Search:physical

A lot can happen in ten years.

Rewind back to Gateshead in 2008 - the producer Smoove is round his friend and keyboard player - Mike Porter's house. Together they are working on tracks for his project and all of a sudden they hear a heavenly voice from the neighbour. Transfixed by the vocals that are caressing their ears they go and investigate to find a youthful John Turrell doing his thing at a practice with a local band he played with when he wasn't teaching carpentry at the local college. Together they woo him with their Geordie charms and the initial line up of 'Smoove & Turrell' is born. The group instantly gel and soon after have penned the killer track 'I Can't Give You Up'...

Flash forward to 2019 and the carpentry community looks on with jealousy as the group has gone from strength to strength. Signed to the independent label Jalapeno Records they are now five albums deep and they have achieved multiple radio-playlisted singles, won awards, toured with the likes of Chic, gained sync success across the world and continue to wow venues in all continents with their thrilling live shows on the regular.

All of this in an age where attention spans are shorter than ever and there is more access to music than ever. This is certainly an achievement worth celebrating. Doubly so in fact as not only is it their ten year anniversary collection but also it is the 300th official release on Jalapeno Records so it only seems right that the occasion gets commemorated properly - a double gatefold LP with brass coloured vinyl somehow seems appropriate...

Comprising of 18 tracks taken from all five of their studio albums as well as two new barnstorming tunes exclusive to this release - it's a veritable feast of northern funk gems from start to finish. Favourites from their deep catalogue including 'Slow Down', 'Beggarman', 'In Deep', 'Have Love' and 'You Could've Been A Lady' are all present and correct, lining up next to the two newbies which also hold their own.

"But what about the new tracks!" we hear you cry - well Smoove's solo rework of The Spencer Davis Group - I'm A Man is the stuff of legend with physical copies changing hands for huge sums (if you are lucky enough to be able to locate one in the first place!). The track has long been a staple of S&T live sets but they've never laid it down in a studio recording... That is until now. It's a monster of a tune and the perfect way to kick proceedings off on this record.

That's not all though, as the lads also serve up the aptly reflective 'Give it Back'. It's signature Smoove & Turrell stuff - full of soul with deep and heartfelt lyricism. Turrell's chorus refrain "We love the ones who give it back" is typically honest and true of a band that prides themselves on community. Proper canny that. Proper canny.

Following 2 heavy reissues of “Silver Mirror Of Her Eyes” and “Heavy Water” from original works on D*Fusion Records in 1994-1997, Howard Dodd aka Anoesis returns to physical in 2023 for a new full feature-length album via Australian based imprint Paper-Cuts. Selected works between 2010-2022 “Memory On Memory” offers a modern take from the underground UK artist, spanning refined breaks, playful tech-house and modular experiments stretched across this 9-track LP.

Creating an introverted version of restrained electronic music Berlin-based artist Constantijn Lange releases his second album 'Liquide' on Heimlich Musik. The album is based on sketches created in isolation during the second pandemic year. The compositions are characterized by self-reflection and an attempt to translate the abstract experience of listening to oneself into a concrete form. The sound of personal isolation, the necessary withdrawal from the world and the restriction of all social contacts is, therefore, less club oriented and focused on functionality than an expressive concept of ideas, rather oriented on Trip Hop, Breakbeat, Ambient and Jazz. The collective rediscovery of shared experience results in arrangements of melancholic but optimistic melodies recorded with vintage synthesizers, supported by complex drum patterns and diverse percussions that create a signature sound as a new liquid amalgam.


Constantijn Lange is an electronic music composer originally from Ostfriesland now based in Berlin. Besides several releases on Laut & Luise since the early days, his productions appear on labels like Get Physical, Traum Schallplatten, Sinnbus, Platon Records, Egoplanet
and many more.
His passion for thick layered synth melodies, jazzy and kraut – like vibes, atmosphere recordings, deep basslines and selfmade percussion designs give his music a recognizable vibe which can be heard on nearly every production he was involved in so far. He spends a lot of time in his studio in Berlin, working on new music, remixing other artists and also engineering for other sound projects in the art scene. On top of that, he performs as a liveact in clubs and on festivals all over the planet where his music can be described as very emotional and personal. Repeatedly this amazed people in countries like Germany, Russia, Poland, Switzerland, South Africa, Austria, Belgium, Mexico and
many more.
Constantijn’s ambition as an artist is to constantly evolve his productions and create music
which carries emotions and energies into the clubs, to festivals and living rooms alike.

“This is me at my most imaginative, freakiest, and yet still most grounded and introspective,” says Japanese American rapper/actor Lyrics Born not only about his new album Vision Board, but also his “self” and his existence. “I feel like a new man! I’m healthier physically, spiritually, mentally, and emotionally.” The lead single and video “Diamond Door” is a pop/rap banger that lands you with an infectious barb and keeps you hooked for days, and is a thinly-veiled tribute to a particular style of female appreciation, but it can also be taken as a welcome mat to the new era of Lyrics Born. The accompanying video which shows Lyrics Born in his current physical form - svelte, stylish and with a confident swagger - reinforces this next chapter in his life. 60 pounds lighter, he lost the weight during the pandemic when he knew he needed to make a change. “Touring was becoming harder, and I was having all these weird health problems, but nothing that anybody could put their finger on,” he explains “My anxiety was high. I was not sleeping well. I was on the verge of really bad health.” And this improvement brought more confidence which shows in his new album. Vision Board is a focused affair that found him stretching his creativity farther and challenging himself to write in a way he’s never written before. Recorded primarily in New Orleans and produced by Rob Mercurio of Galactic (who also produced 2015’s Real People and 2018’s Quite a Life), it posited him in a new environment that helped his creative juices flow even more fluidly. “There’s nothing like recording in the Crescent City. It just gets in your blood, and the results are always funky and wild.” “This is about as psychedelic as I’ve ever been,” LB says. “I’m so proud of this album. I’m in a different space. The world is in a different space, and I wanted to celebrate that, loosen up and really create some imagery and share some emotion that I never have. I was listening to a lot of Shuggie Otis; a lot of obscure psychedelic soul and later Temptations,” he explained. “This is like if Alice in Wonderland was Japanese.” Vision Board was also inspired by another Bay Area rap luminary, although one who’s no longer with us - Gift of Gab. The dexterous Blackalicious MC and fellow Quannum Projects alum had a profound effect on Lyrics Born’s life, both creatively and philosophically. “I asked myself on some of these songs: ‘How would Gab approach them?’” he said. “I’d play with certain cadences, certain styles; I tried to stretch stylistically, lyrically and vocally on every single song. None of the patterns are the same.” Lyrics Born’s vulnerability shines through on the nine-track effort, something he’s not ashamed to admit (nor should he be). At one point during the pandemic, he was losing one friend, peer or family member every other week - from Zumbi of Zion I to Gift of Gab to Digital Underground’s Shock G. While many of the songs are deeply introspective, he had to “write some fun shit,” too. Celebratory horns, uptempo rhythms and fiery bars pepper the project from start to finish, and truly encapsulate Lyrics Born’s evolution of not just a groundbreaking Asian-American MC but also a human being. As the only Asian-American MC to release 10 studio albums, the first Asian-American to play major music festivals like Coachella and Lollapalooza and the first Asian-American to release a greatest hits compilation, Lyrics Born has been breaking barriers his entire life - and he’s not going to stop anytime soon. From the bombastic and tribal “I’m the Best Rapper in the World” with its self-winking boastfulness to the playful scat of “Bang Bang Bang” that slinks like an outtake from West Side Story, to the smooth and seductive “Who's The Best? (Dear Young LB)," to the psychedelic and swoony ”Alligator Boots” with it dreamy “Walk on the Wildside”-esque reverby sway, Vision Board sees Lyrics Born tackling different tones, textures and genres without fear and making them completely his own. It's an eclectic body of work that boasts more synths, more psychedelia and is generally more abstract.

Talla 2XLC is celebrating his forthcoming birthday with the annual
spectacular Technoclub event along with faithful friends such as DJ
Dag, Woody van Eyden, Andreas_Kraemer, Sven Wittekind, Ulli
Brenner ,LXD and Bluefire amongst others. While during his career
has faced many obstacles and unfortunate situations, he manage to
stay ahead of his game by gaining the respect and admiration of his
fans and DJ colleagues. His career is a bright example of an artist
that fight against all odds and work ultra-hard to be always at the top
of download shops charts with his single releases and at the top of
the physical sales charts with his long lasting Mixed CD compilation
Technoclub that in 2023 celebrates its 25th year anniversary. Well
known for his ability to provide brilliant remakes of huge trance
classics on his label Technoclub Retro while on That’s Trance service
original solo tracks or collaborations with brilliant singers such as
Christina Novelli and fellow DJs like Ronski Speed or Ralphie B. Last
year he established his psy-trance label Dreamscape with remixes
by his psy-trance alter ego Zyrus 7. Talla 2XLC is not just a pioneer
in techno and trance music scene but also a frequently booked DJ
performing on the most iconic festivals and club events such as Nature One, Mayday, Airbeat One and many more as he knows excellently to entertain his crowds with memorable DJ sets . Talla 2XLC embraces social media with active accounts in the most of them with hundreds of followers.

During the pandemic lockdowns he conquered twitch with
his very successful live DJ sets receiving donations and support from
his global fan base. What is more Talla 2XLC is taking part in wide
variety of documentaries narrating his contribution in the development and growth of electronic music culture. He is co-founder of MOMEM - Museum Of Modern Electronic Music in Frankfurt that any electronic music follower should visit to learn about the history of our culture.

For his 2023 Birthday he has a huge surprise to all his vinyl lovers.
He is going to release his BDay Bash EP that will include two massive
tracks already released digitally under his techno moniker RRAW on
Technoclub Pure. The two massive mainstage techno friendly anthems Wonderful Dayz and The Promised Land. Both tracks have been fans favorites and have been road-tested extensively by Talla 2XLC and many other well-known artists worldwide. Banging mainstage techno basslines, slamming kicks, haunting dark moody atmospheres, acid touches and strong euphoric breakdowns followed by massive hands in the air dark climaxes, turn both tracks into must have for any vinyl lover who wishes to embrace Talla 2XLC techno moniker RRAW. Wish Talla 2XLC happy birthday by purchasing his Bday Bash EP with hi latest techno alias RRAW out on ZYX Music.

In Kenyan cultural communities’ musical performance has always been linked with a long chain of related events and ideas. Music was often used to illuminate a specific topic and its implications to society. Through this method of explanation, musicians were able to reveal several underlying social concepts that determined people’s behaviour towards each other and the community.

This common recurring theme was seen mostly in ceremonies. African musical productions are abstract configurations that demonstrate a common fundamental creative principle of mediating the physical and metaphysical worlds. INSHA is centered on time and the evolution/relationship of these cultural-creative influences. The compilation inquires aspects of traditional cultures, physical or metaphysical from communities in Kenya, and act as inspirations and sonic paraphernalia. INSHA serves as a bridge between the past and future music creators on a more fundamental level than usual record keeping.

Party Dozen is a sonic partnership loosely based on improvisation between saxophonist Kirsty Tickle and percussionist Jonathan Boulet. Their debut album, The Living Man, earned critical acclaim upon release in 2017. They've toured relentlessly ever since - each performance a trial of physicality and an expression of maximalism. Like the legendary Dirty Three, the members seem to meld into one mind, oblivious to the viewer. Tickle effortlessly navigates Boulet's ever-shortening attention span and wild tempo changes; form gradually materializes from chaos.

Born somewhere in the Arizona desert, Puscifer is an electro-rock band, multimedia experience, traveling circus, and alien abduction survivors. The group’s catalog consists of three full-length studio albums—“V” is for Vagina 2007, Conditions of My Parole 2011, and Money Shot [2015]—in addition to a series of EPs and remixes. The group will be releasing a special physical version of ssMoney Shot March, 2023.

Beyond the core trio of Maynard James Keenan [vocals], Mat Mitchell [guitar, production], and Carina Round [vocals, songwriting], the group’s ever-evolving ecosystem encompasses Greg Edwards (bass, guitar, keys), Gunnar Olsen (drums), as well as a cast of characters such as Billy D and his wife Hildy Berger, Major Douche, Special Agent Dick Merkin, and many more. Renowned for an immersive live show, the group’s performances blur the lines between concert and theater, traversing the dusty American Southwest with Billy D and Hildy or the sweaty squared circle with Luchadores. They’ve brought this to life everywhere from Coachella to Bonnaroo

Rua Sound's new sub-label SPHERES is proud to introduce its first release from Rome-based producer Noroi. The Adrastea EP is a richly imaginative work of electronic music, showcasing Noroi's uniquely melancholic and futuristic sound.

Comprised of four tracks, the EP opens with "Stay," a powerful blending of emotive breakbeat and evocative vocals. "Untitled Jungle," a collaboration with VSC, is a genre-defying jungle track that builds to a genre-appropriate fist pumping crescendo. "Chrysalis" is on a more introspective tip, where delicate layers of reverb-drenched instrumentation and the transcendent vocal delivery of Tokyo Witch creates a restorative atmosphere. The EP concludes with "Transoceanic," an energetic piece that blends percussion and atmospherics for a sound that can't be defined.

The Adrastea EP shows off Noroi's flare for innovative sound design, offering a vision of the future of electronic music. Out on March 10th on the Rua Sound Bandcamp and in online and physical stores worldwide, it is a must-listen for fans of the deep, adventurous tracks that work in your headphones as well as on the emotional end of the club sets.

This is the first in a series of releases from the SPHERES label, which named after one of Jupiter's moons. Each one features original artwork by Josje Bijl aka Yorobi, inspired by the sketches of these moons by Galileo in 1610.

All music by Noroi

Innemuseum is the debut album by Danish composer, singer and multi-instrumentalist Cisser Mæhl. The 10 fragile compositions for vocals, sparse electronics and a myriad of instrumentation illuminate a hushed charm unlike few other Sonic Pieces releases to date.

The album sparked off while Cisser was working in a mountain lodge in mid Norway during summer 2019. On her spare time she would find herself recording mountains, rivers, stones, plants and animals in the beautiful scenery. After moving to Oslo shortly after, she rented a studio to further work on her own music, songs and sound processing. Through some friends she met Norwegian artist Jenny Hval who became an inspiration as she started taking solo classes with her. Jenny then pushed to contact producer Lasse Marhaug to work together. This became the last piece of the puzzle for Innemuseum to come to fruition as Lasse ended up putting the final touches on the album. When Cisser returned to Copenhagen after 7 months in Oslo, the album was finished. The title “Innemuseum” refers to both the dark months in Oslo and the retraction towards the inner self. An inner museum - music from within, both as a person and as in physical places.

This is undeniably a very personal record that sounds like the musical embodiment of Cisser herself. She sings in Danish in a close-miked way like she's sitting right next to you, all while gentle rhythms and soft strings together create a sort of bright, minimal chamber music with hints of pop sensibility. It almost feels like a Scandinavian reflection of Colleen's work in her more quiet, vocal periods. A music box of weightless compositions for the conscious mind.

Jens Brands has created a large number of installations, musical performances and Interactive Media works. He uses the concepts of parallel activities rather then ideas of fusion. The pieces presented on this recording focus on sonic events related to electronic music (such as intense volumes and dynamics, white noise, square or sine waves) but stay entirely acoustic.

On a live performance of »Ratchets«, the sounds are generated with the idea of a physical, sculptural, yet invisible presence. It might happen that the body of a person moving around in the audience has more impact on the sound then the variations produced by instruments themselves.

"I was always interested in the idea of making acoustic music that has the quality of electronic music," muses Dortmund based musician and visual artist Jens Brand. "Electronic music is fantastic, but I don't like speakers very much."

Take his performance entitled »Motors And Styrofoam«. Pieces of glistening white styrofoam fitted with small motors hang from the ceiling above the audience's heads, squatting balefully in mid-air like lopsided clouds. Acting as a resonator, the styrofoam amplifies the whirr of the motors, which builds up into a loud, persistent drone overlaid with overtones.

Equally uncompromising is »Ratchets«, which deploys a number of football rattles, those small wooden devices originally used by hunters. The ratchets are set in motion by motors whose speed and direction are controlled by a computer: they click busily away, producing a dense, enveloping sound reminiscent of heavy rainfall. In performance, the sound of the ratchets is spellbinding in its rawness and intensity, attaining impressive volumes as it interacts with the features of the space.

Kouslin returns to Livity Sound with a second collection of slippery club tracks after the 2020 Vision E.P. With an emphasis on head-twisting sound design and a detailed line in percussive programming, the London-based producer continues to reach into intriguing new areas without forsaking soundsystem-ready physicality.

The tracks which make up the Patterns E.P. stemmed from a period of personal experimentation, where Kouslin returned to making music for its therapeutic benefits rather than a fixed purpose. The loops and sketches he returned to and expanded upon for this EP bristle with originality at every turn.

There is a continued exploration of dancehall rhythms on ‘King’, while ‘Five Four’ toys with time signatures for a jagged, fast-paced abstraction of techno. ‘Why Don’t You Don’t’ is harder to pin down thanks to its knotty beat and mutant synthesis, and ‘Michael’ flips the script further with an unexpected swerve into pearlescent melodic lead lines – the perfect demonstration of the honest and instinctive approach Kouslin took when making these tracks.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Debut release on the newly-launched MSCTY label, the first in a series of highly collectible, very limited and lovingly designed physical releases.

This is a state-of-the-art double cassette boxset complete with 12-page booklet and limted to only 100 copies.

It features a host of brilliant compositions, each exclusive to the label from a wide cross-section of some of the world's foremost emerging electronic artists, including Hannah Peel, Loraine James, Bill Fontana, Chisara Agor and many more.

Each piece represents the artist's response to work by the World's leading architects, unbuilt futuristic buildings and spaces created for London Design Festival 2020.

MSCTY_EDN future releases will continue follow the theme of music created for places and spaces around the World, exclusive material specially commissioned musical artists across the globe, from the likes of Ryuchi Sakamoto, Midori Takada, Terry Riley, Moses Boyd, Scanner, Jon Hopkins, Erland Cooper, Craig Richards and any more.

Experimental musician and performer Moss Kissing debuts on vinyl for Lisbon collective Vilamar. Thick layers of ambience and intense bass weight form a canvas for plaintive melodies and brooding dance rhythms. These latter range in tempo and gait from dubstep to techno to jungle and back again, summoning contrary moods often within the confines of a single track. This freedom with form arises from Moss Kissing’s background in noise guitar and his current focus on dynamic improvisation led hardware jams, which have gained him notoriety around his chosen city of Lisbon. The British connection is unmissable, though, as the Pass Through LP is haunted by many of the spectres conjured by FSOL, Autechre and Burial before it. As with their previous releases, Vilamar bring to light an artist playing with the boundaries of dance music without ever losing sight of what’s at its core: the physical texture of bodies and minds in space, moving, seeking connection.

Music For Dreams signal the summer with the debut LP from Ibizan royalty DJ Pippi & Willie Graff, released digitally on May 27th with the physical version following on the 8th July. The latest bounty from the Danish label’s long and fruitful relationship with the White Isle, Follow Your Dreams is a twelve plate tapas packed with the assorted styles and flavours of the Balearic sound - a complex blend delivered with a warmth, feeling and tone which bring it all together as a whole.

Collaborating on and off over the past fifteen years, with resulting singles gracing the likes of Compost, Leng and Archipelago, DJ Pippi and Willie Graff posses a unique combination of Balearic heritage; one an Italian export who helped originate the sound and style of the genre through his legendary DJ sets at the likes of Pacha and KU in the eighties, the other a trailblazing talent born on the island, who started his residency at Pacha in summer 2000 at the tender age of 17. Their intergenerational entente speaks to Pippi’s unyielding passion for sonic progression and the musical maturity of Graff, as well as a shared love of the soulful side.

“A unique and refreshing release.” — Earmilk
“Stellar… an exciting and surprising release” — Popmatters

Cut Copy’s January Tape, an ambient project originally released in 2016 as a limited-edition run of 400 cassette tapes, comes to vinyl for the first time on January 2023 via Cutters Records and Diggers Factory.

Dan Whitford of Cut Copy said the project took shape after the band took a break from recording the follow-up to 2013’s Free Your Mind. “Having worked for much of the previous 12 months on a new Cut Copy album, we decided in January it was time to give ourselves a well earned break, “Whitford stated. “But instead of retreating to the wilderness or decompressing on a beach somewhere, we spent ten days in the studio making a collection of ambient instrumental works. We wanted to share outtakes from these sessions in all their unedited glory with you, and put them out as an extremely limited edition cassette, available mainly through our webstores.” Now with this limited vinyl release, more fans will be able to grab a hold of a physical copy of the music (the OG cassette’s are now a long-gone and highly coveted collector’s item).

Composed and recorded by Whitford and Cut Copy’s guitarist Tim Hoey, January Tape was accompanied by a short video, January Trip, by Glen Goetze and Brendan MacLeod. The video takes from several parts of the tape, evoking the lush, cinematic and occasionally disparate moods in the music via split screen themed imagery, both man-made and elemental in origin. More meditation than music video, more hypnosis than hype, January Trip works as a harmonious visual companion to the soundscapes in the tape.

Cryptically-named duo JOHN - comprised of John Newton (drums, lead vocals) and Johnny Healey (guitar, backing vocals) - return with their first new music since the release of their acclaimed third album Nocturnal Manoeuvres . It comes in the guise of the blistering 'Theme New Bond Junior', the A-side of a new 7" single, b/w 'Hopper on the Dial'.

Set to undulating guitar riffs and a greater sense of dynamics than ever before, 'Theme New Bond Junior' finds JOHN tackling the questioning feelings that arose as the band returned to the live circuit once venues began to open their doors as they embarked on a rapturous 30-date UK tour in autumn 2021, as well as recent festival slots at Green Man, End of the Road, Latitude, a main stage appearance at Bearded Theory’s Spring Gathering and a memorable return to the mainland at Belgium’s historic ROCK HERK.

“The arts function as a mirror of our wider culture, and it’s been interesting to see how the acceleration of the present affects most aspects of our lives - including the production of art and music," says Newton. "The track was a gestation on the speed of consumption: this includes both the constant update/obsolescence of physical products and their resulting affect on the human attention span.”

Following a hugely successful inaugural release, Sangiuliano’s forthcoming “Sound Of Space” EP was quickly circulated across the festival scene, with the title track becoming one of the most hotly-tipped Track IDs of the summer. Continuing the label’s strong undercurrent of evanescence, Sangiuliano’s second chapter explores the effects of space and physical surroundings on our experience of music. Space is a concept we continuously interact with in music, whether we live it subconsciously or not. It’s a vital component in our perception; altering the expression of the music to the listener’s surroundings and functioning as an interactive field. Before the development of recording equipment & technology, music’s environmental characteristics were defined by the space in which it was performed, and as such, Enrico’s latest offering aims to revive this practice in music. To wholly pervade the senses and demonstrating this concept first hand, the 2-tracker will be also available in spatial audio, giving listeners a 360-degree infiltration of sound

The third compilation (of four instalments) in the Various Artists catalogue of Pi Electronics is hitting physical and digital stores around the globe on the 10th of February 2023.

The concept of releasing artists, who performed at Pi parties (2014-2019) along with musicians who stood close to the label before and during its activity, gathers 18 tracks to the Limitation Compilation.

Music by New York City industrial legend Adam X, Swedish master mind producer Peder Mannerfelt and Irish Techno figure, Eomac (also one half of Lakker) finally takes its place on the label catalogue, along with tracks by the electro side of Italian born producer, Alessandro Adriani and the sound-aesthetic of UK hailing musicians, Slave to Society (formerly AnD ) and Sam KDC.

Berlin artists Alekzandra and Interviews appear with a synth leaning piece, and a hypnotic, broken techno contribution respectively.

You can also meet the sound of Tel Aviv's finest electro duo TV.OUT on this release, which also includes a rare collaboration track by Ireen Amnes and Gramrcy.

Finally, 'Limitation' presents music by Greece affiliated acts of different backgrounds: from the dreamy guitars of Monochromatic Visions and the ambient/drone of Devika, to the broken beats of Zevla and the rolling techno of Thanos Hana; Not to mention the textures of noise band Phallucipher, the industrial slo mo techno of Thessaloniki's, Archaic Intellect, and the noise-techno of label founder, 3.14.

A crossroad of different genres and production styles is offered in the formats of Double Vinyl Sampler, Double CD and digital for this compilation, titled "Limitation".

Ever dream you're in a spaceship on a never-ending journey to an unknowable destination? That's how Nyles Lannon often thought of life in the early part of the pandemic, when time seemed to stand still, before the vaccines or even knowing when there might be any. But whether that spaceship is a desolate prison or a vessel for escaping to a better world depends on how you use it. With literally nowhere to go, the Film School guitarist and his then-12-year-old son Skye, on drums and modular synths, would jam most evenings in Nyles's home studio, just to have something to focus their minds on and counter the tedium of "remote learning." What started out as a way to keep his talented kid busy became a means to process the anxiety and disorientation of that strange, scary stretch of time. The result is Vanishing, a ten-song album of moody melodies, new wave beats, droney rock, and even an electrogroove instrumental interlude, by the father-son project they named Nyte Skye.

The emotional toll of lockdown, our collective grief, the literal darkness that engulfed the sky thanks to devastating wildfires brought on by climate crisis—these are heavy subjects, but the songs also convey how we managed to keep each other sane, and inspired, through it all. Film School devotees will find plenty to love; so will fans of the Police (Stewart Copeland being one of Skye's major

influences), the Cure, Spiritualized, and Elliott Smith. The album's opener, "Dream State (I'm Vanishing)," is a wistful synth-driven indie gem about disappearing into an alternate universe where worries don't exist. "Doing Time," with its massive washes of 12-string guitar and sophisticated syncopated beat, is a shoegazey meditation on holding onto a child's sanguine outlook in the face of adversity. If dream pop track "Take Me Up Again" is the album's bounciest, its counterpoint is "Faded," whose bittersweet melody and gentle rhythm bely themes of physical and emotional frailty.

Ultimately, not only did working on Vanishing help the duo cope with a uniquely challenging situation, but just being stuck at home helped stoke their creativity. "Music was the only thing I did during the pandemic, besides online school," Skye says. "It gave us all this time we didn't have before to make the album." For Nyles—knowing they might never have that kind of time again—to be able to put out a record with his son is, simply, "a dream come true."

Vanishing was written, recorded, and produced by Nyles Lannon and Skye Lannon and mixed by Dan Long, with additional contributions from Zach Rogue (Rogue Wave), Nichole Kreglow (backup vocals), lyricist Neil Rodenmeyer (Lupa Rosa), and Ian McDonald (FUTRVST).

A travelogue that unites physical and inner space, a series of trance states rendered in vivid colour, a delirious portal into the ether.
Marlene Ribeiro’s first albumunder her own name is all of this and much more. Toquei No Sol is a fresh new chapter for this unique artist, by far the most melodic and transcendent outing yet for her hypnotic dreampop.

This is only the latest release in a long history of sonic experimentation for Marlene, which includes her previous work as Negra Branca across a series of releases on labels such as Tesla Tapes and Zamzam and a long period as a member of audial iconoclasts and Rocket mainstays GNOD, not to mention collaborations with the like of Valentina Magaletti and Thurston Moore.

Toquei No Sol is also a record with a very distinctive and potent sense of place, paradoxically despite having been woven together from recordings made in Ireland, Wales, Portugal, Madeira and Salford.
It’s genesis came via a visit to Marlene’s maternal grandmother Emilia, whose influence as well as the sounds of her kitchen in Portugal.
can be heard on the album’s first track ‘Quatro Palavras’.

“Emilia ended up getting excited about me being able to record things there and then and - total news to me - told me she used to sing a lot when she was younger to the point of getting offered studio time but refusing it as she was fearful of what that could imply in those times” relates Marlene “From that point I planned to include her in this record as sort of the chance she never had of getting her voice out there.”

Elsewhere, a disarmingly catchy and irresistible grace is married to
a utilitarian approach to sound and texture. The ritualistic “Sangue De Lua de Lobo” (first released on a Sofia records compilation Songs Of The Lunar Eclipse) contains random objects from Marlene’s then-garden in Ireland, whereas on the drifting, beatific ‘Forever’ the percussion tracks are constructed from the sounds of pots and pans in her own Salford kitchen.

Yet at all times her fleet-footed approach to melody rings through even as the tracks conjure visions of heat-hazes, meditative spaces and late-night epiphanies. Although listeners may hear echoes of the
loop-driven psychedelia of Panda Bear’s Person Pitch or the incantatory ululations of Pocahaunted in these beguiling soundscapes and magick-strewn mantras, the truth is that the aesthetic here is
very much Marlene’s alone.

“It’s all a big misty haze of nostalgia, playfulness, self-reflection and hopefulness” is what Marlene reckons herself. Yet Toquei No Sol
is also a transporting vision from an artist both returning to her roots
and looking out to new celestial horizons.

Vimana takes flight with Aprieta: a collection of polyrhythmic dance tracks produced by Phran. The EP is the physical manifestation of a movement started in 2015 with gatherings in Barcelona and Berlin and was composed in collaboration with friends and artists residing around Barcelona’s Poblenou district.

The tracks on side A contain restrained grooves with deep dembow jams. ‘Aprieta’, ‘Mazatech’ and ‘Sons’ feature collaborations from oma totem (Hivern Discs), Tunik (My Own Jupiter) and
Ribes.

Side B starts off with a remix of the title track ‘Aprieta’ by Dengue Dengue Dengue, before providing the mystical club cuts ‘Faylan’ and ‘Syntorama’, featuring ELO (aka DJ Leeon) and Ribes.

Mixed by Ribes & Phran. The Vimana label image was crafted by Planet Luke (Klasse Wrecks, Graffiti Tapes). Vimana is distributed by One Eye Witness.

What is the sound of feeling?
In physics, we conceive of sound as waves. Vibrations, undulations, physical manifestations: heard but not seen. Borne by the body but interpreted in the brain.
Within ourselves, we perceive emotion as waves, too. Rolling in, rolling out: tidal, even. In moments of violet intensity, the depth of our feeling crashes upon us like surf, rip currents on a corporeal beach.
Worlds apart, but waves in kind. For musician and composer Jo Johnson, the veil between is diaphanous indeed. What you hear is what you feel. Listen and uncover.
Jo Johnson has releases on Further Records, Going In (a sub-label of The Bunker), Verdant and Apartment

Bona Fide makes his triumphant return to Lee Burridge’s All Day I Dream label to release the Entropy double-EP.

For his debut EP release on All Day I Dream, Bona Fide showcases a diverse repertoire of sounds across the eight tracks. The record kicks off with the title track, where Bona Fide eases the listener in with soft percussion before incorporating fluttering melodic textures. Another highlight from the A-side is ‘Kikiri’ - a mesmerizing composition spanning nine and a half minutes which features filtered chanting over an enduring drum pattern, balanced out by mystical synth harmonies. On the B-Side, Bona Fide recruits Zone+ to collaborate on ‘Alter Ego’, a stripped-down groover with an infectious bass-line, and Wassu to collaborate on ‘Love Sparkles,’ a joyous track with maximum danceability.

Entropy may sound familiar to some, as unreleased cuts from the record have been staples of Lee Burridge sets worldwide over the last year and a half. Bona Fide’s main stage performance at the inaugural All Day I Dream Festival in Northern California left fans wondering when he would next be featured on the label. Delivering the eight track Entropy EP to be released in both digital and physical format, Bona Fide makes a massive contribution to All Day I Dream, as the world-renowned label adds another wonderful EP to their catalog.

On June 30, 1986, the same day that Diamanda Galás"s The Divine Punishment was released, the Supreme Court upheld the constitutionality of Georgia"s so-called sodomy law in Bowers v. Hardwick, criminalizing consensual sex between men. At the time, about 15,000 people were known to have died of AIDS in the U.S. alone, with little government acknowledgement besides suggestions to quarantine homosexuals on island colonies. By the end of 2021, the number of AIDS deaths globally would exceed 36 million. The first album in her Masque of the Red Death trilogy, The Divine Punishment is one of the most jarring works of art produced in response to the AIDS epidemic, and a milestone in Diamanda Galás"s artistry and activism. Galás uses her famous voice both as an orational instrument and as well as a physical representation of AIDS and those it afflicts.

Twisting and contorting the English language to fit the meter and his every whim, Lupe Fiasco uses his superb lyrical skill to process the changing world in which he lives. Drawing connections between the concrete and spiritual in his hometown of Chicago, Lupe announces DRILL MUSIC IN ZION, his next album. The product of a burst of thoughtful spontaneity, Lupe created the new album over a short period, diving into a folder of beats sent by his longtime producer Soundtrakk and emerging with a fully-realized album in just three days. “Soundtrakk is the swordmaker, I’m the samurai," says Lupe. "He’s the mechanic, and I’m the driver.” Armed with Soundtrakk's soulful sounds, Lupe creates a focused statement that reflects on the past and paves a way forward, preaching strength through mindfulness and self-sustaining community. DRILL MUSIC IN ZION arrives digitally on June 24th via 1st & 15th/Thirty Tigers. The physical release is set for August 26 (CD, Black Vinyl, and Indie-retail exclusive blue vinyl). His first new album since 2018's DROGAS WAVE, DRILL MUSIC IN ZION marks the start of another chapter in Lupe's illustrious career. The proud Chicago native has already had a busy 2022, marked with sold out shows, new music, and much more. Lupe recently closed out his "Food & Liquor Tour," a series of performances in which he plays his debut album in full. He paid tribute to his hometown in the reflective, self-produced "100 Chicagos," and dug into the archives to share "Hustlaz," a previously-unreleased song originally recorded before the release of the now-classic debut album Food & Liquor. Beyond music, Lupe continues to focus on the community organizations he founded, including We Are M.U.R.A.L, The Neighborhood Start-Up Fund, Society of Spoken Art, and his cross-cultural content venture, Studio SV.

Arkada records is excited to announce our 4th release - forthcoming split vinyl EP featuring the sounds of ADJ & Adrien d’Elzius.

We are very happy to present the first part of the EP with the unique sounds of one of the pioneering artists in the UK underground Electro scene, the label owner of Pyramid Transmissions - ADJ

ADJ originates from and is based in London. He has been playing Underground Electronic Music for over 35 years as a DJ, starting in the days of Early Electro and Hip Hop. He has also been producing and releasing music for 25 years, releasing over 200 tracks in this time on a plethora of labels including Touchin Bass,For Those That Knoe, Another Perspective, Ai, Outside, Cultivated Electronics,Yellow Machines, Crobot Muzik, Diffuse Reality, Netlabel ,Digital Distortions and more...has done remixes for Flint Kids, Scanone, LASynthesis, Carl Finlow, Fleck Esc, Arsonist Recorder , Paul Hierophant to name a few.

He has run the Pyramid Transmissions Record label with label partner Pathic for 20 years and also ran the Analogique record label for 5 years from 1995-2000 releasing Techno, Electro and Electronica as 3 Elements.
ADJ also performed his first LIVE set in a few years in March 2020 MUTABOR in Moscow.

As a DJ, he has played at many festivals including a BLOC residency, Glastonbury For BLOC, Bestival, Shambala, Infiltrate at WMC Miami. 2019 saw another tour of the US with Silicon Scally,Ben Milstein, EVAC, Ion Driver and 214. He also runs the Dodo Club and Frequency Resonate(with Errorbeauty) nights in London and Berlin aswell as playing in Lille, Kiev, Moscow, St Petersburg Berlin,Zagreb,Athens, Napoli, Brussels, Budapest, Vienna, Valencia, Sofia, Paris and many more..

Second part of our EP presents the futuristic glitched-out sounds of the one of a kind Belgium producer Adrien d’Elzius also known under his allies HosmOz.

Adrien d’Elzius was born in the gloomy south of Belgium spending his youth hanging around in a camping and listening to Hip Hop, he started his life in a mess of paradox. At 10, he learned to play drums under his punk’s brother regard, and experimented different kind of rock until 18. That’s where someone showed him a track of Aphex Twin, who blew his mind and made him believe he had finally found the music that suited him. From there, he compulsively spend hours playing around with his computer and slowly made himself a place in the very small community of underground music lover of Brussels under the nickname hosmOz after winning a contest. From his melodic and acidic drill’n’bass beginning, his sound slowed down and got darker, challenging himself to try to create something he couldn’t before. He recently re-released his Lp on Diffuse Reality that make it available on physical form and also his debut album on Burial Soil with remixes by Umwelt and Lloyd Stellar.

The masters of the release are kindly made by Thomas Dunstan. Artwork made by our amazing designer Lawrence Cli

Rhythm Nation is back on vinyl, with a master of the deeper side of UK house and Detroit-inflected techno, Jayson Wynters.

Following up his 'Exit Wound' digital-only release of last year, which also featured remixes from Phantasy Sound's James Welsh, Jayson drops two brand new tracks as well as a physical pressing of those two originals from the previous release.

'War Heads' is a true late-night wormhole of a track, embarking on a journey of percussion and atmosphere, leading inexorably to the emergence of the warmest pads and the deepest bass.

'Bandwidth' flips the switch to a fresh take on classic electro, maintaining the signature Hayson Wynters sound of drum machines and classic synths that seem to hit just slightly left of where the listener expects.

Orginally released digitally in 2022, 'Exit Wound' and 'Lost City' offer a similar contrast - the former is a bassline-driven peak-time stomper, while the latter takes things deep into real electro with an infectious groove and evergreen textures.

Rhythm Nation is part of the Hotflush Recordings label group, curated by Paul Rose aka Scuba, celebrating 20 years in 2023.

If naming is a form of claiming, of being claimed, how is one tethered to both the physical landscape that surrounds us, as well as our own internal emotional landscape_at times calm, at times turbulent, and ever changing? H.C. McEntire's new album Every Acre grapples with those themes_themes that encompass grief, loss, and links to land and loved ones. And naming_claiming land, claiming self, being claimed by ancestry and heritage_permeates the hauntingly beautiful landscape that is this poignant collection of songs. The songs straddle the line between music and poetry. In "New View," McEntire cites poets "Day, Ada, and Laux, Berry, and Olds"_fixtures in the world of writing, whose works are beacons of light over bleak horizons. The beginning of the song is backed by soft guitar plucks that fall on the downbeat and spangle like stars, and, throughout, guitar, bass, and drums swell together gently, mimicking ebbing and flowing tides under the moon. McEntire's voice (at once tender and fierce) intones the truth of both giving and taking, releasing and claiming: "Bend me, break me, split me right in two. Mend me, make me_I'll take more of you." Permeated by heartbeat-like drums, "Shadows" develops quiet ruminations on surrender and loss_reminiscing, moving on. This ponderous, dreamlike song asks the question of how "to make room." How does one make room, for self and for renewal and surrender, when it is so difficult to leave what you know behind? Playing with slivers of descending chromatics, along with the occasional downward-stepping bass, here McEntire yearns for home, and for nesting. Perhaps one of the more grief-stricken songs, "Rows of Clover" is a lamentation, one that touches on the loss of a "steadfast hound." The lone piano in the beginning of the song is rhythmically hymn-like. The stark verse arrangement gradually leads to a chorus that reads like a moody exhale, swollen with lush guitar strums and a Bill Withers-esque understated soul groove. But what stands out the most is an image of being "down on your knees, clawing at the garden"_the only explicit mention of a person in the song. "It ain't the easy kind of healing," sings McEntire, seemingly from further and further away as her voice echoes; and healing ta;kes time, time takes time_truths that linger painfully. "Dovetail" is a song that tells of various women. The song moves back and forth between solo piano and the addition of bass and drums under vocals. McEntire's gentle, trembling vibrato_harmonized in thirds in a celebratory manner_calls to mind a rejoicing psalm and shines through these images, leaving the listener cuttingly fraught with emotions_such as wonder, sadness, nostalgia_that can only arise with these juxtapositions. Gracious (and graceful) with its lilting melodies and lush harmonies, Every Acre ex - plores the acres of our physical and emotional homes. These songs are reaching for the kind of home that we all seek: one where we can rest and lay down (or tuck away) our burdens of loss. And maybe, moving through every acre of a world that often tries to tear our sense of identity and heritage down, McEntire sheds light on what it is to be human in this life_both stingy and gracious, both hurtful and kind.

Orange Viny

If naming is a form of claiming, of being claimed, how is one tethered to both the physical landscape that surrounds us, as well as our own internal emotional landscape_at times calm, at times turbulent, and ever changing? H.C. McEntire's new album Every Acre grapples with those themes_themes that encompass grief, loss, and links to land and loved ones. And naming_claiming land, claiming self, being claimed by ancestry and heritage_permeates the hauntingly beautiful landscape that is this poignant collection of songs. The songs straddle the line between music and poetry. In "New View," McEntire cites poets "Day, Ada, and Laux, Berry, and Olds"_fixtures in the world of writing, whose works are beacons of light over bleak horizons. The beginning of the song is backed by soft guitar plucks that fall on the downbeat and spangle like stars, and, throughout, guitar, bass, and drums swell together gently, mimicking ebbing and flowing tides under the moon. McEntire's voice (at once tender and fierce) intones the truth of both giving and taking, releasing and claiming: "Bend me, break me, split me right in two. Mend me, make me_I'll take more of you." Permeated by heartbeat-like drums, "Shadows" develops quiet ruminations on surrender and loss_reminiscing, moving on. This ponderous, dreamlike song asks the question of how "to make room." How does one make room, for self and for renewal and surrender, when it is so difficult to leave what you know behind? Playing with slivers of descending chromatics, along with the occasional downward-stepping bass, here McEntire yearns for home, and for nesting. Perhaps one of the more grief-stricken songs, "Rows of Clover" is a lamentation, one that touches on the loss of a "steadfast hound." The lone piano in the beginning of the song is rhythmically hymn-like. The stark verse arrangement gradually leads to a chorus that reads like a moody exhale, swollen with lush guitar strums and a Bill Withers-esque understated soul groove. But what stands out the most is an image of being "down on your knees, clawing at the garden"_the only explicit mention of a person in the song. "It ain't the easy kind of healing," sings McEntire, seemingly from further and further away as her voice echoes; and healing ta;kes time, time takes time_truths that linger painfully. "Dovetail" is a song that tells of various women. The song moves back and forth between solo piano and the addition of bass and drums under vocals. McEntire's gentle, trembling vibrato_harmonized in thirds in a celebratory manner_calls to mind a rejoicing psalm and shines through these images, leaving the listener cuttingly fraught with emotions_such as wonder, sadness, nostalgia_that can only arise with these juxtapositions. Gracious (and graceful) with its lilting melodies and lush harmonies, Every Acre ex - plores the acres of our physical and emotional homes. These songs are reaching for the kind of home that we all seek: one where we can rest and lay down (or tuck away) our burdens of loss. And maybe, moving through every acre of a world that often tries to tear our sense of identity and heritage down, McEntire sheds light on what it is to be human in this life_both stingy and gracious, both hurtful and kind.

If naming is a form of claiming, of being claimed, how is one tethered to both the physical landscape that surrounds us, as well as our own internal emotional landscape at times calm, at times turbulent, and ever changing? H.C. McEntire’s new album Every Acre grapples with those themes that encompass grief, loss, and links to land and loved ones. And naming claiming land, claiming self, being claimed by ancestry and heritage permeates the hauntingly beautiful landscape that is this poignant collection of songs. The songs straddle the line between music and poetry. In “New View,” McEntire cites poets “Day, Ada, and Laux, Berry, and Olds” fixtures in the world of writing, whose works are beacons of light over bleak horizons. The beginning of the song is backed by soft guitar plucks that fall on the downbeat and spangle like stars, and, throughout, guitar, bass, and drums swell together gently, mimicking ebbing and flowing tides under the moon. McEntire’s voice (at once tender and fierce) intones the truth of both giving and taking, releasing and claiming: “Bend me, break me, split me right in two. Mend me, make me I’ll take more of you.” Permeated by heartbeat-like drums, “Shadows” develops quiet ruminations on surrender and loss reminiscing, moving on. This ponderous, dreamlike song asks the question of how “to make room.” How does one make room, for self and for renewal and surrender, when it is so difficult to leave what you know behind? Playing with slivers of descending chromatics, along with the occasional downward-stepping bass, here McEntire yearns for home, and for nesting. Perhaps one of the more grief-stricken songs, “Rows of Clover” is a lamentation, one that touches on the loss of a “steadfast hound.” The lone piano in the beginning of the song is rhythmically hymn-like. The stark verse arrangement gradually leads to a chorus that reads like a moody exhale, swollen with lush guitar strums and a Bill Withers–esque understated soul groove. But what stands out the most is an image of being “down on your knees, clawing at the garden” the only explicit mention of a person in the song. “It ain’t the easy kind of healing,” sings McEntire, seemingly from further and further away as her voice echoes; and healing takes time, time takes time truths that linger painfully. “Dovetail” is a song that tells of various women. The song moves back and forth between solo piano and the addition of bass and drums under vocals. McEntire’s gentle, trembling vibrato harmonized in thirds in a celebratory manner calls to mind a rejoicing psalm and shines through these images, leaving the listener cuttingly fraught with emotions such as wonder, sadness, nostalgia that can only arise with these juxtapositions. Gracious (and graceful) with its lilting melodies and lush harmonies, Every Acre explores the acres of our physical and emotional homes. These songs are reaching for the kind of home that we all seek: one where we can rest and lay down (or tuck away) our burdens of loss. And maybe, moving through every acre of a world that often tries to tear our sense of identity and heritage down, McEntire sheds light on what it is to be human in this life both stingy and gracious, both hurtful and kind.

Berlin based sound artist Sa Pa delivers AI-33, titled ‘Atmospheric Fragments’. Originally intended as a soundtrack to accompany ten short experimental films as part of a physical exhibition in 2020 curated by Manon Bernard, Atmospheric Fragments was alternatively premiered online as a digital showroom - with its music performed and recorded both live and independently in 2021. 

Atmospheric Fragments was conceived as a collaborative audio-visual project, positing the viewer inside a sonic boom of introspective parenthesis and offering a place for internal dialogues under the circumstances of a largely unknown and rapidly changing modern world. 

Sa Pa’s work presents a fresh sonic reinterpretation of urban landscapes, skylines and modern environments, procuring from its source material a whole new kaleidoscopic world of its own. The record consists of two mixes - ‘Studio’ and ‘Live’ - which demonstrate a deep explorational study of our everyday surroundings, plunging the listener into a realm of heightened sense experience and microscopic detail. Where the ‘Studio’ mix embodies the precision and management of the studio workspace and is more ambient in nature, such intricacies are exchanged for a larger, livelier sound stage and alternative sonic material in the ‘Live’ mix. 

A nebulous ocean of shifting spaces and effervescent textures, Sa Pa augments and modulates field recordings into a fluid and ever-evolving narrative. Seen through a viewfinder of deep and immersive observation, new transients, momentary artefacts and poetry in motion begin to reveal itself. In a world caught in momentary stasis, Atmospheric Fragments is a forensic inquiry into our perceptive environment, with its augmented lens placing us on the cusp of the ungraspable.

SHDW & Obscure Shape return to their mothership label From Another Mind with their six-track 'Vergessene Welt' EP, signalling the first material on the imprint for 18 months.

Founded in 2015, the launch of SHDW and Obscure Shape's label From Another Mind saw the Stuttgart-based DJ/producers establish themselves via a wealth of self-released material while welcoming a long list of high-profile remixers, including Rodhad, James Ruskin and Dax J. However, the pair's evolution saw new ventures explored and attention focused wider afield with the launch of their second label Mutual Rytm in 2022. Utilising their A&R skills, the label has seen the duo curate and invite a selection of up-and-coming and established names while also delivering their first EP on the label in Summer, 'Poetic Justice'. Exploring the techno sounds of tomorrow while drawing on influences of the past, the label quickly turned heads and has become a go-to for many. Following a brief hiatus, the attention is now turned back towards From Another Mind as the pair explore their origins and the signature FAM sound once again, opening the New Year with six fresh productions across their 'Vergessene Welt' EP.

Opener 'Planet Der Sturme' is an exhilarating ride through driving basslines, menacing synth lines and hard-hitting percussion to march towards the peak hours and set the tone for what's to come. 'Der Urknall' is a trippy and murky dive through off-kilter textures and regimented percussion, while 'Das Gefallene Konigreich' ups the energy levels further with sharp metallic tones, skittering hats and subtle haunting melodies launching deep into the late night hours.

On the flip, 'Geburt Der Erde' brings a slice of paired-back, groove-led techno as a slick acid line takes control and ebbs and flows throughout the track's six-minute duration, before closing the physical record via the delicate yet compelling sonics of title cut 'Vergessene Welt' - showcasing a deep dive into far-reaching corners of the genre.

French pianist Melaine Dalibert, known for his releases on contemporary music labels such as Another Timbre and Elsewhere, his work with David Sylvian, Ensemble 0, Sylvain Chauveau, and world premieres from Gérard Pesson, Giuliano D'Angiolini, Michael-Vincent Waller, Tom Johnson, has signed with FLAU in Japan to release a new album Magic Square.

Across the album's eight tracks, the French pianist and composer takes listeners on a "fantasy journey". Travel is at the heart of Magic Square, but not of the physical kind. Instead, his emotive and intriguing piano pieces inspire inward travel and daydreaming, reflecting the past two years of pandemic and introspection.

Having received his training in Rennes and the conservatories of Paris, Dalibert has a musical background that is naturally entrenched in the technical aesthetic of classical music. However, experimenting with algorithmic ways of writing and other mathematical concepts such as fractals, Dalibert's music combines emotion and logic for captivating results. His music has been played on BBC Radio, Radio France and NTS Radio, among others.

“Melaine Dalibert, himself a composer whose works similarly deal in patience and space, is an ideal interpreter « As with his other releases, Dalibert breaks boundaries difficult to define but easy to hear, rendering and dissolving their polarities with a new iteration of his already luminous language. » (Mark Medwin, Dusted Magazine, juillet 2021) of such beguilingly modest music, and this sensitive recording lets every detail resound.”
Steve Smith — The New-Yorker

“compositions by French pianist Melaine Dalibert, is a warm stream of harmonious ripples that echoes the graceful postclassical music of Max Richter, Ólafur Arnalds, Jóhann Jóhannsson, etc, but the economy and precision, combined with Dalibert’s calm hands on the keys, put it on a whole other level of beauty.”
Derek Walmsley — the WIRE

“As with his other releases, Dalibert breaks boundaries difficult to define but easy to hear, rendering and dissolving their polarities with a new iteration of his already luminous language.”
Mark Medwin — Dusted Magazine

“Dalibert is one of the most effortlessly talented and subtlety creative pianists at work today”
Roger Batty — Musique Machine

“Au-delà des genres et au dessus de ce monde, le pianiste français Melaine Dalibert continue d’échafauder une œuvre d’un autre temps, d’un futur à construire avec une musique qui doit autant à Federico Mompou qu’à l’Acousmatique. Night Blossoms, son dernier disque en date (avec la participation de David Sylvian sur deux titres) est une pure merveille !”
Greg Bod — Benzine Mag

“La musique de Melaine Dalibert, héritière de cinquante ans d’expériences minimalistes, correspond à l’impérieux besoin du public d’aujourd’hui de cultiver un hors-temps et de se plonger au cœur du son. Elle y répond parfaitement”
Guillaume Kosmicki — Res Musica

“Comment des pièces reposant sur des constructions aussi abstraites et rigoureuses peuvent-elles susciter autant d’émotion à l’écoute ? La musique de Melaine Dalibert projette l’auditeur dans un univers où l’assommant temps quotidien n’a plus cours. Plus de mesure, plus de début ni de fin : pour qui accepte de se laisser prendre, Night Blossoms fait perdre tous les repères du commensurable”
Guillaume Kosmicki — Hémisphère Son

Turbo Recordings is proud to present a 12”-inch vinyl release of Tiga’s trance pilgrimage to the centre of your personal space, “There Is No Distance Between Us.”
Co-produced by Tiga and on-again/off-again musical life partner Jesper Dahlback, the track was originally released digitally as a b-side to the Tiga mega-hit “Easy” earlier this year, and is now available in its glorious physical manifestation with an insane after-hours techno remix from Paris producer u.r. trax, perhaps the first Turbo
artist with a Master’s Degree in something other than Comparative Tiga Studies.
“Yeah, I’m back up in your area,” says Tiga from atop the rock-climbing wall inside his virtual panic room. “Something just didn’t sit right with me about this track not existing on the material plane. Here I am singing about human connection and not giving you something you can hold in your filthy hands? Anyone who knows me knows I
hate hypocrisy, so I had to make things right, vinyl-style. If I could make the world’s problems go away by pressing records, I would. And I can, so I will. This is only the beginning."

THE ANCHORESS TO RELEASE VINYL ACOUSTIC EP OF TRACKS FROM
THE CRITICALLY ACCLAIMED 'THE ART OF LOSING'
Following the raft of "Best of 2021" plaudits for 'The Art Of Losing', Welsh
songwriter & producer The Anchoress announces the vinyl EP release of acoustic
versions of tracks from her critically- acclaimed record.'The Art Of Losing -
Acoustic EP' is out on January 20th 2023 via Kscope & features a stripped back
piano version of 'Show Your Face', 'Let It Hurt (String Quartet Version)' & acoustic
versions of 'All Farewells Should Be Sudden' & 'The Art Of Losing' plus a solo
piano take on 'The Exchange' & a special French language version of 'Let It Hurt'.
Catherine Anne Davies aka The Anchoress says: "As an album that was designed
to be listened to on headphones as an intimate journey into the physical &
psychological landscape of grief, it's been fascinating to tackle these acoustic
reworkings & explore new textures & arrangements that strip back the songs to
their essential skeletons. I hope fans will find a new connection to the core of the
songs within these acoustic versions & be excited to own them on vinyl for the
first time."
The vinyl acoustic EP release coincides with news of a series of UK tour dates:

Aaron Mader, known professionally as Lazerbeak, is a Minneapolis-based artist and producer. Over the past decade he has collaborated with everyone from reigning pop queen Lizzo (producing her entire debut album), Doja Cat, Dessa, bluegrass heavyweights Trampled By Turtles, indie supergroup GAYNGS, and the Grammy-winning Minnesota Orchestra, all while continuing to build and create with life-long comrades from his own Doomtree artist collective and notching production credits on everything from Lin-Manuel Miranda’s Hamilton Mixtape to the dark electro-pop of Banks’ critically acclaimed III album. Aside from being a founding member of the Doomtree collective, he is also the CEO and General Manager of Doomtree Records, handling the day-to-day operations, management, and inner workings of the crew and label. His latest solo album Lava Bangers II, the second in an on-going instrumental beat tape series, is being released in two-song monthly installments throughout all of 2022, culminating in a 20 song limited edition 2xLP physical release in January 2023.

Ellen Allien and the We Are Not Alone collective are back with a second edition of the We Are Not Alone series. A 36-track compilation split into 3 parts, each consisting of 12 cuts, dedicated to the infamous We Are Not Alone event series and the best of Berlin’s underground techno talent.

Ellen Allien's innovative party series We Are Not Alone was launched in 2016 and remains committed to inviting an exciting crew of artists to perform at the 36 hour events, now in a new home at RSO.BERLIN, where they returned with bang over 36 hours and 3 floors in May.

The We Are Not Alone compilation features artists that have played at the parties, as well as those who will join the line-up for future events. The 4th, 5th and 6th parts include music by Ellen and established names names such as Thomas P. Heckmann, Dollkraut & DJ Europarking, Francois X, Phase Fatale and Etapp Kyle. Rising stars Nene H, Nur Jaber, Stephanie Sykes, Wallis and Métaraph. BPitch signings including Rosa Anschütz, Shaleen, Matasism and Uncrat.
For this installment of the series, Ellen Allien collaborates with esteemed director and photographer Stini Roehrs for the multidisciplinary project ‘’AFTER DARK – Emotional States of Techno’’, consisting of a virtual rave film, book and exhibition produced by AKKURAT Studios, and the We Are Not Alone VA, which is to be released physically and digitally via BPitch.

The next We Are Not Alone parties take place at RSO, Berlin in July, August and October of this year. 22nd July, CSD weekend, is set to be a single night event on two floors. 20th August a We Are Not Alone floor during the RSO Club Festival and then we’ll be back for over 30 hours on 15th & 16th October. Watch this space.

Aero lines up next up for All City's Gurriers sub-label with Shelter, his first physical release following a string of well received digital-only singles. The Dublin techno stalwart delivers 4 diverse cuts steeped in dancefloor tradition whilst forward facing in sound and intent.

PETE MOLINARI is a country blues singer, songwriter from the Medway Delta. He was born into a large Maltese/ Italian/ Egyptian family in Chatham, Kent, where he was discovered by Billy Childish.
He’s got five critically-acclaimed albums’ worth of timeless folk, blues, rock and alt- country songs to his credit, plus a bunch more EPs.

THIS IS THE FIRST PHYSICAL RELEASE OF ALBUM ONLY RELEASED DIGITALLY IN 2020 DURING THE PANDEMIC…AVAILABLE ON BLACK VINYL AND INDIES-ONLY PALE BLUE VINYL (NON-RETURNABLE) WITH NEW ARTWORK.

Just Like Achilles is the distillation of everything Pete has learned since those years on the road as a travelling troubadour, playing tiny theatres and coffee houses everywhere from London, to New York, Paris to Nashville and around the world, eventually taking him to the most celebrated venues such as The Royal Albert Hall, The Royal Festival Hall, Carnegie Hall and Radio City Music Hall.

Just Like Achilles brims with big songs and huge choruses. After a first listen, it’s like you’ve known and loved this record forever. Although surprising for some who think he is the lone songwriter with his guitar, Pete is a big fan of Pop. Yes, somewhat of a dirty word today, but it is that timeless and well-crafted pop that created so many hit songs in the past that we still adore today.

Pete’s songs always cut straight to the heart of the matter. No fat, no artifice, no histrionics. The sound is real. Live. Real people playing real instruments. Front and center are Pete’s own majestic guitar chops and unique, soulful voice. Even on Achilles’ sadder songs, there’s a buoyancy and potency to them, an infectious effervescence that imbues life is for living, and it is that loving of life that we find celebrated in every song, arrangement and composition.

To coincide with Just Like Achilles highly anticipated release, Linda Perry organized an extraordinary event. She booked out the legendary Capitol Records’ Studio A and hit her contacts list to pull together a supergroup to join Pete in performing his new songs live in the studio. It included legends Ronnie Spector and Don Was, plus Mike Garson and Gail Ann Dorsey from the David Bowie band. Evan Rachel Wood also came along to sing on a couple of songs, while Jakob Dylan duetted with Pete on a very special version of “Waiting For A Train”.

So, everything was ready to go, ready for release. This was the beginning of 2020. And then .... well, as we all know, everything stopped. Now, two more years on, this is Take Two: Just Like Achilles is finally set to receive the release it always deserved.