety of textures and sounds. As Mark explains: "It holds the same sonic signature as many of my solo releases and early Locust albums. It's a natural development that has taken place in the last few decades. It's even related to the earliest music I made as a teenager, although perhaps more sophisticated."
“What a remarkably affecting, majestically broad and captivating work it is..what strikes you most is the album’s myriad diversity. Outstanding” (Electronic Sound)

“Whether channelling mid- 70’s Eno, early Aphex Twin or Neu! his vivid sounds shimmer with emotional weight” (Mojo 4*)

"Musically, Van Hoen belongs to a distinguished family tree. Originally influenced by the likes of Brian Eno and Tangerine Dream, and later presaging both Autechre's glitch and Boards of Canada's pastoral IDM." (Pitchfork)

Juan Ramos is up to bat for the next Körperspannung release with the four-track stunner EP ‘Hard Bois’. Deeply connected to the ongoing pursuit of gay excellence and endeavors, Juan honors those who have come before us and touches us deeply in our soft spots at all the right moments. Across ‘Hard Bois EP’, the Berlin resident and behind the scenes operator (IYKYK) shows precisely why he’s one of dance music’s most exciting and dependable prospects. Opening the release, ‘Hard Bois’ combines snaking drums in a melange of samples with bff Kris Baha vocalizing sizzling and snaking lyrics winding around this propulsive club cut that could easily be a snapshot right out of a scene from Chicago’s iconic Medusa Club. ‘Saviour Sound’ is music that makes iron pipes sweat with hedonistic abandon. Exposed steel vibrates to a hardcore beat. Gears interlock to move the whole building into autonomous productivity. Conduits of electricity pulsate to the drama unfolding in a dim lit factory with dank corridors leading us on a path to a flowerbed growing and thriving in a subterranean hydroponic garden.
On the flip, the alarm strikes and it’s (shout it out): ‘Werk Day’! This is your call to get buttoned up and ready to make dreams reality. Head to the gym, pump those guns and then house your body. Technological funk winding through a sturdy and rock hard kick that helps you ride through the chasms of pleasure and pain. Rounding out the release is your ‘Acid BB’ rocking and roaring through the airspace of atomized acid matter, a perfect closer to a thoroughly exciting direction Juan Ramos takes with his newfound sound. Play it loud. Play it proud. Juan is one of our own and we do all we can to take care of each other.

From his early-’60s days as hip shaker Twistin’ Harvey to his late-’70s nights on the light up dance floor in search of a “Disco Lady,” Harvey Scales survived scrapes with the pop charts, bankrupt record companies, walk outs, sit ins, strikes, price hikes, lay offs, and under table payoffs over a 40 year career. Compiled here for the first time are Scales’ Cuca and Magic Touch recordings, 27 slabs of cracker jack R&B, stomping northern soul, divorce-ridden deep soul, feverish funk, and hustling disco spread across 2 LPs and housed in a deluxe gatefold jacket.. Bill Dahl’s in depth notes document the entire sordid affair, with dozens of period photos and ephemeral bits illustrating the accompanying 20 page book. So necessary.

From his early-’60s days as hip shaker Twistin’ Harvey to his late-’70s nights on the light up dance floor in search of a “Disco Lady,” Harvey Scales survived scrapes with the pop charts, bankrupt record companies, walk outs, sit ins, strikes, price hikes, lay offs, and under table payoffs over a 40 year career. Compiled here for the first time are Scales’ Cuca and Magic Touch recordings, 27 slabs of cracker jack R&B, stomping northern soul, divorce-ridden deep soul, feverish funk, and hustling disco spread across 2 LPs and housed in a deluxe gatefold jacket.. Bill Dahl’s in depth notes document the entire sordid affair, with dozens of period photos and ephemeral bits illustrating the accompanying 20 page book. So necessary.

The debut album from Addy Weitzman, ‘Light Months Will Fly Over Us’ explores new-wave, romantic pop and art rock with elegance and ambition, drawing from Weitzman’s scattered network of collaborators, as well as a “frighteningly vast” personal archive of compositions. Sequenced by Seth Troxler and released on his Slacker 85 label, it represents a pivot in musical direction for the imprint, and a showcase for the songwriting craft Weitzman honed as a member of cult electro duo Footprintz, and Montreal synth-pop projects The Beat Escape and Dawn to Dawn.

The title Light Months Will Fly Over Us is derived from a line in a poem by the Russian writer Anna Ahkmatova. Weitzman was immediately struck by its “hopefulness, its mystery… it gives the feeling of being suspended, hanging in a dream-like state”. This interpretation has been translated to the album, rich in memorable songwriting that nonetheless invites the listener to lean in further. Delicately mixed by engineer Pierre Guerineau, known for his work alongside Marie Davidson, each of the eight tracks gently interrogates life’s greater mysteries; fear, love and salvation, each defining and revealing the human soul.

Opener ‘End of The Line’ invites us into an immediately lush space of lounge lizard existentialism, soft brass and piano helping Weitzman introduce “where the journey begins and the fantasy dies”. Across orchestral arrangements arranged by Adam Wilcox, whose sensitive, ambitious compositions are weaved throughout the album, ‘Beyond The Speed of Life’ brings to mind the laments of Scott Walker. Navigating vulnerability via grandeur, Weitzman’s earnest vocals flourish in wide-eyed call-and-response with the object of a transcendent love affair.

Alongside collaborator, Richard Lamb, the next chapter of the LP plunges into contrasting machine-driven moods; the wry, bubbling ‘Entertainment Is All I Wanted (And I Found It)’ is imbued with the playfulness and experimentation of 80s electronic pioneers such as Fad Gadget, while the tougher, icier ‘Stranger To Your Kind’ shifts in a more instrumental direction, recalling Weitzman’s dancefloor experience, as well as contemporaries such as Matthew Dear.

Album centerpiece and striking first single ‘Running & Returning’ is the first of a suite of three tracks in collaboration with Weitzman’s The Beat Escape and Dawn to Dawn bandmate, Patrick Boivin. Blending lush saxophones and angular guitars with a wistful melodic touch and lyrics, its irresistible art-rock rhythm provides the foundation for one of Weitzman’s most involving vocal performances.

It’s followed by an anthem for existential absurdity: ‘Ice Cream Candle’ provides a driving acceptance that “the more and more you learn, the less you understand”; Weitzman submits to this uncertainty with equal grace on ‘No Man’s Land’, as baroque invocations of “words swept through the fields” and meeting “where the water lilies grow” give way to a blistering guitar solo, humbly riding hypnotic percussion.

For the compassionate finale of Light Months Will Fly Over Us, Weitzman narrates the experience of ‘Gabrielle’, a woman slipping between rooms between shuttered blinds in the towering city, “where cigarettes and roses fill the air.”

As lyrically delicate as it is musically ambitious, Light Months Will Fly Over Us is a sublime debut album, enriched with care, love and much-needed enchantment.

Matt Duncan is one of the biggest artists you have not heard of yet. This particular album, "Soft Times" has almost 20 MILLION STREAMS on Spotify alone. You might not know Matt Duncan, but you have definitely heard his music. His music has been on "The Vampire Diaries," "Private Practice," and HBO's "Bored To Death." Most recently Matt was a featured performer in the Tony Award winning Broadway musical, "Hedwig and The Angry Inch." The album art was created by Robert Beatty, who has recently done art for Tame Impala, Flaming Lips, and more!Matt Duncan creates music that would have fit in perfectly on your Dad's AM Radio in the 1970's. Touches of Blue Eyed Soul await you on this LP. This album showcases the strength of Matt's arranging. Strings, horns, layered vocals all make this perfect mix of Motown and Bacharach. There is a track for any ear on this LP.

Repress!

Groovin recordings celebrates the release n° #100 repressing one of the most essential electronic-dance records of all times.

Smut is the project of lyricist Tay Roebuck, guitarists Andie Min and Sam Ruschman, drummer Aidan O’Connor, and bassist John Steiner. Roebuck, Ruschman and Min started the band a decade ago in Cincinnati, Ohio. Since then, they’ve played alongside Bully, Wavves, and Nothing. After years in the Cincinnati DIY scene, they made their Bayonet Records full-length debut, How the Light Felt. The record was a revelation. Pitchfork called it “a rigorous, decade-spanning study,” and a “well-oiled spin on late-’80s guitar pop.” Under the Radar called it “pop perfection,” that “blends subtle hooks with wistful lyrics.” It was a record that explored grief through the lens of melancholic dreampop, using drum machines and layered, intricate melodies.
Tomorrow Comes Crashing, Smut's first record with O'Connor and Steiner, sees the band re-energized and trained on the limitless potential that comes with making music with people you love. Galvanized with a new lineup, Smut focused on creating a record that possessed the same towering intensity as the records that first got them into music: Three Cheers for Sweet Revenge, Relationship of Command. The outcome is ten of their most intense, bombastic, and focused songs to date.
Catharsis bursts through the seams throughout Tomorrow Comes Crashing. “Syd Sweeney, ”inspired by the actress, is the record's centerpiece. It's about how profoundly strange it can be to be a woman, to be misunderstood by people who don’t even know you. The song is driven by chugging guitars and big, rolling drums. In other words: stadium rock about perception. Paramore meets Dookie. “She connects to the youth and the girls in the water/All she amounts to is someone’s daughter,” sings Roebuck in one particularly poetic moment. The song comes to a thrashing metal-inspired breakdown. It’s ecstatic.
To make the record, Smut recorded “as live as they could,” alongside Aron Kobayashi-Ritch(Momma) in a studio in Red Hook, Brooklyn, over the course of ten days. “We have so much energy right now,” says Roebuck. Right before they went off to New York, Roebuck and Min got married, with the rest of the band by their side. The recording was a true labor of love — driving from Chicago with all their equipment, returning from 12 hour studio days to sleep on friends' couches and floors, Roebuck completely blowing her voice by the end. Smut has always been DIY. Because they love it. Because they have to do it–there’s no other option. Tomorrow Comes Crashing is the culmination of that DIY spirit: making a record that completely encompasses the intensity, moodiness, and emotion of their journey so far.

Reissue of in-demand Italo title, with accompanying edits by Hysteric. "For the much-requested 12'' reissue of Roaring Mosquitoes, Best Record followed the hint by a die-hard German researcher and esteemed DJ of 'hidden musical treasures' Frinda Di Lanco. Further enriching this reissue - masterfully remastered by Dom Scuteri - with two of his splendid edits is the Australian DJ-producer George Hysteric, one of the world's leading authorities and a leading figure in Italo Disco. The juxtaposition of the two songs performed with grit and physicality by Agostina Casalino and her cousin Antonietta Casalino (aka Roaring Mosquitoes) highlights two aesthetically and rhythmically similar approaches, albeit with different roots and inspirations. "You Aren't With Me" has the merit of not wanting to reinvent the genre, but exploits the familiarity of pop-dance forms, obtaining an immediate catchiness. The piece stands out for its linearity while reworking melodic mechanisms typical of the 80s new wave: short instrumental intro, well-defined verse-chorus, obsessive repetition of melodic hooks that make it an immediate and "dragging" song on the dance floor. The arrangement focuses on a solid electronic drum groove, sinuous basslines, clean guitar riffs, "cutting" keyboards and the use of the chorus typical of the Italo Disco of those years. Some passages recall the melodic line and rhythmic progression of "Tonight... Crazy Night", an intriguing song that the Canadian artist Dorine Hollier created in 1984 at the Titania Studios in Rome with Pierluigi Giombini. Even with "Ah Ah Ah Ah" which features a vibrant and cheerful sound there's a playful use of citation for some idea that Diego Pepe took from a Micky & Joyce track. It evokes the "space disco" spirit of Jean-Pierre Massiera and the influence of the French scene of 1979: polyphonic synthetic strings, echo effects on electronic hi-hats and a vaguely futuristic atmosphere, but with an even more captivating sound revitalized with more scratchy modern touches and compressed basslines. A mix of vintage and contemporary that enhance its charm."

Monde UFO follow the celebrated ‘7171’ album with a trip to the mysterious ‘Flamingo Tower’. In the shadows of the Los Angeles bustling music scene, the enigmatic collective led by visionary Ray Monde create a trance-like fusion of psychedelia and avant jazz, mantra-like evocations, brash moody ambience and passages reminiscent of long-lost library music.

Magnifying Monde UFO’s idea of musical chaos, their early sonic escapades into off-kilter exotica is now elevated with sweeping atmospheric waves of sound inspired by an eclectic brew of Arto Lindsey, Khan Jamal’s ‘Drum Dance To The Motherland’, Keith Hudson, Milford Graves, Marion Brown, Don Cherry and Lennie Tristano.

Cast deep into number theory with occasional quasi-religious touchstones, ‘Flamingo Tower’ bustles with background sounds overlaid with intimate melodies conjuring plenty of suitably strange illusions; a synthetic orchestra plays baroque pop, a guitar is set to auto destruct and Ray Monde’s hushed vocals carry a bracing narrative. It’s an evocative album, one for the heavy music nerds, sprinkled with ear candy and proliferated by mysterious numbers which litter the song titles.

“Monde UFO wander through a humid mist of exotic samba shuffles, shamanic whispers, and reverberating laser beam synthesizers.” New Commute

Known for her delicate, subtly psychedelic approach to production - all subtlety is thrown out of the window on the opener, “Parents and God”. We are immediately confronted with a slamming Chicago house style beat in style of Mr Fingers at his most utilitarian. It slams, jerking in and out of tempo like Ron Hardy in beast mode.

Out of nowhere a soulful church organ arrives - at first for a brief respite - but then for an extended solo, which gives way to an 80s electro style breakdown before reverting back to form. It shouldn’t work, but somehow it does - to a dizzying extent - and heirin lies Mayurashka’s magic: a blatant disregard for norms and a deft touch that makes the unorthodox so compelling.

“Notango" takes another big left turn - sitting somewhere between tribal seance and rain dance, it’s mostly organic drums and otherworldly sound effects that combine to drag us deeper into the wormhole before “ Vat Murmur” takes us back into the light with its uptempo disco energy and giving way to heavy chugging bass. This one is equally for fans of idjut boys and Larry Levan.

The EP rounds off with the title track “ LSI dreaming” - to try and describe it is almost impossible, but let’s say it starts of with a mid 2000s Perlon-era tech house energy before things quickly escalate beyond all recognition and then just hover with lysergic intensity. If I ever closed panorama bar, this is the track I’d end with.