Buscar:part one

DJ Boora is a Russian hip-hop head with a sample-driven style shaped by Soviet-era sounds and here he brings his class to Scruniversal's latest 7". Classic bits of gear like the SP-1200 and MPC define his approach here as Boora blends dusty loops and analogue realness with tight boom-bap swing, all served up with effortless finesse. 'Dedicado Ao Rei' has a sunny disposition with some Latin heat infusing the rolling breaks, then 'Party Groove' is a playful one with James Brown ad-libs and big chord stabs.

Sometimes artistic genius can be hiding in plain sight. Innovators and sonic pioneers that are stalwarts of the 140 dubstep scene can be taken for granted with just how damn good they are.

With DDD favourite Abstrakt Sonance’s second LP on the label ‘Nature of Things’, he is taking his organic fuelled, harmonically intuitive, bass driven madness to new heights.

With his signature blend of primitive percussion, scattered chops and savage sub frequencies - Abstrakt’s record is an 11 track tour-de-force of production mastery, impish tendency and true artistic expression.

To single out particular tunes on the album seems a fallacious exercise, given the strength in-depth of the sequence of work - with guest appearances scattered in from producers Wraz., Coltcuts and Outsider, alongside the stunning vocals of Sahala and bars from the godson of grime, Saskilla.

Let us just tell you that each one will have you flying through the jungle like tarzan on speed, with enough adrenaline to fend off any silverback gorilla and emotional guile to lead a troop of chimpanzees.

Existential musings over the Nature of Things can be confusing at best - but with Abstrakt Sonance it equates to sonic and visual clarity.

Careful though, he could still pop you with the Snipa.

In November 2023, I played an event in Stockholm, put on by Bojan aka Boj Lucki, who runs a label called Bukva Sound, which I had done a remix for earlier that year. DJ Sofa was also on the lineup with me, as well as someone I had never heard of called Gustav Ejstes.

A lot of people I was talking to at the event and on the day were telling me about Gustav and how much of a spectacle it was that he would be DJing tonight, and explaining about a band he is a part of called Dungen (pronounced Doon-yen) which is very well known & respected in psychedelic rock.

I checked his set out and was very impressed by how confident he was with his vinyl mixing & selection, as well as some of the tracks on digital he was playing that I'd never heard before. I told him afterwards how much I enjoyed his set and he seemed quite happy about that, because he had been a long time vinyl buyer of my music & other releases on Future Retro London.

The day after, Bojan took me & DJ Sofa to meet Gustav at his home & we got to chat with him about music, see his record collection & hear some jungle/hardcore tracks that he had been making. Turns out a lot of the tracks I liked from his set that I'd not recognised were ones that he made!

I thought it'd be really cool to be able to release some of them as he's never put anything out like this & since he's a fan of the label, so I asked if he'd up for it and here we are!

Big thanks to Gustav for the wicked music, his manager Oskar for his co-operation in helping to put his release together, to Bojan for introducing me to Gustav's work & to The Tribes for doing the artwork.

Mixrace return to Over/Shadow with Session1–DM2 + Oak. Part 1 of a 2 part series that showcases the 30 year deep sonic friendship of the production duo made up of DJ Trax and Paradox. Tick ALL of the boxes that you would expect from 2 of the finest producers in Jungle/ DnB.

Over two years in the making, and many more in the two musician’s shared dream, ‘Real Thing’ unites longtime collaborators Michael Collins (Drugdealer) and Natalie Mering (Weyes Blood). Recorded across continents, ‘Real Thing’ is a return, a refinement and a reminder of the deep connection that has bound these two titans of song over multiple collaborations. The journey of ‘Real Thing’ began when Collins, while on a European sojourn, crossed paths with Parisian producer Max Baby. As one does while in Paris, they found themselves in a studio owned by a member of the 1970s French prog rock band Magma. There, a chord progression long-gestating in Collins’ brain blossomed into a bonafide demo.

Collins recalls, “I realized immediately that it was the perfect thing to show Nat, who I had been wanting to collaborate with again for years.” The connection and musical camaraderie between Collins and Mering dates back to 2014 in Oakland, where a chance meeting and studio session marked the genesis of their enduring partnership. Collins reflects, “Since then, I’ve felt like she’s my musical family. I can’t really ask for more in terms of someone who inspired me to even get to this place in my songwriting.” On the B-side is ‘The News’, Drugdealer’s first collaboration with Robbie Chemical. What began as a simple harmony grew into a panoramic partnership, the musician’s voices effortlessly entwined, and a pop paragon envisioned. Inspired by generational conversations on chaos, change and connection, the track opens a new chapter - topical, personal and unmistakably Drugdealer. As Drugdealer, Michael Collins has crafted a career that blends introspective songwriting with a reverence for classic pop and R&B. A native of the East Coast, Collins’ musical adventure began with the experimental pop collages of Run DMT and Salvia Plath before evolving into the more melodic, refined songwriting heard in Drugdealer’s acclaimed albums ‘Raw Honey’ and ‘Hiding In Plain Sight’.  Natalie Mering, better known as Weyes Blood, has similarly forged a path of emotive, transcendental folk-pop that delves into themes of myth, love and existential longing.

Known for her ethereal voice and evocative lyrics, Mering’s latest works, ‘Titanic Rising’ and ‘And In The Darkness, Hearts Aglow’, are nothing short of modern classics, though also feel like just the start of this artist’s undeniable ascent.  “For both artists, this is their first song since their respective 2022 albums, and what a way to come back. ‘Real Thing’ feels like uncovering a forgotten ’70s disco duet” - PASTE  “A lush and insistent folk-pop jam” - Stereogum  For fans of Mac Demarco, Kate Bollinger, Men I Trust, Toro y Moi, TOPS, Alice Phoebe Lou, Tame Impala, Thee Sacred Souls, Vacations, Allah-Las, Kurt Vile, Beach Fossils, Slow Pulp, Foxygen, Unknown Mortal Orchestra, Hand Habits, Father John Misty, Oracle Sisters, Whitney, The Lemon Twigs, Mild High Club, Khruangbin, Angel Olsen.

The Muppet Christmas Carol soundtrack on clear glitter vinyl containing original score composed by Miles Goodman and original songs by Paul Williams. You and your loved ones will be singing along to classics like Kermit's "One More Sleep 'til Christmas" or Scrooge's “Thankful Heart" all holiday season! A delightful Christmas album that reminds us of the importance of sharing kindness and compassion all year long.

T.O.Y.'s new album, The Prophet, is passion, history, a vintage museum, and full of great songs that are waiting to be heard. T.O.Y. is a German synthpop and futurepop band founded in 2001 by Volker Lutz. Highlights include collaborations with Alphaville's singer Marian Gold ("Turn On!") and FAITHLESS drummer Andy Treacey ("Silent Soldiers"), blending T.O.Y.'s atmospheric sound with iconic voices from the electronic music scene. "The Prophet is something truly special. During the Corona pandemic, wrapped in isolation, we all needed consistency, a sense of comfort, and security. I found that feeling through sounds--the sounds I have known my whole life: the music of the 80s. Courageously and full of ideas, one song after another emerged. Motivated by the wonderful collaboration and friendship with Alphaville frontman Marian Gold, who kept encouraging me with words about how good this record was, the pandemic passed, and so did one year after another. Through my friendship with Faithless drummer Andy Treacey, I got in touch with Jonathan White, also a member of the Faithless family. A true genius on bass in live performances, he became part of the album as well." - Volker Lutz

Atsuko Niina's debut album released by Teichiku in 1983. All songs are covers of Western songs, with 9 songs having Japanese lyrics and only the fifth song having
English lyrics. In recent years, its reputation among city pop and Japanese jazz fans has skyrocketed, and it is now at a premium on the used market!

The album features Japanese lyrics for such bossa nova classics as "One Note Samba" "Ipanema no Musume" "Wave" and "Oishii Mizu" as well as American popular
tunes like “MR.Bojangles” “Asu ni Kakeru Hashi”. covers of such American favorites as "Xasas Xasas Xasas" and "Besame Mucho".

Sound production was done by Jun Irie, who was active as a member of Logic System, and arrangements were shared with Hirotaka Izumi, who was also a member
of The Square at the time. The Square and guitarist Kenji Kitajima participated in the backing.

The entire album has a high quality city pop and fusion sound, with the overwhelming highlight being the high-speed samba arrangement of "Man or Boy (Ipanema no Musume).

The most overwhelming track is "Man or Boy (Ipanema no Musume)" with a high-speed samba arrangement. It is a Japanese rare groove track that can be used in
today's club jazz scene as it is!

You can enjoy her ever-changing vocals on the innovative and typical fusion sound of the time.

Liner notes: Kenji Kitajima, Hirotaka Izumi
(original liner notes of the time are reprinted)
Original release: 1983 Teichiku GM-140
Original label: TEICHIKU ENTERTAINMENT, INC.

Third opus from Acid Meets familly, Diffidatik Records !

First tune from Sylo vs Minds Controllers is a story-teller, broken and then banger, with an Acid bass full of tension surrounded by dub feelings..
.
Second track from Neurotribe is a night caller, sunset style, dark and trance, industrial and acid, A contonuum-vitae, not shouting but growing more and more dancefloor... as the sun goes down, it goes darker !

The flip opens with LOKO and a french speaker calling for Unity in Free Party, as a culture, as a way of life and most of all LOVE & NOISE !

Last track goes PEACE ! Brixton23 and a sweet techno lullaby... A little jewel of tenderness... Even if... the Kick turns a bit more Hard after a little while :) éhéh

All in one this is the best of the 3 Acid Meets release... coming with a super printed sleeve !

Gotta get it !!!!

The record comes with the printed text of B1 tune from LOKO.

Tracks list
A1 - Sylo vs Minds Controllers - Overshoot
A2 - Neurotribe - Ethernit
B1 - Loko - Ca Revendique
B2 - Brixton23 - Acid Spring
Add all tracks to a playlist
Other releases by Neurotribe

One of the most memorable Gobble classic! Meticulously remastered repress of his iconic EP from 1999, featuring the famous collab with Micropoint.

The project brings together a stellar cast of musicians. Guitarist and producer Matthis Pascaud who crafts a rich and colourful sonic landscape, along with acclaimed drummer Raphael Chassin, pianist Thibault Gomez, and bassist Simon Tailleu. The record shines further with the participation of special guests: iconic guitarist Bill Frisell and the legendary saxophonist Archie Shepp, whose contributions underscore both the intimacy and the grandeur of Rampal's homage. Through inventive arrangements and deep poetic sensibility, 'Song For Abbey' revisits key pieces from Abbey Lincoln's repertoire, including a luminous, modern rendition of ' And It's Supposed To Be Love' .

Marion Rampal's voice, instantly recognisable and deeply evocative, breathes new life into Lincoln's world, blending tradition and innovation across jazz, blues, and folk influences. With high-profile guest artists, Bill Frisell and Archie Shepp, who elevate the album's international visibility and media value, 'Song For Abbey' is not just an album, but a resonant contemporary statement - a vibrant crossroads of jazz legacy, emotion, and artistry. "One of the most beautiful voices of her generation brings new life to the legacy of the sublime singer and songwriter Abbey Lincoln - chills guaranteed." - Jazz Magazine

Following his bold 1983 solo debut 'Walk Into Light', Ian Anderson - the legendary flautist, songwriter & frontman of Jethro Tull - returned in 1995 with 'Divinities: Twelve Dances With God', a richly textured & wholly instrumental work that showcased a different side of his musical imagination. A sweeping, genre- defying suite in twelve parts, 'Divinities' draws deeply on Anderson's lifelong love of classical music, world traditions & pastoral folk. Conceived as a continuous orchestral journey, the album weaves influences from Celtic airs & Middle Eastern motifs to Indian ragas & Baroque counterpoint, all anchored by Anderson's unmistakable flute.

The result is one of his most ambitious & evocative projects - a spiritual, cinematic exploration of faith, nature & the divine. Now 'Divinities: Twelve Dances With God' returns to vinyl in a stunning half- speed remastered edition, expertly mastered by Grammy-winning engineer John Webber at London's AIR Studios using audio sourced from the original tapes. Pressed on black vinyl & housed in a faithful reproduction of the original artwork, this new edition stands as the most detailed & dynamic presentation of the album to date. Originally premiered live in its entirety with orchestral accompaniment before its release, 'Divinities' remains a singular work within Anderson's catalogue - a testament to his restless creativity & compositional range beyond the bounds of progressive rock.

TWINS from Dresden, Leipzig, and Berlin present their second album in a particularly antiquated format: the LP in the truest sense of the word. Eight songs that are actually one. Without noticeable boundaries. Musically fragmentary, yet consistent and coherent. An album from which no song can be easily extracted; at least not without partially losing its actual effect in the process of separation. All components of the album need each other in a certain way, and it is precisely this peculiarity that gives rise to its musically emancipated strength. "it"s_complicated" is an album like a strange, brittle radio play amidst idiosyncratic post-hardcore, math rock, screamo, noise, and indie elements. A journey of musical possibilities.

Kurt Vile once sang that he had a freeway in mind, but Matt Kivel (Vile’s former Woodsist labelmate) literally has a freeway mind. Kivel grew up in Santa Monica, California, getting shuttled up and down the 10, the 101, PCH, and all the other freeways Angelenos lovingly affix definite articles to. He started out in music as part of the buzzy, Eagle Rock-based indie band Princeton, toured the country relentlessly, burned out, and then resurfaced with a series of bleak, hauntingly spare solo albums that garnered widespread critical acclaim.

Over the ensuing decade, Kivel collaborated closely with a growing set of brilliant, and varied musicians from across the globe, including Bonnie “Prince” Billy, Alasdair Roberts, Madi Diaz, Robin Pecknold of Fleet Foxes, Jana Horn, and Satomimagae. He moved to Austin, Texas then left for New York City for a spell and then returned to Austin where he settled down. In 2017, he started writing the songs for what would become his eighth solo album, Escape From L.A. Escape From L.A. is an autobiographical song cycle that chronicles the first thirty-three years of Kivel’s life in the City of Angels. The material was labored over, rewritten, rearranged, and rerecorded numerous times, between LA, New York, and Austin. Kivel self-effacingly refers to it as his “bootleg as hell Blood On The Tracks” with myriad alternate sequences, tempos and arrangements that will never see the light of day. It involved over twenty collaborators, a string section, pedal steel guitars, and a renewed lyrical and vocal clarity that allows the narrative vignettes to unspool in vivid detail. It’s a beautiful, grounded statement and one of Kivel’s best.

Strolling through the world by Biboul Darouiche & The Bantu Jazz Connection marks the first vinyl release on Crispy Water and is a vibrant fusion of African rhythms, jazz improvisation, and soulful storytelling, blending ancestral rhythm with contemporary jazz expression. Recorded with an ensemble of outstanding musicians, the album moves effortlessly between groove, spirit, and freedom — connecting continents through sound.

BIBOUL DAROUICHE is a singer, percussionist, composer and head of the ensemble. By playing the conga, djembe, calimba and - the African treetrunk drum (also called nkul or tam-tam, which by the way should not be missing at any concert!) Darouiche brings a very special color to his music. He works mainly in Europe, but his engagements also take him to the Middle East, the countries of the CIS, Brazil and the USA. Since1995 he has been a member of Klaus Doldinger's Passport. He has also worked with musicians such as Al Di Meola, Pee Wee Ellis, Roy Ayers, Graham Haynes, Paquito D'Rivera and the Jazz Baltica Ensemble.

The Austrian multi-instrumentalist and producer MICHAEL HORNEK, who is part of the permanent cast of Klaus Doldinger's Passport as a keyboardist, plays keyboards, percussion and sings. His free-jazzy percussive playing inspires every listener. Hornek's keyboard skills can be heard on over 750 music productions, and the trend is of course increasing!

Mauritian bassist LINLEY MARTHE is one of the world's best bassists. He was a long time permanent member of the band Joe Zawinul Syndicate,worked with musicians like Dave Liebmann, Richard Galliano, Omar Hakimand many more. Zawinul said of Linley Marthe in an interview: “Linley is a phenomenon. I don't know if anyone can match him in terms of bass playing."

ROGER BIWANDU, french musician born and raised in Bordeaux/France, with roots from Congo (DRC) is an artist resident at l'Apollo bar in Bordeaux since june 1997, he plays there one time per month. He played with a lot of great musicians all over the world, with some heavy weights too, like Joe Zawinul, Salif Keita, Marcus Miller, Lee Ritenour, John Beasley, Dee Dee Bridgewater, Franck McComb, to name a few.

Tina Records presents the apocalyptic visions of Nokuit. Constructing a hellish diorama across six tracks of industrial electronics, Gates of Horn and Ivory uses biblical allegory to map out our current End Times. With sleeve notes by Andy Sharp a.k.a The English Heretic.

Eurosleaze film composer by day, Nokuit has developed a distinctive cosmology over a mutating series of releases on underground labels including wannamarchi club and NKT. Alongside Cut Hands (William Bennett of Whitehouse), he remixed Roberto Musci on the inaugural Tina Records release, as well as having been remixed himself by schuttle, Kinn and Sonae. He has performed internationally, including at Cafe OTO alongside Mun Sing as part of a lineup curated by Flora Yin-Wong and has received radio support from Ad93's Nik Tasker and Ana Quiroga of Editions Mego's LCC, amongst others.

English Heretic is an autonomous creative research project helmed by writer, occultist and multimedia artist, Andy Sharp. Having released over a dozen albums and booklets since it's inception in 2003, the project culminated with the publication of The English Heretic Collection in 2020 by Repeater Books. Friend and collaborator of the late Mark Fischer, Andy has talked at academic conferences and counter-cultural events on a wide range of subjects drawn from his research.

This is the second release from Tina Records, following Cargo Cult by Roberto Musci. Featuring remixes from Cut Hands and Nokuit, that record received airplay from the likes of Surgeon and Not Waving on stations such as NTS, Noods, Resonance and Intergalactic FM. It was also named one of the best releases of 2024 by Bleep. Tina Records is based in London and Rome.

US Black Friday 2025 Release. There are very few albums in the psych/punk/hard rock/private presses strata that garner the sort of universal awe and accolades that Fraction’s almighty Moonblood LP does, and even fewer records in the world that could be dubbed ‘Christian Rock’ incur such fierce devotion. Indeed some records just meteorically lift themselves out any genre tag with brilliance and sheer defiance--and Moonblood is surely one of them. Based in LA, Fraction was a ragged collection of working-class musicians--the line-up was ringleader Jim Beach--vocals; Don Swanson--lead guitar, Curt Swanson--drums, Victor Hemme--bass, and Robert Meinel--rhythm guitar. Beach himself describes those early days: “The guys met through various acquaintances that we had in LA. All of us had been in bands before, but were seeking something with more teeth. We had a small studio in an industrial complex in North Hollywood and started practicing sometimes as early as 4:30 AM. We all had day jobs, so we did what we could.”

Amazingly the recording sessions for the album were recorded similarly on the fly, as Beach further states: “The Moonblood recording took place at Whitney’s Studio in Glendale, CA, early in 1971. On a strict budget, these songs were recorded in less than three hours—all of them “one takes.” We played, all 5 of us, simultaneously-- there were no studio effects, no overdubbing or any additional sound effects added. Basically what you hear is considered ‘old school’ recording.”

This workmanlike description in no way prepares one for the pure tortured genius the session wrought. Particularly noteworthy is Beach’s vocals—as commonly stated, the spirit of Jim Morrison is conjured in his deep baritone, which gives way to unparalleled pained howls, at times bathed in delay which trails into the abyss. Fascinatingly enough, Beach cites the much punker Love as his fave LA band over the Doors, and also gives influence-nods to proto-everything rockers The Yardbirds and to Dylan, whose dark word tapestries surely inspired Beach’s lyrics (though lines from The Doors’ “L’America” pop up on the LP) Whatever the case, the man clearly has a vision, as even the stark sleeve concept is Beach’s own. Equally as integral to the Fraction sound is lead guitarist Don Swanson—his blown-out fuzz riffs set a template for what is now commonly known as “stoner rock” or “acid punk,” and his solos consist of jagged, wah-wah-ed shards of notes, with his amplifier clearly pushed to the limit.

Beach says: “Don’s guitar was always my driving force and he did everything he could to keep it over the top. You’d never know that (his sound) was coming from an old, broken down Esquire. Don kept it alive!” The other members contributions shouldn’t be underappreciated though-- drummer Curt Swanson keeps things at a constant simmer, and then boils over when the whole band launches into snarling glory. The band and LP as a whole equals something indescribably intense from start to finish—comparisons to the Detroit late 60s high-energy bands like The Stooges and MC5 abound, as well as the sort of late 60s damaged spirit lurking in biker clubs and disgruntled Vietnam vets. The song cycle on side 1 of the LP in particular cuts to the emotional core, with severely charged dark lyrics like “Extend your thumbs and burn the darkness out of her.” Which brings us to the Christian aspect--it often can confuse listeners. The Fraction/Beach world of religion is complex and perhaps a bit pagan/sinister than most---fire and brimstone, temptation, and the truth-seeker being burned by this hell on earth—or perhaps as Beach himself best put it: “Speaking for myself, as a believer, it’s been a progressive experience since my childhood.

I think we’re all basically driven to live more than religion.” The album was pressed in a run of but a few hundred to little attention in the day, but now inferior bootlegs flood the marketplace, and originals of Moonblood command thousands of dollars. So enjoy this all-inclusive reissue, which also features for the first time on vinyl, 3 lost tracks-- like the more acoustic-minded “prisms” and “dawning light,” as well as the proto-metal choogle of “Intercessor’s Blues.”

Like a head resting on a train window, gazing at the horizon without anxiety, Jesper Ryom's debut album breathes a wind of freedom and propels us toward the unknown, to no destination in particular.
Beyond the sensations of movement it evokes, this work is a marvel of unexpected mixtures. Seamlessly transitioning from progressive sounds to genuine French touch inspirations, it sails through the ages while maintaining a dreamlike homogeneity. This long-awaited offering from one of Copenhagen best-kept mysteries invites listeners on a captivating journey