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Avant-garde cosmic sounds from Senegal, Wau Wau Collectif's "Yaral Sa Doom" is a groundbreaking album spanning borders and musical scenes. Inspired from West African tradition, Sufi praise songs, spiritual jazz, and dub rhythms, the effect is a genre defying entry in outernational sound. Hypnotic percussion loops across sweeping pads, call and response chants echoes layer over electronic beats, and children's voices sing out to recordings of crashing waves. In 2018, Swedish music archeologist and leftfield musician Karl Jonas Winqvist traveled to Toubab Dialaw, Senegal, a small fishing village turned hub of Senegal's bohemian art scene. Over the next weeks, local musicians, percussionists, poets, and beat makers came together, sketching out ideas and recording free improvisation. Winqvist returned to Sweden, trading recordings back and forth over WhatsApp with Senegal based collaborator and studio engineer Arouna Kane. "Yaral Sa Doom" is a Wolof phrase that means "educate the young." Central to the album is this theme of education, with songs that directly address social issues facing contemporary Senegal, education, and immigration. "Today you must educate children with an instrument and art, when you teach them an instrument you teach them to use their spirit," says Djiby Ly. With over 20 contributing performers from Senegal and Sweden, Wau Wau Collectif's debut is layered and complex, yet maintains a central vision. "It's like diving into the sea," explains Kane. "There are all different species of fish swimming around, but together they make the ocean." Nonetheless, it's also a geographic anomaly, made possible only by exchange of the internet age. An exceptional recording on its own, "Yaral Sa Doom" is a visionary entry in the future of transglobal collaboration

LONE - ABRAXAS EP IS A THREE TRACK EXCURSION INTO ETHEREAL ACID

Lone reveals the first physical release on his new imprint, Ancient Astronauts, which has been set up to release new material whilst working on his next studio album.

The three track EP, Abraxas, sees the producer carry out his first experiments with 303 acid packaged up in a breakbeat club tool focused sound – an idea which was sparked from hearing friends playing ‘90s drum and bass at slower speeds than usual.

The result is a rip-roaring trio of tracks, with the heavy bass rumbles and searing squelch of Abraxas undoubtedly cementing the title track as the chosen club destroyer. Young Star Cluster follows up with a marriage of the rolling funky drummer break with bursts of 303 acid and Lone’s trademark empyrean breakdowns before How Can You Tell takes us deeper still, with choral pads opening the door to another chapter in the multifaceted producer’s sound.

Analha was one of the first approaches I had with the design of analog basses and drums, to understand the way in which we can involve so many sounds and transform them to our own liking, to give it its own narrative, a sense, an identity in which it can be navigated about different styles without problem.

They are two pieces that make up totally different break paths where "Mi ama Dic K no" A1 is my own exploration and vision of the break beat, three melodies written in F # that count the subtlety, while the bass contrasts in an aggressive idea to the beat of many changing rhythms in the drums, which sorfs between a Mpc, 808, Dsm & V Modular ; Classic trip hop voices samples that guide the way this own idea progresses on the breaks and pads that generate a more complete environment with a very energetic atmosphere that is constantly on the rise in the active and natural development of the track.

Towards the B side "Run mami run" B1 is composed by a classic intro of acid cut while some seconds of drums interpose which are accompanied by a radio narration of a chase, a return change is present with a vinyl spin between voices from GTA & WU TANG CLAN which make an intro for an infusion of breaks fully aligned to the beginnings of oldskool drum and bass which are accompanied by voices recorded, treated and edited to connect more directly between the spaces interrupted by the glitch acid chords.

Among contrary structures "Analha" contains hidden but marked criticisms, it is a project that comes from 2018 and ended at the beginning of 2019 which made him think about how to involve more than music within his own sound narrative.

The sonorous identity of rachiid today is different, he understands his environment but does not believe in adapting, he tells us that each exploration and discovery during these years have led him to think how this first release was born until now but is not connected at all with what nowadays, describes his sonority today as changeable, essential and highly with IDM, experimental and breaks.

- generic sleeve repress -

It has been a little over a year since the release of 747's debut album, in which the Canadian masterfully drew notes of inspiration from the 90s to create an enchanting hour-long dream. In his first EP since, 747 returns from a temporal leap, bringing with him a blend of sounds and expressions to forge a timeless trip which hinges on the sounds of the 303.

Opening the release, "you,you" unfolds with a gentle and shimmery padded ambiance of anticipation. Gentle and light-footed percussion is soon interrupted by a dramatic siren, a warning beacon. Frenetic energy ensues, a frantic rush to the floor met with a cloudy head. Encompassed in an envelope of disorienting wailing and intermittent buzzing, but finally grounded by the familiarity of a 4/4 bass drum.

"Does Anybody Remember Laughter?" steps in to relinquish the force of gravity. The animated arpeggio and gleaming singing acid line rise up, uncovering the kaleidoscopic nature of the structural surroundings.

"While My 303 Gently Weeps" divulges further, exposing an underlying grid of dark geometry - binary and robotic. The topology of surfaces becomes increasingly fractalized, until the solo overtakes with a somber sadness. The 303 notes guide the mind on a melancholic and meditative walk along the grand staff, met after the break with a sense of hope and serenity.

Brian Leeds a.k.a. Huerco S' West Mineral label present a groggy Midwestern ambient doozy with Chat, the first collaborative release by Pontiac Streator and Ulla Straus
Pontiac Streator previously appeared as a guest on the first West Mineral LTD release, Pendant's Make Me Know You Sweet, while Ulla Straus is perhaps best known for her part on the cultishly adored bblisss compilation tape which introduced Huerco S.'s Pendant alias to the world at large.
Their first album together is a bedroom-crafted confection where drowsy blues and raga smudge with lounging exotica themes in a blunted style to properly heavy-lidded effect.
Chat was recorded on July 5th in Pilsen, Chicago on Ulla's bed after a long week spent dancing with friends, staying up all night typing in chatrooms, and hate-watching Fox news. The results channel that experience into four lop-sided creations that feel satisfyingly burned out and immersive, like the murmur of zonked chat between close friends.
In four parts; Chat One thru Chat Four, the record unfurls with a muggy mid-fi tension between its illusive fidelities, kindling a smoky atmosphere that colours listening spaces with seductive smells
and a muggy, keening tension that recalls the minutes before sundown
This balmy feel of the surreal comes out in a sylvan patina of sweetened cicadas and curling pads urged along by a stream of wooden drums, variously recalling Spencer Clark on some kind of
Aguirre soundtrack mission in the tropics, a heatsick Rainforest Spiritual Enslavement piece, or, in the dream-pop drift of the last part, like Leven Signs smudged by Muslimgauze.
Coolly serving to expand West Mineral LTD's remit after that spellbinding Pendant album and a 12" of ectoplasmic dubs from uon, the flux of arid/fluid textures and para-dimensional fidelities in
Chat feels somehow calming yet fraught with a somnambulant appeal that's dangerously easy to

Emerging from the Toronto warehouse scene, Tush is a rising electronic music act powered by Kamilah Apong and Jamie Kidd. Taking inspiration from electro funk, early disco, post-punk and '90s house; their debut album 'Fantast' embodies the rawness, vulnerability, and intimacy of the dancefloor.

'Fantast' kicks off with the slow burning 'Wavy Baby', an invitation to get close, get intimate and submit to the groove: "Vulnerability is the key to us getting to that next step of intimacy". Up next is lead single 'Chrysalis', a high octane ride through a technicolour fantasy world of heady synths and driving rhythms that propel Kamilah's voice into an erotic stratosphere.

'Don't Be Afraid' is about having the courage to love defiantly, urgently, and with intention. Driven by Jamie's infectious bass lines and FX blasts, it smoothly transforms into an uplifting gospel-infused track.

Two high points of the album, 'Jessica F***' and 'Marathons', highlight Tush doing what they do best. These tracks are the sound of the warehouse scene that birthed the project in the first place and the late night jam sessions that were full of possibility pre-pandemic. Here, Tush really stretch their improvisational muscles - the interplay of raw soulful vocals, hypnotic basslines, synth pads, and heavy disco rhythms is at the core of what makes them so invigorating.

'Fantast' closes with the uplifting sunrise energy of 'My Joy', the light at the end of the tunnel. "This song is enchanted by the backing vocals of my friends and chosen family, who are my cornerstones to working through the wonderful mess that I am". Kamilah adds "The track gives me this feeling that - no matter how hard the world tries to beat it out of me - I can and I have had to work hard to cultivate my own happiness in my own sacred spaces - one of those being Tush. Ultimately, this is all I really need".

Birthed in Brooklyn from her home studio during lockdown, producer and stay-at-home DJ Lauren Ritter unveiled her own, newly-minted label Rift Vision last winter with four deep,
glittering, dream-like compositions. As the world begins to re-open, Rift Vision returns with a stellar cast of guest artists to provide their own take on her four originals.
The inimitable Octo Octa kick-starts the project, giving “Vespers” an injection of energy with groovy, bouncy percussion that underpins the track’s warm and buoyant pads. Bumako visionary Jenifa Mayanja gracefully pairs vocals and rhymes from Tenesha The Wordsmith and
JB!! AKA Dirty Moses with warm, floating, and glistening melodies that refresh “Thirst Trap” for the summertime.

Re-mastering by: Kevin Gray

This is a reissue of a now out-of-print album from live trio date by the legendary LA-based pianist, composer and multi-bandleader, Horace Tapscott. Pianist Horace Tapscott is always at his best when he is leading a trio. Born in 1934 in Houston, Texas, Horace came from a musical family centered around his mother, Mary Malone Tapscott, who worked professionally as a singer and pianist. When Horace was nine, the family moved to Los Angeles. As a teenager in the late 1940's, Horace was surrounded by the music of Central Avenue: Art Tatum, Charlie Parker, Coleman Hawkins, Dexter Gordon, were among the many cats on the set. Around this time, Horace also began to take music lessons from teachers Dr. Samuel R. Browne and Lloyd Reese, whose other students included Eric Dolphy and Frank Morgan. Horace's musical studies included trombone in addition to piano.

In 1952, Horace graduated from Jefferson High, got married to Cecilia Payne and went into the Air Force. Horace played in an Air Force Band while he was stationed in Wyoming for his term of duty. After mustering out, he returned to Los Angeles where he worked around on various gigs until he joined the Lionel Hampton Big Band as a trombonist.

In 1959, Horace finally went with the Hampton Big Band to New York, where his friend Eric Dolphy introduced him to John Coltrane. A tough winter, a lack of gigs, and too many nights on the floor of a friend's art gallery finally sent Horace packing for sunny Southern California, where a life with wife and family awaited his return.

The sixties saw Horace emerge as a die-hard leader of the Avant Garde. Horace began to gain public notice playing with his own group, that included alto saxophonist Arthur Blythe, bassist David Bryant, and drummer Everett Brown II. Horace also appeared on records for the first time.

Horace was always outspoken about racism, politics, stereotypes, and social ethics. His forward-minded vocal presence on and off the microphone is as much a part of his art as his piano playing. As a result, he was labeled a "dissident," categorized as an "employment risk," and black-listed from the music industry establishment in the early 1970's. None of this slowed Horace down. He began gigging sporadically at Parks and Recreation events and for churches around Watts. This "dark period," with his only regular gig at his friend Doug Weston's Troubadour on Los Angeles' "Restaurant Row", was also a time of intense creativity.

Around 1977, Horace reorganized the Pan-Afrikan Peoples Arkestra with the help of several old friends and many new faces. The Arkestra performances involve singing, dancing, and poetry in addition to the music. Soon after the new group's debut, Horace came to the attention of producer Tom Albach who contracted Horace to record a number of albums for Nimbus Records. Albach also helped introduce Horace to an international audience by arranging several European tours.

The 80's saw Horace emerge as one of jazz's premiere solo pianists. He recorded several solo piano albums for Nimbus.

Repressed !

Luca Cazal & Josh Baker kickstart Richy Ahmed’s new vinyl focused imprint, Back 2 Black, with a brace of intergalactic tracks. The new label’s first release also features a remix from British electronic stalwart, Radioactive Man.

Cazal remains a central figure within the house & techno community; his DJ residency at Circoloco is longstanding and releases for labels like Crosstown Rebels, Classic Music Company, his own See Double label, and Richy Ahmed’s Four Thirty Two imprint have marked out his production prowess and ear for a good groove. Josh Baker has been rising up the ranks over the last few years, with releases for Ben Rau’s META label, Locus and his own You&Me label.

On ‘Organ Nuke’, Cazal & Baker dip into the kind of spacey techno house that was forged by Detroit pioneers Underground Resistance, as funky percussion and organ stabs are coupled with dreamy pads and cosmic tones. ‘Rocket Ship’ continues these themes, with heavy 909 drums anchoring a cheeky acid bassline and flashes of cosmogonic sound.

British DJ & producer, Radioactive Man, has long since been at the coalface of electronic music’s leftfield. As one half of Two Lone Swordsman (with the late, great Andrew Weatherall), and multiple aliases for his industrious flow of releases, the revered producer injects a heavy dose of classy electro and Drexciyan vibes into ‘Rocket Ship’. Rolling breaks unfurl in the electro beats as head scrambling keys and rasping bass stimulate the senses for a funkin’ body poppin’ workout.

Berlins herausragende Technoterrestrial Ellen Allien bringt uns die letzte Ausgabe der Mammut-Compilation-Serie We Are Not Alone, insgesamt drei Teile mit jeweils 11 Tracks. Jede der Compilations enthält brandneue Sounds von Künstler*innen, die entweder bereits auf der legendären Veranstaltungsreihe gespielt haben oder zukünftig auf We Are Not Alone-Partys auftreten werden. Hier kommt das Abschlusskapitel, schnallen wir uns an für ein freakiges Finale...

Ryan James Ford - EQ 10MG Base - Kybernetische Assimilatoren dringen in die Exosphäre der Erde ein.
LADA (Dasha Rush & Lars Hemmerling) - Kassi - Dichter kosmischer Minimalismus
Cosmin TRG - Sourde - Unorthodoxe Renegaten-Snares
Heidi Sabertooth - Innergaze - Introspektive Präzision eines Lasers
Henning Baer - Nightwing Microlight - Donnernde kataklysmische Vibrationen
Setaoc Mass - Silent Tension – Urzeitliche, rituelle Praktiken
Truncate - Basic – Straff, Athmosphärisch und druckvoll
Shlomi Aber - Terrified - Schauriger Technoterror!
Hemka - Culture - Der Traum von einer wilden Fahrt durch die Nacht
Bertrand. - Midsummer Dream – Raue Beats und fluffige Pads
Adriana Lopez - Chaos Transition – Fehlfunktion, Schmelze, Supergau

Over the last 3 years, original 90’s D&B imprint Odysee has been steadily building its profile, both through its ‘Remix/Remaster’ series as well as a growing number of new releases. Label Partner Andy Odysee continues to develop his own unique sound with this third solo E.P. All three tracks work together as a triptych, whilst simultaneously maintaining their own unique identity.

Ruthless (In Purpose): Insidious (In Design) immediately establishes an ominous mood of brooding menace with its creeping bass stabs. As the drums enter, the track builds towards a drop of deep subs and driving breakbeat fury, punctuated by the ripped synth basses and curling drum edits that are fast becoming characteristic of Andy’s productions. There are subtle nods to the later Hokusai releases such as Sculptures Hide and even Black Domina; with eerie chiff-flute phrases, and those signature Mirage-style film-noire and dark avant-garde Jazz sounds nestling amongst the tapestry of beats and basslines.

As a contrast, Provocateur has a sweeter, almost sexier feel. A dreamy oscillating pad soon gives way to razor-sharp curling Jazz breaks and deep subs. The vocals border on the ‘saucy’ with their tantalising suggestions of ‘who thinks the technique is to make love to me’ and ‘the sexiest thing about me is my a**!’ There is a subtle darkness nonetheless to this track, with its plethora of dark film-noire samples. Although the framework of breaks & bass is strident enough for the dance floor, it is also the kind of track that is loaded with all those little production details that will reveal something fresh with each hearing.

The third track Status Anxiety is a frenetic, tense piece of music. Underpinned by a relentless bass synth stab that slips and slides throughout the track, the drum patterns are more elaborate, cutting between several different breaks, with abrupt stops to expose dark string sweeps, hammered Rhodes strikes and shimmering china cymbals. Again there is a subtle reference to the Hokusai releases, but with a fresh twist on that darker Jazz-infused style of Breakbeat D&B.

DJ Support
Source Direct, Law & Ben Repertoire, Mister Shifter, Basic Rhythm, Voodoo & Sensenet

Coming off a strong 2020 for the label with releases from Big Strick, Gnext, and Butterbandz, 7 Days follows up with an EP featuring all 3. This trio (or TRINITY) put on a fantastic showcasing of talent. The EP starts off with a sweeping dance tune from Big Strick titled Balance. The catchy piano keys lift your spirits as the drum programming moves your feet. The very animated baseline is a strong force in this song as well. Somebody's Watching shows us Gnext's deep side once again. Hard hitting drums, delayed hi-hats, warm synth pad, aggressive yet friendly bass line, and some acid sprinkled on top. What's not to like? Lastly we get to see more of what to expect from ButterBandz. Another classic in the making for the rising producer on the 7 Days imprint. Ultra Instinct also has a deep underground feel. He brings a thundering, in your face, base line on top of a systematic drum program and airy synth pad. The heat is turning up for 7 Days and this is just a taste of things to come.

Irish producer and DJ Mano Le Tough announces his new record, At The Moment, out August 20th on DJ Koze’s Pampa Records, and presents the first single, “No Road Without A Turn.” After more than a decade of releases and touring, Mano has spent the past year at home in Zurich, rearing his young family and focusing on the positives of 14 months without performing, amid the uncertainty of the pandemic. In the face of horror, Mano channelled inspiration. With At The Moment, the follow-up to 2015’s Trails, those struggles have produced a record which balances the ambivalence of the current moment, with wistful streaks of unguarded optimism.

At The Moment shows Mano’s modes of expression evolving too. The synths and rhythms common to earlier works are now complemented with less familiar sounds and influences. Jangling guitars and sun-bleached chords envelop his own tender, plaintive vocals in a dappled wash of summery pop. Another track grounds overlapping melodies and sci-fi soundtrack pads with hip hop beats, creating a hypnotic slice of slinky retro-futurism. Where there is reflection, there is also a sense of being unafraid.

“I’ve always liked that Mallarmé quote, ‘poetry is the language of crisis,’” says Mano. “It’s hard to make good music about everything being amazing. Everything is going great – who wants to listen to that? Anything I’ve done - anything which I thought had any kind of artistic merit, has been through struggles I’ve had in my life”.

Concentric Records presents Radiant, the third compilation of its introductory release trilogy. Featuring music by ASWA, HOLOVR, Max Loderbauer, Petre Inspirescu, Supply, The Waves, William Selman, the album evokes luminous, iridescent and ethereal sonic spaces - a journey that overcomes struggles, spinning upward towards the light.

The album opens with calm, bright and assertive tonalities, evoking mental spaces prone to exploration and wondering. Molecular textures and real-world sounds bring us closer to an intimate and physical sphere, a voice. Ultimately everything dissolves into a synthetic domain of acid-like washes, in a cinematic sense of departure.

MAX LODERBAUER has been an active engineer, producer, and musician across four decades. He first came to notice in the late ‘80s as a member of Fischerman’s Friend. Known then as Daimler Max, Loderbauer’s associates included Stephan Fischer and Tom Thiel, as well as producer Thomas Fehlmann. Once the group went dormant, Loderbauer and Thiel established Sun Electric; one of the leading sources of entrancing downtempo and ambient techno through the ‘90s. During the 2000s and 2010s, Loderbauer collaborated in numerous settings, including NSI with Tobias Freund, Chica & the Folder with Paula Schopf, and Moritz von Oswald Trio with Vladislav Delay and Moritz von Oswald. Loderbauer was partly responsible for some of the most progressive and experimental electronic music released during these years. In 2011, he and contemporary Ricardo Villalobos assembled Re: ECM, a project that involved radical transformations of ECM label recordings by the likes of Bennie Maupin, Christian Wallumrød, John Abercrombie, and Arvo Pärt. More recently he consolidated the collaboration with Ricardo Villalobos via the Vilod project, and with Samuel Rohrer and Claudio Puntin as Ambiq - both described as ‘a fertile patch of inspiration, shaking up the principles of minimal techno with the loose, expressive qualities of jazz’. The album opening track - ‘Harmonic’ - feels like a glowing dream. Composed of stunning electronics in a polychromatic, blinding and shimmering light; harmonious interwoven melodies calmly wind down invoking a serene mental state and grounding peace.

WILLIAM SELMAN was the very first artist ever approached by Concentric Records prior to the label’s birth, back in 2018, following his defining release ‘Musica Enterrada’. A musician and multimedia artist currently based in Portland, Oregon, his work employs analogue and digital synthesis techniques, live percussion and instrumentation, and his own rich field recordings to create compositions and sound art focused on the ideas of place and environment. Selman's recent works have been released on Mysteries of the Deep and Hausu Mountain.

PETRE INSPIRESCU is an extremely versatile composer. As co-founder of the legendary RPR Soundsystem together with Rhadoo and Raresh, he mostly produced club-ready, heavily textured takes on tech-house and minimal techno. In 2015 he released his first album on Mule Musiq, considered a significant departure from his previous work, scoring piano, strings and woodwind instruments for the first time, resulting in a set that sat somewhere between ambient and neo-classical. Since then, he continued to explore further sonic territories, adding in vintage synthesizers and occasional nods to dub techno, resulting in melodious sequences of musical movements that relate to the work of classical composers, American minimalists and ambient legends. ‘The Garden’ is a dreamy, intimate and nature inspired composition, recorded in his home studio in Ibiza sometime in the Summer.

DJ and producer SUPPLY (youngest so far on the label) was born and raised in Gießen, within sight of the skyscrapers of Frankfurt am Main, and has been living in Berlin since 2017. Musically socialised through hip hop, he found his connection to electronic music produced in Chicago and Detroit in the 90s by moving to FFM in 2013. For almost 6 years he has hosted his own events in his hometown. His productions connect the dots between hip hop, retro futuristic movie soundtracks and techno, he recently released on YAY Recordings. ‘Inhale / Exhale’ was created during a time of stress and mental tension, partly self-inflicted, partly result of my surroundings, as it turned out in retrospect. The track tries to capture a moment of taking a deep breath by releasing that tension for a moment. I came up with the first sketch one night around 4am, the final arrangement found its way onto a C60 Chromoxid Cassette - inhale - exhale.’ - Supply

THE WAVES is a post-punk and synthwave-inspired project led by Maayan Nidam, that places her vocals at its front and centre. As a musician obsessed with sound and the technology behind its creation, her workflow places a strong focus on the studio environment. Triggering chain reactions between guitar pedals, drum machines, modular synths and acoustic instruments, generating sounds in unpredictable ways. Drum machines keep a steady groove as to give support to an array of guitars and synthesisers, all topped with The Waves own, mostly unmasked, lyrics and voice. ‘Hold On’ was written by Maayan during the 2020 pandemic as she dived deeply in studio work in Berlin. Her lyrics are featured as part of the art print insert, and have became a central statement to the LP and its narrative - the power to hold on and break through.

Jimmy Billingham's HOLOVR project has racked up various releases on some of the most forward-thinking electronic music labels over the past few years, including Firecracker Recordings, Likemind, Further Records, Opal Tapes and his own Indole Records. Though best known for melodic, drifting acid techno and electronica, he's equally at home crafting textured ambient soundscapes. HOLOVR's deeply emotional synth passages and pads will take you on a journey into the outer. 'Melancholy of Time came out of a period exploring ways of producing and recording outside of the grid-based structures that I was previously working with. I wanted to strip it back to what I often find to be the emotional core of a piece of electronic music - ebbing and flowing synth pads - but to push and pull it a bit to create a slight disjointedness, unpredictability and shop-worn texture, as if it's coming apart and fraying, yet retaining a sonic clarity. I recorded it live using looped and layered synth phrases, underpinned by a layer of hiss and pin-prick textures. I find reflections on time and its passing to be a recurrent feature of my work, both in a more straightforward way of harking back to music of a certain period or pieces of equipment but also in a more abstract sense of creating a feeling where time doesn't matter - a deep feeling of now; that escape that you find in music and other ecstatic experiences. Though of course we’re always in - and running out of - time, and hence the melancholy.’ - Jimmy Billingham

Hailing from the German underground scene, ASWA aka Attila Fidan has an intricate, hypnotic style of electro, techno and ambient. Coming from visual arts and not primarily a trained musician, Attila produces under various and multiple monikers: ‘I never really start out knowing which moniker the track will be made under’. Since 2017 he runs a boutique Berlin label named ‘Tape Archive’. ‘Dust Palace’ is a synthetic piece that resonates with a cinematic vastness, closing the LP in an uplifting tone that evokes new departures and new beginnings.

Repress

Tiga's drops BUGATTI. Another irresistible one-liner on the dance-floor that can't be missed or forgotten.

So much sex and attitude, so few elements. A staccato kick-snare rhythm, a robo-funk synth line, a futuristic pad, a detuned ride, a cheeky vocal hook and a one-note acid line that brings it all together. That's it. All you need if you know what you're doing and have an experienced pair of Canadian Electro-godfather balls intact. Tiga has made a career out of being catchy: from Sunglasses to Mind Dimension, from Plush to Pleasure From the Bass, from You Gonna Want Me to Let's Go Dancing. How does he do it

It's his ability to drop a clever turn of phrase that separates him from the pack, but the strength and character of his production choices keep things clear of kitsch and make him a perennially hot-tipped cool-commodity everywhere from the great American EDM stage to the hallowed-haus of Panorama's deep underground credibility. His career is like a Veyron - stable AND insane.

So listen to it, get it stuck in your head. This track is crazy dope, it doesn't sound like anyone else, and it's the most hip-hop thing all you house DJs are likely to fit into your sets this weekend so go on, get loose and take it for a ride.

This is what Tiga had to say about the Vinyl-Only remixes 12" :

For this, my most personal record, i hand selected remixers of the highest order. Cliff Lothar, absolute legend, and current king of the enigma groove, delivers an absolute masterpiece. It's seriously a 10 on 10, and I never say that. Vinyl only bitches. Perth Drug Legend, somebody else who I kinda know and yet totally don't know (or I guess I just thought I knew) slams the 'gatti with raw tribal funk: again suitable for a warehouse or a particularly forward-thinking car dealership. Rebolledo, one of the few men i actually trust, comes in with a slightly electrofied extended party mix. God I'm happy. Full disclosure: there were a few people who did remixes that were rejected. I will reveal their names publicly in good time. Good day. T.

Mondo is proud to present the premiere physical release of the soundtrack to the MSX2 version of the classic game that started it all: METAL GEAR.

The Metal Gear series began in 1987 in Japan, and while it took decades for this original MSX2 version to make its official debut in the United States (the Ultra Games NES version is disavowed by series creator Hideo Kojima) it is considered one of the essential games to come out of the 80's. While not the first to implement Stealth mechanics in gaming, METAL GEAR certainly popularized the genre, and served as the launch pad for a decades spanning franchise of games considered some of the greatest of all time.

Since its inception in 2019, Beartrax’s Melodize imprint has consistently pushed deep, musical house and techno with contributions from John Tejada, Fort Romeau, Carl Finlow, and many more standing alongside Beartrax’s original productions throughout the label’s back catalogue.

Leading the sixth release, ‘Phantom Night’ sees haunted atmospherics nestled amongst ethereal synth licks, before a cinematic violin takes centre stage. Johannes Albert’s remix peppers elements of the original with slick acid lines and punchy drums, re-imagining the dramatic violin for a fresh and highly entertaining take.

On the flip, the uplifting ‘Valor’ runs through a series of modulating basslines, glistening pads, and sizzling drums, topped off with a majestic cello performance throughout.

Rounding out the release, Lauer adds rubbery low end, floating keys, and hands-in-the air piano stabs to ‘Valor’ for a high-energy end to another stellar EP from Melodize.

Glenn Astro returns to Tartelet Records with Purple, a four-tracker of minimal slow burners and futuristic dance music, marking the label’s 50th 12-inch release.

Since releasing his second album Homespun in late 2020, Glenn Astro has been quietly channeling his funky instincts towards new production approaches. Purple, a four-piece compilation of mutant future-boogie daubed in Rogers-Nelson hues, comes through with emotional heft. It also marks the 50th 12" release for Tartelet Records.

“Following up on Homespun, I wanted to try out some more dancefloor- oriented tracks again,” says Glenn Astro. “Keeping it simple and practical, while not being too predictable. I incorporated a lot of modular synth bits and experiments, with ‘Flux’ being an almost exclusively modular-based jam.”

Incorporating tricky sound design and fluid structures, Astro’s new lines of enquiry never come at the expense of the groove. From the opening thump of ‘Penduloop’ onwards it’s apparent that his rugged rhythmic kinks are present and correct to hook in the dancers, while the melodic drops later in the track edge in a little melancholic flavour to take the mind somewhere else entirely. On this opening track, the artist explores new territory with his version of early naughties minimal house – a welcome
slow burner.

The EP title track ‘Purple’ slaps with purpose, not least in the Linn-esque drums and melodic bassline, but it’s a positively dreamy piece which skips on crooked beat formations and floats upwards via a multi-timbral tapestry of yearning synth shapes and robotic vocals. On ‘Out Of Office’ Glenn Astro provides a generous dose of electro nostalgia when he amps up the heavy-hearted feeling with aching string pads and electro-informed machine logic. The track becomes alive with its deep un-synced rhythms and dark bass notes, pushing further into the abyss. ‘Flux’, with its tooly
feel, takes the electronic mantra further and sheds light on the source of much of Astro’s new sound palette.

Crucially, even in its techiest moments, an irrepressible humanity shines through across Purple. Glenn Astro’s soul is the binding agent which links his early, sample-heavy house to his more explorative new angles, and it comes through in abundance on this fully-formed release.

Hospital Records are extremely proud to present ‘Smile & Wave’, the
second studio album from drum & bass’ friendliest MC, Inja.
With the biggest smile on his face, the lyricist, vocalist, poet, artist and storyteller delivers
16 tracks, seamlessly weaved together through Inja’s infectiously feel-good flow and sincere
wordsmithery. The entire album was produced by Whiney, further cementing their relationship as one of the most untestable dance music pairings. Also featuring Charlotte Haining,
Eva Lazarus, DRS, Fox, Cleveland Watkiss, Singing Fats, and DJ Marky.
Album title track ‘Smile & Wave’ is the musical embodiment of Inja’s playful demeanour.
Known for being the world’s smiliest artist, Inja wrote and recorded this feel-good bouncer
alongside his daughter who is “pretty much the first person to hear anything” he’s up to
musically. Expect a rude bassline and infectious wordplay.
Teaming up with superstar singer-songwriter Charlotte Haining, ‘Reach Out’ sees two of the
most distinct voices in dance music come together over a bittersweet wobbler written about
times when you feel “so out of place, out of reach” in the words of Inja. Having worked
alongside an impressive array of electronic artists including Hybrid Minds, Sub Focus, My Nu
Leng and Friction, Charlotte’s delicately powerful hooks are the perfect counterpart to Inja’s
heartfelt flows.
Luscious pads and dubbed out pianos and guitars set the scene on ‘Baby Angel’ featuring the
worldwide wave-maker Eva Lazarus who returns to Hospital Records for the first time since
featuring on Etherwood’s ‘Light My Way Home’ back in 2015. Having worked alongside staple
figures including Mungo’s Hi-Fi, Zed Bias and Gentlemen’s Dub Club, Eva infuses her reggae,
hip-hop and jungle flavours alongside Inja’s humbling storytellings.
Inja’s “personal favourite to perform live as it smashes every and any system”, ‘Explode’, is a
140BPM anthem featuring flows that will ignite any room and a killer instrumental that will
have you bobbing no questions asked. Proving himself to be a versatile and skillful microphone controller, Inja’s ability to shell down any tempo is ever more apparent on this upfront
banger.
Three legendary MCs unite on ‘Hands, Lights, Flames, Phones’ where Inja joins forces with
two of Manchester’s very finest - DRS and Fox. Sharp lyricism is rife as the triple threat of
three titan wordsmiths link up, seeing energetic bars bouncing off each other over a cold-cut
drum & bass roller. This is a combination not to be tested.
Inja has established himself as a pinnacle figure within the realms of drum & bass. Loved for
his ability to express his thoughts into honest, relatable lyrics in ‘She Just Wanna Dance’, a
spoken word piece for Amnesty International that was a viral online hit in 2017, and more
recently switching it up to ‘We Just Wanna Dance’ during the UK lockdown, expressing his
desire to be reconnected with ravers again. Then picked up by BBC News and Sky News.
On top of being the MC of choice for drum & bass powerhouse group Kings Of The Rollers,
Inja is no stranger to tearing things up on the airwaves with support from the likes of DJ
Target, Rene LaVice and Danny Byrd on BBC Radio 1 over the years. Since his debut ‘Blank
Pages’ album on Hospital Records in 2018, Inja has flourished as a multi-talented MC, vocalist, singer and songwriter with a series of singles including the Beatport Drum & Bass charttopper ‘Game Face (Stay Alert)’ alongside Whiney, as well as the infamous ‘Lumberjackin’’ on
Serum’s Souped Up.
"To all the supporters that enjoy anything I’m a part of, I would never have had the opportunities to see as much of the world as I have without you. My gratitude has no bounds and I’d
love to share a smile with you all one day.” - Inja

Joshua is the follow-up album to Olympic. While the second album, typically, often shows what critics call “maturity”, here Simon has released instead an album of adolescence. The musician opened up his own memory box to contemplate his childhood souvenirs, and dust them off of all nostalgia. At that time, he would VHS-record movies from TV and tape record soundtracks directly from the TV speaker, so he could listen to them in his bedroom. This is when he “discovered the power of music, the way it makes you enter another world, far from reality. I wanted to pay tribute to the era I shaped myself in – the ’80s and ’90s”. Tangerine Dream, Kraftwerk and Soft Machine. Logically, these are the sonic signatures that seem to haunt the album. The timeless pioneers of synthetic music constitute the sound references, without any established chronological timeline, that blend with the atmosphere of typically “French Touch” movie soundtracks – long before the term was even coined. “I use a musical palette that acts as a flashback to my favourite teenage movies: the synth sounds of Close Encounters of the Third Kind; the synth pads in Jean-Jacques Cousteau’s fascinating documentaries about the sea world; the melodies in the manner of François De Roubaix; the themes that evoke the soundtracks of late-night TV sessions (those by Verneuil, those with Belmondo, Depardieu, etc.); and the sci-fi ambiences like in Blade Runner.” In short, an aesthetic was decided on by Simon very early on: French analog synths instead of North American symphonic orchestras.

The name Joshua has two meanings for French 79: one is linked to the idea of nostalgia, the other to adventure. On the one hand, the computer in the 1983 movie Wargames, and on the other, the boat of French sailor Bernard Moitessier.

The track titled Joshua synthesizes the spirit of the album – an odyssey, a neverending crossing of the world in search of oneself, a spontaneous escape into the future, under the benevolent eye of the past. This epic invites everyone of us to a specific place in our imagination, which is also the source of an indescribable pleasure for French 79: a gust of wind, a sailboat ride, a skateboarding trick, the smell of freshly fallen snow, or the dull roar of an impatient audience.

The same aesthetic preferences are found in the videos that illustrate Joshua’s first tracks: for Hold On, the skateboarder chose to recall the cult ’90s skate videos that he would watch on repeat as a teenager, while Hometown hints at Close Encounters of the Third Kind. Although he now calls Marseille home, Simon continuously draws with passion from the anachronic contemporaneity of his childhood in the Eastern French region.

“I need escape to be able to create. A two or three-day sailing trip gives me enough inspiration to lock myself in the studio for a week when I’m back on dry land.” His boat takes him far away from everything, far from the Old Port where she moors, the rest of the time Simon would escape by walking the streets of his city or climbing the Alpine mountains.

Not only does the new version French 79 reveal a few biographical pieces of Simon henner's history, but it also inaugurates the first vocal track for the musician. One feels a guilty pleasure when hearing him take the lead on the first track, The Remedy. The electronic fugue that opens the album sets the tone: Simon has found the cure for his inner turmoil and wants us to discover our own treatment too. Hold On is a sonic explosion that celebrates the feeling of freedom - what's more of a teenage dream than this feeling - and it eventually command one to feel the same way too. Echoing Olympic, the electronic argonaut invites his muse again, singer Sarah Rebecca. On By Your Side and Touch The Stars, the native of Ocean Springs, Mississippi, now based in Paris, hoisted the mainsail of dream pop. First, though a dialogue that surfaced their unfailing attachment to the bonds of friendship, then through the light hearted atmosphere that leaves us with no choice but to believe in our own dreams and do anything possible to fulfill them. The quest for peace in the midst of the daily din is heard in both Code Zero and the title track Joshua, two majestic journeys in search of hedonism, combined with introspection.

The Forbidden Dance label is marking their first year of existence and with already top-notch names (Vick Lavender, Alton Miller, The Mechanical Man) with the first three releases, they are celebrating the one year mark with another global gem, disco and house finest - Ilija Rudman!
Where Wild Horses Go is conveying an unquestionable sense of 80's electro and synth boogie filled with smooth and heavily reverberated rhythmics drenched in strong snares. Aligned with catchy and spaced-out disco pads, the album is riddled with ever strong analogue elements processed in a light, quirky and summerish way but with enough groove in some tracks easily applicable on the dancefloors in the late hours.
Dead Horse Gang is a brainchild music band/brand by Ilija Rudman dedicated to cinematic dance concept laying on the Los Angeles funk attitude, Art Of Noise perception of sound and raw 12-bit grooves making a statement of mid 80's culture with surf vibe of California summer.
"Dead Horse Gang Music is more than music, it's a way of life, a way of thinking, a path to a maximum freedom of the one, who can accept it."
-Ilija Rudman

Singer, guitarist, flautist (and practitioner of the double tin whistle), John is
also a member of celebrated traditional group Skipper’s Alley and is joined
here by bandmate Ultan O’Brien (also of Slow Moving Clouds).
Also contributing to the record are singer Consuelo Breschi of the duo Varo,
sean n s singer Saileog N Ceannabh in, Phil Christie (O Emperor / The Bonk) on
keyboards, and drummer & composer Ross Chaney who created many of the
Tascam tape-loop drones that bind the album together.
The record was produced, engineered and mixed by Brendan Jenkinson (Villagers / Cloud Castle Lake) who also joins in on a host of instruments for the record. It was recorded and mixed at Oxford Lane and Sonic Studios, Dublin. The
material John Francis Flynn has chosen to record includes songs learned from
recordings of Shirley Collins, Frank Harte and settled Traveller Paddy Quilligan,
two songs written by activist and folk revivalist Ewan MacColl, and a West Indies halyard shanty published by “Last Working Shantyman” Stan Hugill, alongside in-studio improvisations and tunes picked up by John along the way

Wackelkontakt are the trio that currently spearheads the Jerusalem scene, playing music that's precise yet eclectic, cruel and abrasive even when vulnerable. An unholy mixture of trap, industrial, experimental and power electronics. Wackelkontakt have already made a global mark with the sensory overload of their live multimedia performances and the scintillating presence of frontwoman Tomer Damsky AKA MC Slice, backed by Eyal Lally Bitton (electronics, visuals, scenography) and Marco Milevski Tomasin (drums and electronics). Wackelkontakt's wildly eclectic approach, bound by an impossibly consistent sound, is a direct result of the band living a minute away from The Old City's Damascus Gate and recording in the ultra-orthodox neighbourhood of Me'a She'arim; Jerusalem is present in the music, not in the shape of touristic exotica but in a sense of conflict, paranoia and isolation. The lyrics are equally contradictory, schizophrenic and chaotic. Emotional manipulation clashes with a desire to shake and be shaken, to allow oneself to become sucked as far as possible from self-loathing. When self-reflection arises it is bitter, ridiculous, pathetic, interweaving with philosophical texts lifted directly from the likes of Deleuze & Guatarri, Foucault, Artaud, WJT Mitchell and others.

Following on from their 'Junction EP' at the tail end of last year, My Nu Leng return to provide a selection of rave-tinged cuts that further cement their status as one of the leaders in the bass music scene. Following a packed-out summer tour diary, the 'Alter EP' consolidates elements from the duo's previous releases and influences into five tracks of low-end damage. Harking back to the pair's underground roots with inspirations from Techno, House and Breakbeat, opener 'Spaced' sets the tone.

Featuring their classic bass growls amongst hardcore pad stabs, an acid-esque synth line and raucous interjections from legendary drum & bass MC GQ, this one's designed to make you move. Takura returns to Maraki on 'Echoes', lending his distinctive vocals over a lethal distorted bassline and uncompromising 2-step beat. 'City Lights' provides momentary respite, a scintillating arpeggio motif over blissful chords and an enchanting vocal hook. My Nu Leng team up with DRS on 'Sinking Sand'. The Mancunian host leads the charge into a warping climax, showcasing his penmanship through relentless triplet flow. 'Signal' closes off the EP in sombre fashion, atmospheric synths and lamenting strings building into an emotive vocal and reflective bassline.

If Shelter swam through the serene side of the Library experience on GBR016, CV Vision blasts off in the opposite direction, riding an explosion of funk breaks and frazzled synths into the event horizon on his retro-futurist opus ‘Insolita’.

As contemporary life accelerates way past peak-weird, CV Vision leans into uncertainty and leaves Earth in the rear-view. Strung out on Simulacron-3, World On A Wire and Omaggio Ad Einstein, the Berlin-based musician imagines his own Brave New World, an alternate eXistenZ in a secret simulation.

Using the space age obsession of the Italian libraries as a launch pad, Dennis Schulze slathers a sonic storyboard with ferocious percussion, psychedelic fuzz and the pastoral electronics of Germany’s Kosmische movement. But this is less Can, more uncanny - and Schulze perfectly renders the cognitive estrangement of a simulated reality through his adventurous production. The monolithic live drums, recorded in a Neukölln garage on a battered Soviet kit are smeared with tape hiss, compressed to death and fired through LFOs, re-materialising on record in impossible scale. Time slips out of joint under the wow and flutter of the reel to reel, drum computers add digital interference to organic rhythms and the unfaltering slew of the 303 lends the hallucinatory thrill of the club sound system to an already psychedelic affair.

As Schulze’s imagination runs free, we’re taken through epic space battles and narrow escapes, moments of reflection and affection and a final resolution, all expressed through a dexterous control of movement and mood. For every explosion of break-fuelled adrenaline, there’s a cruise into cryo-chamber music and holodeck exotica. For each neck-snapping blast of acid funk, there’s a zero gravity lullaby waiting just around the corner.

So put isolation on ice and surrender to the strange, this is a trip you don’t want to end.

Robert Hood returns to Rekids with ‘The Blueprint EP’ this July.

Following 2020’s ‘Mirror Man’ LP on Radio Slave’s Rekids, Detroit pioneer Robert Hood returns to the label with a four-track EP of his trailblazing minimal techno. Leading the release, ‘Chroma Light’ opens with cinematic pads and pounding 4/4 patterns as twisted synthesis modulates throughout for a striking start. Followed by ‘The Majestic (Deeper Edit)’, with rattling percussion and fiercely relentless stabs, Hood shows his intent in creating propulsive, dancefloor focussed cuts across the EP.

On the flip, ‘The Majestic’ takes the B1 spot, expanding on the previous track with wild synths and his signature machine-like drums before ‘Ultrasonic Room’ closes out the release with eerie atmospherics and an underlying hypnotic pulse taking centre stage.

A founding member of Underground Resistance alongside Mad Mike Banks and Jeff Mills, Robert Hood is one of techno’s originators, with his decorated career spanning three decades across labels like Tresor, Peacefrog, Music Man Records, and of course, his own M-Plant.

Clear Vinyl

Hitting us with a double LP of sublime dance music lingering on the border of ambience, Interstate is the alter ego of DJ Swagger. Earlier this year, he graced Shall Not Fade's Time Is Now sub label in collaboration with DJ Aedidias for four feelgood UKG cuts - now returning for the second album in the Seasons Series, expect something a little different. Dominion Swing is his first LP under the Interstate moniker.

The four sides of vinyl hold their fair share of punchy kick drums and funky melodies, though across them is a blissed out ambient softness that comes to the forefront by the end. "Doublet Doureet" is a low end groover driven by skippy percs, the speedy bass melody chilled out with some lingering natural chords. "Second Mass" is futuristic and clean cut, tickling the ear with panning synth stabs and a powerful electro bassline that cuts through the track sharply, giving memories of the dancefloor while perfectly leading into "Habitat" - the sustained ambient shimmer that closes the A side.

Onto the reverse side, "This Rather Than That" and "Misty" are glitchy, playful evening music, "Misty" leaning into a fun organ ditty. The almost imperceptible bassline of "Two To Get Ready" hangs in the air giving it a dub atmosphere.

More genre exploration is to be found on the C side, from the pulsing but delicate house of "Appliance" to the tranquil guitar-lead journey of "Condone The Drama", ending with a return to blissful, oceanic ambience in "Bubblebath".

The closing side of Dominion Swing stays in this vein - blissed out haze is soaked into summer sundowner "Ascension" and its romantic melodies. "Stigma" is built on misty ambient pads but carries a persistent heartbeat rhythm, fading slowly into album closer "Yosemites" tropical field recordings and scattered drum hits.

Black Truffle is pleased to present Sylva Sylvarum, an epic new work from Ora Clementi, the collaborative project of crys cole and James Rushford. Primarily conceived and recorded over several months together in Melbourne, Sylva Sylvarum is a stunning step forward from the mumbled, creaking sound world of the duo’s debut, Cover You Will Softer Me (Penultimate Press, 2014). From the opening ‘Peach of Immortality’, which takes an unpredictable journey from layers of chiming bells, vocal harmonies and lush synth pads to a desolate landscape of half-animal, half-digital wooshes and cries, it is immediately clear that cole and Rushford are working here with an entirely unique sound palette. Throughout the record’s four sides, we hear a large array of carefully detailed synthesizer sounds (many of them recorded at the remarkable Melbourne Electronic Sound Studio), sparse drum machine hits, wind instruments and field recordings of animals, often with a twistedly late 80s/early 90s flavour that at various points calls up New Age references, Robert Ashley’s later operas or the thinned-out textures of early digital GRM.

Threaded through this distinctive array of sounds are the two musicians’ voices, sometimes singing, sometimes speaking through varying degrees of manipulation. A guiding thread through the pair’s collaboration, beginning with their initial experiments with lip-readings, the presence of these two voices – cole’s crisp and sibilant, Rushford’s rich and low – reinforces the sense that the music is immersed in itself, less performed by two people than occurring between them. On Sylva Sylvarum, these voices first come to the forefront on the third piece, ‘Dialogue Between a Grandmaster of the Knights Hospitaller and a Genoese Sea Captain’, where in unison they intone fragments of a description of an imaginary space taken from a 17th century utopian text. The two voices resurface periodically thereafter, most stunningly in the unexpected turn into cushiony dream pop on ‘Magic Mountain’. At other points, the subtle manipulation of pitch and intonation in the close-miked vocal performances filters the recitations through a fog of abstraction that climaxes with the almost incomprehensible alternating syllables of the side-long closer ‘Forest of Materials’. Like the album’s title, these textual elements are drawn from various literary descriptions of utopias, a theme that also informed the pair’s musical approach. Far from anything dryly illustrative, utopia figures into Sylva Sylvarum as an invitation to inhabit otherworldly spaces that, like the empirical details that proliferate in these literary utopias, are grounded in mundane reality but shot through with the eldritch. Admirably framed by the abstracted digital topographies of Sabrina Ratté’s artwork, the uncanny sweep of the album’s fifteen pieces is expansive enough to take in stretches of crackling austerity, warped microtonal keyboard etudes and moments of stunning beauty, the latter most strikingly when cole and Rushford are joined by Callum G’Froerer on trumpet and Joe O’Connor on trombone for a series of dream-like moments moving from growling overtones to poignant lyricism.

Presented in a deluxe gatefold sleeve with stunning artwork by Sabrina Ratté and pressed on mint green vinyl. Mixed and mastered by Joe Talia at Good Mixture, Berlin.

Forged in the cavernous labs of Indianapolis, the XK3 EP by producer D.Strange, dives into the metallic underworld of alienated shadows to create brutal, icy electro. The submerged acid-tinged opener, "Sonic Recoil" ascends with a snarling pathos of trap hats that pierce through the looming fog of the club. "Negative Center" haunts in cunning dexterity and grooves with a jacking pace of brooding momentum. Somewhere in the maze of resonance droplets, cascading hats, and the ominous synth pads, the track "A Black Liquid Filled My Lungs" hypnotizes in its atmospheric acid electro hybrid. Right out of the gate, the self-titled track "XK3" punishes with off-beat synth shards and glitchy, mechanical snares that snap in anthemic propulsion. While "Ghost of Kashif" weaves itself in esoteric, yet evocative, soundscapes with an absolutely grooving, club menacing fashion. Rounding out the release, fellow Indianapolis producer Noncompliant contributes a cruel electro sub-heating take of "XK3" to help warm the boreal landscapes of the EP.

'Funny Cow charts the rise to stardom of a female comedienne through the 1970's and 1980's. It is set against the backdrop of
working men's clubs and the stand-up comedy circuit of the North of England. From her troubled childhood to her turbulent adult
relationships, the Funny Cow uses the raw material of her life experiences to bring her unique style of comedy to the stage. A
stand-up comedienne in an all-male world, Funny Cow delivers tragedy and comedy in equal measure. The film stars Maxine Peake,
Paddy Considine, Tony Pitts, Alun Armstrong and Stephen Graham, is directed by Adrian Shergold and produced by Kevin Proctor
and Mark Vennis. Richard Hawley, Corinne Bailey Rae and Ollie Trevers all appear in the film. Richard wrote the title track 'Funny
Cow', 'A Little Bit More' and, with Mark Sheridan, the duet with Corinne Bailey Rae 'I Still Want You'. He also wrote the
instrumentals 'Laundrette Accordian', 'Leaving Mike's House'. 'Walking Round The Bookshop', and 'End Hospital Sequence' and 'End
Sequence', which all feature in the film. Ollie wrote the songs 'Twist It Shake It', 'From Then Til Now', 'Bad But Good' and
'Nightmare In Paradise' and again, all feature in the film.

Having impressed with his 2019 debut album on Negentropy, the breaks/tech-house/minimal techno fusion of Rhythm Tension, Zweizig has been given a chance to showcase his wares on Constant Sound's popular Constant Black offshoot. The headline attraction is undoubtedly opener 'Manipulate Our Reflections', a spaced-out chunk of hypnotic late-night science that wraps wonky, Villalobos style electronic noises and pulsing pads around a locked in (but also surprisingly swinging) tech-house groove. Relic provides a chunkier and groovier remix that boasts darker noises and a more beefed-up sound, while bonus cut 'Vvoid' is a twisted, undulating acid-jacker.

Techno isn't a genre that has birthed many consistent albums, and the dub techno subgenre even less so, but one indisputable classic is Porter Ricks' debut 'Biokinetics'. Originally issued on the legendary Basic Channel sub-label Chain Reaction in 1996 following a trio of 12"s, 'Biokinetics' was the first of the label's album releases, and still stands as its crowning achievement. Porter Ricks are Thomas Köner and Andy Mellwig, and between them they re-framed the techno sound, imbuing the spacious ambience pioneered by label bosses Mark Ernestus and Moritz Von Oswald with a frosty, isolated experimental bent, and combining it with the sort of haunted minimalism of early Plastikman.
What separated 'Biokinetics' from other albums at the time was its unwavering narrative - the exact sound has been interpreted countless times since, but the immersive qualities of this singular record have rarely been touched. Maybe it is down to the silvery underwater concept that ties each track together - the bubbling pads, sub-aquatic basses and muffled kick drums. But as with any great album, it's hard to exactly put your finger on what makes it a classic. Simply put 'Biokinetics' is one of the most important records in the genre and one of techno's finest albums. It has been re-released ten years ago by Type Records, and now Mille Plateaux is celebrating Porter Ricks' and Biokinetics' 25th anniversary with this sumptuous double viny edition.

Tape

Ambient Music? Oh yes! Number two in the Frank Music tape series comes from the city of Leipzig yet again. Mary Yalex is a mainstay in various genres of dance music. Better go and check her records on KANN & Dial for instance if you haven't already. We are delighted to give you around 39 minutes of textures, sketches, warmth, weirdness and kindness. In other words: welcome to "Sentimental Journey". Mary guides us through a 10 tracks trip over calm pads ("November Strings"), steady bubbles ("Coral Reef"), postponed dreams ("Broken Café Blues"), ascending melodies ("Moonlight") and bitter realities ("Social Distance"). Tape format for the enthusiast, digital formats for all of us. Artwork by beloved illustrator Jana Marei.

‘Code of Conduct EP’ the second instalment from Obia Records takes the labels sound through a darker path. Sinful acid spirits are summoned to drive out the past period of solitary confinement in which we all linger. ‘Discharge’ the records main cut is built by a solid acid line and crispy clear drums that highlight the slow tempo. ‘Code of Conduct’ continues on a similar pattern but with adverse drum programming that shapes the feeling of inner conflict. ‘Ethic of Reciprocity’ completes the cycle of healing with a more rhythmic and uplifting vibe and warm pad. All tracks were made with an original Roland TB-303.

Techno Culturae records launches its first EP and debuts in the world of vinyl with a really hard release. Composed of an original mix, by Indeck and three remixes, D. Carbone, Electrorites and Warind. Dark sounds distinguish this output which represents a real introspection of the dark soul of the artists, where the distorted sounds of the drums and the properly saturated lead / pads, emphasize the frequencies, standing out in a basically hard techno mix that is really
interesting. They follow the metrics in a very precise way with different pauses and restarts typical of a sound that is not monotonous, but hard and motivating.

Hailing from Rotterdam, DJ Crisps returns to Time Is Now with another hot and heavy four tracker, teasing experimental genre play on the newest addition to his fast-growing discography. This exciting collection of modern garage reinventions is not to be missed.

No Dirty Money EP showcases DJ Crisps' clever production style, a mix of drama and fun; "Don't Need No Dirty Money" kicks the record off with staccato minimalist percs that have a metallic edge, effervescent vocal samples contrasting the momentous sub bass. "Dynamic Reflections" creates an icier soundscape, juxtaposed arpeggios echoing each other across a calm, deep bassline and cavernous pads - gentle, but still alive and kicking.

Lazy sax and ghostly pads open the expansive B side; "Release the Pain" then flips the energy with a Niche style bassline and cheeky garage synths. The jazz samples remain to create a real fusion sound. To end, "Sweet Melodies" pairs dirty garage with funk n soul, chopped up vocals and a classic James Brown sample making this high energy track even more vibrant - a joyous end to the EP

Madrid's Roll Dann keeps up the high quality of his first few releases with a new EP on his Opera 2000 label that offers four fine cuts.

Roll Dann has already impressed with outings on Modularz, Soma and PoleGroup. It is the direct nature of his floor facing techno that appeals, and it comes infused with the inspirations he has picked up from a stint living in Berlin, as well as with the legacy of his teenage love of hardtechno-schranz. The start of Roll Dann & _asstnt's Opera 2000 marks a shift Roll Dann's creative direction where he focuses on an aggressive yet beautifully emotive style which is displayed wonderfully in his first solo release on the imprint entitled "Oppression Dance".

Big opener "When The Hate Goes Away" is a frazzled, over driven techno monster with slamming kick drums and fizzing synths that will rewire any dance floor. The brilliant "Break The Dance" then hammers you over the head with its brutal drums and big synth walls, but a more thoughtful pad also smears over the groove to bring some tenderness. "Oppression" is quick and slick, with a kinetic sense of techno funk getting you on your toes. Last of all "The Club" is another winner, this time with its eerie pads, acerbic textures and rusty hits all racing along on powerful drum programming as a distorted voice is trapped in its midst.

Divide returns on Evod with 3 powerful tracks. All tracks contains ‘corroded’ bass sequences, rugged drum patterns and spaced out pad raids. So many layers of sounds were masterfully combined in order to satisfy the most discerning dancefloors.

Original compositions for virtual game music recorded in 1995 by Los Microwaves founder David Javelosa. That period in the 90s was one of rare times that Los Angeles was sort of a fun. You'd go somewhere for a drink and hear the late 1950s-early 1960s quirky instrumental pop that became known that year by the "Space Age Bachelor Pad Music" sobriquet. Many of the 14 tracks you are ideally hearing now for the first time were inspired by that long-gone cocktail-glass-shaped crack in time. Made in a tiny Santa Monica studio, surrounded by bits and pieces of torn-apart game consoles, trashed Casios and forgotten keyboards, inventing this set of ephemeral computer-generated sounds. Javelosa remembers what begat the tunes. Thrasher in the Fast Lane, inspired by driving on Bay Area freeways, fast, after hours, an Astor Piazzolla melody blowing with the wind, a party in Mexico City, an exotic perfume, Chet Baker in the background. He's always been fascinated by the concept of computer-generated jazz – still is. The sound of uncertainty, musical cut 'n' paste, excitement when something occurs that maybe has never happened before.

If you don't yet know, Flexi is a record store and music label based in Italy and run by Simone and Lorenzo.

Over the years, Flexi have gained both the respect and recognition of the music scene, earned by almost forty years of experience in the world of music and with the support of many DJs, artists and fans

Finally Flexi Cuts returns with a brand new release pressed on a “raw transparent" vinyl called “Velvet Series” no 2 – six quality tracks from six superb artists for an electronic journey that makes you fly over “velvet”.

Selection of the works wasn't easy; the tracks were chosen tryin' to maintain a high quality level, such as the oldest (v. series part 1) which have been so appreciated out there.

The A side opening is by Bologna-based Brine, with “YR Body” that provides a Juno-ish bassline with a catchy vocal and a jazzy mood.

Then we have “Benerice" from Daughters and Sons (aka the master Luca Fronza) who throws us into a beautiful Detroit-inspired analog jam.

This side ends with our very own Sicily man Manuold with fresh Italo-House vibes absolutely made for the dance floor.

On the B side, welcome back the veterans Tengrams (formerly the Piatto brothers from N.O.I.A Records) with the outstanding "Rapid Eye Movement"… travelling across retro-future influences and 808 patterns… under a dystopian-sci-fi movie theme.

B2 track is by the Calma duo who plays with a few elements to build a neverending techno climax...did you recognise the sample?

The last track is a sort of relaxing downtempo sunset closure complete with bells, from the California producer Gloved Hands, a name that speaks for itself.