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Piotr Kurek’s new album “Smartwoods” is a sprawling root system of tiny melodic phrases that loop and curl around subtly evolving instrumental thickets. The Warsaw-based producer and composer takes his cues from early music, baroque music and experimental jazz, entangling his influences with filigree traces of contemporary computer music and fueling it with sonic vapors from the near future.

Made up of seven distinct segments, the album blurs its acoustic and electronic elements into an illusory hedge of abstract sound. Harp, saxophone, clarinet, double bass, voices and guitar twist into computerized processes and synthesizer chirps, creating an uncanny dreamworld where the real isn’t always what it seems. Each player is entwined with the other to create a living, breathing whole.

Like Kurek’s painterly 2021 album “World Speaks”, “Smartwoods” is also inspired by visual art - particularly the whimsical work of Algerian-French graphic designer Jean Sariano. The album cover features artwork by Polish painter Tomasz Kowalski, whose shapeshifting creatures and miniature stories aptly reflect the music’s wild fantasy. The first manifestation of “Smartwoods” – a live show at Unsound in Kraków in 2022 – featured animations by Italian artist Francesco Marrello, who put together a visual treatment for the single “Harps”.

Music composed, arranged and produced by Piotr Kurek
Anna Pašic - harp
Tomasz Duda - clarinets, saxophone, flute
Wojtek Traczyk - double bass, electric bass
Piotr Kurek - keyboards, MIDI wind controller, electric guitar
Recorded in June and November 2022 by Piotr Kurek, Piotr Zabrodzki (Studio Pasterka) and Tomasz Duda

2023 Repress

CELESTE have been breaking the outer boundaries of heavy music for over fifteen years. When they first evolved from the Lyon hardcore punk scene, they were absolutely brutal and entirely unique, delivering extremity on their own terms that they pushed further and further with each successive album. “We just wanted to get darker and more violent,” says drummer Antoine Royer, until 2017’s Infidèle(s) saw the incorporation of a more melodic streak. Their most focussed record yet, it was tremendously received, critically adored, and backed with the band’s biggest shows to date.

Its follow-up was always going to be something radical. Even by their own inordinately high standards, however, new record Assassine(s) is one hell of a step forward. Even if this album still contains cyclonic walls of guitar, of battering rhythm, and passages of blissful, rushing release. it’s unlike anything the band have ever released; embracing a modern and forward-thinking production, they're just as complex but more direct, diverse and accessible than before. “Our leitmotif here was to open our minds,” says guitarist Sébastien Ducotté. “We made a real effort to think outside of our box.”

During lockdown CELESTE’s members were forced to each write individually. “We each went further into our personal, inner views of what the songs were,” says bassist and vocalist Johan Girardeau. When eventually they began sessions under producer Chris Edrich, it was gruelling. “We ended up exhausted, physically and mentally” says Johan. “There was no break in two weeks. We didn’t see the sun at all during that time. Every night we were so tired that we didn’t enjoy being together as much as we’re used to.” Nevertheless, in the same way the hardships of isolation led to richer and more complex songwriting, it’s that relentlessness that led to the record’s razor-sharp edges.

Above all else, CELESTE are innovators. Whether by pioneering French avant-garde metal when they formed at the turn of the millennium, by making their boldest leaps despite being seven albums deep into their career, or using two years away from live shows to tightly finetune their stagecraft, they refuse at all costs to rest on their laurels. There can be consequences to this instinct – fans of the band’s older work might be thrown off by their constant shifts of pace – but they’re throwing caution to the wind. A bit of backlash “would be a good thing, because it would mean that we’ve really changed,” says Guillaume . “It's not disrespectful, it's just that we never made music to please people, but just to enjoy what we're doing.” In the end, CELESTE are a band so forward-thinking that they can only be judged on the strength of their latest work. And when it comes to a record as bold as Assassine(s), they’ve hit a whole new peak entirely.

Federica Grappasonni aka Mistura Pura is an Italian DJ, composer, singer, vinyl collector and music producer. She started to play and produce music at the age of 19 in Bologna, Italy. Before becoming a DJ she wrote and performed her songs live, either as a duo or with a complete band. In the ‘Acid Jazz’ era she was totally immersed in Bossanova, Jazz-funk and Jazzy Hip Hop music. At the time she wrote poetry and songs, singing melodies that burned in her mind. ‘Ed è…’ is one of the first songs she wrote. While ‘Vamo Vive’ is the result of the mix of more songs connected as part of her repertoire, made as a later piece of her musical puzzle.

At the end of the ‘90s and for the following decade Federica became known in the so called ‘lounge scene’ as a selector with Mistura Pura DJ sets in great demand, she gained residencies in the most beautiful and cool places in Milan, the isle of Panarea, Eolian Islands, and Sicily. Coming into the present day she decided to edit and rework some of her repertoire with both songs being revisited while keeping the original voice she recorded at the time and with the support of the pianist and co-arranger Alberto Napolioni and the flautist Carlo Nicita whom worked very well to define the harmonies of the musical works. After 25 years from that period and during the pandemic, Federica repeatedly told herself as a loop ‘go to live Fede’. It was during a walk on the beach that she remembered capturing a frame of a couple of children building a castle in the sand on the Adriatic sea with all the meaning and poetry that this image portrays; a sense of freedom, innocence and truth. In this sense ‘Vamo Vive’ and ‘Ed è…’ is a gentle scream of hope in a time when humanity was closed and living like prisoners in their own houses.

Movetone Wax is thrilled to unveil its second vinyl release.
"Folly Path EP" showcases the combined talents of Maik Yells and the esteemed house producer Tripmastaz.
After Maik's debut EP, "Rima," he returns to Movetone Wax with two solid and original tracks on the B side.
On the A side, house legend Tripmastaz graces the EP with a mind-bending 9-minute remix, infusing his signature sound and injecting a new dimension of depth and groove into the release.

This record"s origin story is as elusive as Pharoah was about everything Pharoah. It was born out of a misunderstanding between him and the India Navigation producer Bob Cummins, and was recorded at a crossroads in his career with a group of musicians so unlikely that they were never all in the same room again. There was a guitarist who was also a spiritual guru, an organist who would go on to co-write and produce "The Message", and a classically trained pianist - his wife at the time, Bedria Sanders - who played the harmonium despite never having seen one. At times ambient and serene, at others funky and modal, PHAROAH radically departed from his earlier work. It would become one of the artist"s most beloved records and one of the great works of the 20th century. With Pharoah Sanders" blessing, the limited edition embossed version of this 2 LP box set presents the definitive, remastered version of PHAROAH, his seminal record from 1977, along with two previously unreleased live performances of his masterpiece "Harvest Time". This is the first official rerelease of PHAROAH, which has been bootlegged often since its original release in 1977. These exceptional live versions of "Harvest Time" - which Pharoah performed during an intense European tour in the summer of "77 and which are included here for the first time - turn the original, beloved composition on its head. PHAROAH will be released a year after the legendary tenor saxophonists" untimely passing, and two years after the release of what was to become his final album, the widely acclaimed PROMISES, a collaboration between the composer Floating Points and Pharoah Sanders, featuring the London Symphony Orchestra. The first pressing of this limited edition box set comes with an embossed cover and is accompanied by never-before-shared photographs and ephemera, as well as a 24-page booklet featuring rarely seen photographs, interviews with many of the participants, and a conversation with Pharoah himself.

A true surprise success for Paharas Musica, originally written during the end of the pandemic, 'White Isle Memories' captured the loss of not being able to visit the white isle of Ibiza and combines the producer talents of Ridney & Inner Spirit (aka Richard Earnshaw).

A production aimed at the beach bar culture of the island the production duo are joined by multiinstrumentalist, vocalist and loop pedal extraordinaire Michael Sebastian. In it’s original guise the track has racked up well over 1.3 million streams and in that gained the attention of German producer SOMMA (1.7 million monthly listeners), who was keen to grab the stems and deliver a special 2023 remix.

Adding to the package Ridney’s sunset reprise from his Café Mambo Ibiza DJ sets and Inner Sprits own incredible 2023 remix.

DJ Support:

Mark Knight (support on Kiss FM), Purple Disco Machine, Mousse T, Ken Fan (Café Del Mar), Ryan McDermott (Café Mambo Resident), Hector Romero, Des Mitchell (Radio One Mallorca), Mr V, Lenny Fontana, Loeca, Jazzy M, Dario D’Attis, Danny Rampling, Chad Jackson, Brandon Block, Booker T, Black Legend, David Dunne, Graham Sahara, Lizzie Curious, Martyn the Hat.5

One In A Million is the second studio album by Aaliyah. First released in 1996 by Blackground Records, the album features production from a variety of producers including Timbaland, Missy Elliot, Carl-So-Lowe, J. Dibbs, Jermaine Dupri, Kay Gee, Vincent Herbert, Rodney Jenkins, Craig King, Darren Lighty and Darryl Simmons. With countless accolades, One In A Million remains as one of the most influential albums in Hip-Hop & R&B and proved to be a major breakthrough in Aaliyah's career. Welcome to the new world of funk.

Toronto-based producer and DJ Ciel is renowned for a style of dancefloor material that’s as heady as it is visceral. The Xi’an-born artist’s ascendant profile has seen her cutting- edge and club-ready EPs released on UK labels Peach Discs and Coastal Haze, as well as Stateside imprints Spectral Sound and Mister Saturday Night.

As a member of the renowned collective Discwoman and the creator of femme-forward party Work in Progress Ciel’s thoughtful narratives are clear, running in parallel to the perception-altering sounds that are consistently woven deeply into her wide-ranging sets, beloved mixes and inventive collaborations. Now the Parallel Minds label co- founder is crystallising her imaginative and omnivorous sound with her !K7 Records debut, ORLANDO.

Written during her emergence from an uncharacteristic bout of writers’ block, the three original tracks of Orlando chart a return to the musical self, spurred along by a cinephile’s embrace of film, a love of classic literature, and a curiosity for the oddest corners of popular culture. “SCENES FROM A MARRIAGE” might share a name with the episodic series, but is rather a nuanced critique of the modern rite of union, moving through structured chapters, and mirroring the un-static nature of longtime love.Inspired by Virginia Woolf’s radical novel, and its superphysical protagonist, “ORLANDO” considers the cult literary figure who lived from the renaissance to the modern age, and embodies both sides of the sex binary.

The thrown sounds and aural illusions of “EL CALIFA” create the effect of a beckoning, beguiling psychedelic experience. To complete the EP, Ali Berger, Ciel’s recent collaborator on the Jacktone Records’ release Damn Skippy! repurposes the mind-bending flourishes of “El Califa” into a noodly and spacious deep house production, replete with pillowy, gauzy pads.

One of Death Metal's biggest bands, DYING FETUS return with their highly anticipated new album, Make Them Beg For Death. Recorded in Baltimore with longtime producer Steve Wright and mixed by Mark Lewis (Cannibal Corpse), Make Them Beg For Death contains every DYING FETUS hallmark. The veteran Death Metal band’s ninth album is fast, intense, and brimming with unstoppable grooves. Monstrous riffs, blast beats, unstoppable hooks, and earth-moving grooves define their catalog. “We put our own twist on Death Metal,” explains co-vocalist/guitarist John Gallagher. “We were like most bands, starting in the garage, drinking beer, having a little fun on the weekend, finding the right amps through trial and error. We blended aspects of bands we liked – Suffocation, Obituary, Deicide, and Cannibal Corpse, among others; the dual vocal approach of Carcass – and made them our own. ‘Let’s make it moshy, let’s make it slammy.’” Make Them Beg For Death delivers savage beatdowns equally designed to pulverize and mesmerize. “It follows on from where Wrong One To Fuck With left off,” drummer Trey Williams promises. “We don’t need to participate in the technical death metal arms race. We’ve got the big guns, and we’ve proven that. It’s all about pointing them in the right direction, so to speak.” To the men of DYING FETUS, the mission is straightforward. “The philosophy is the same now as it was when the band started,” Gallagher confirms. “To write catchy riffs and to make it memorable. Whatever style of music you’re doing, make it something people want to hear repeatedly.”

Perth-based artist hub 823, led by the extraordinary producer / creator Ta-ku joins forces with Berlin's Jakarta Records for the release of Godblesscomputers's fourth full-length LP, "Faded Views." The LP melds bright electronic flourishes with laidback synth-driven backdrops, weaving tapestries of mellow folktronica and groovy jazz harmony with continuous sonic intrigue that will keep you grooving into a tropical disposition. Paying homage to his musical moniker, the Bologna-based producer makes timely metallic interjections amidst lush, effortlessly groovy soundscapes. Explore a world of found, recycled, and synthesized sound on "Faded Views" out everywhere September 8.

Bologna-based producer, DJ, and sound collector Godblesscomputers (122k Spotify listeners) has returned with the release of his fourth full-length record, "Faded Views." Godblesscomputers's latest LP "The Island" (2020, La Tempesta Dischi) earned him placement on Spotify playlists like "Brain Flood" and "Coffee Club." Since then, his appearance on Willie Peyote's track "La colpa al vento" landed GBC on "Best of Indie Italia 2022." On "Faded Views," it was Godblesscomputers's creative project to explore the sonic potentials of his direct environment, picking up recordings and threads of inspiration from the most commonplace occurrences. A sonic scavenger, Godblesscomputers explored the expanses of his-both digital and physical-soundscapes. "Faded Views" does the work of crafting a unified, yet complex compilation of the noises that mark the experience of being digital natives in ever-expanding dimensions.

Godblesscomputers's use of musique concrète and found-sound composition melds curiously with his undeniable electronic and techno acumen. Superimposing metallic electronica onto esoteric sound bytes creates the occasion for complex sound collage. "Faded Views" marks a decade since the genesis of the Godblesscomputers project; the entire LP testifies to how time warps perception and sound. Godblesscomputers's music seems to decorate time, both commemorating the moments passed with mind-melting sonic collages and looking forward to the infinitudes of the future with frenetic electronic experimentation.

Themes of impermanence and transience-hence "Faded Views"-pervade the record. Godblesscomputers blurs time as each track seeps into the next in what feels like a seamless transition. He makes these swift passages in genre as well-the record opens on "Colors" with a rich horn section which frictionlessly becomes a lo-fi dance groove. It is this melding of the analog and the electronic that makes sense of his found approach to beat-making: Godblesscomputers marries the found and the synthesized; the creator and the created; the past and the future. The process of sonic dissection and recomposition that drives much of Godblesscomputers's creative process yields not only assertive breakdowns and animated dance tracks, but also complex tapestries of sound that keep the listener ever-intrigued-piano, saxophone, and modular synthesis all find a natural home on tracks like "Hello." In an apt description, the producer's work has been described as "sounding like wood, metal, and microchip."

Godblesscomputers's artistic objective lies in blurring definitive lines, constantly shifting perspectives, genres, and origins of inspiration. On "Faded Views," this design cultivates a folktronica record that truly evades definition.

Feelgood lead single "Mirrors" is out June 30th and features a rich meld of warbling layers, mixing upbeat dance music with complex instrumentation. Stream second single, "Above the Lake," for a mellow summer cut on July 21. Finally, the effortlessly groovy third single "You Feel Me" captures a genre-warping foray into folktronica. Listen to "You Feel Me" on August 11.

All LP artwork and stunning single visualizers were single-handedly put together by multi-disciplinary designer Michael Norman. "Faded Views" will be available everywhere physically and digitally on September 8, 2023. Be sure to listen for focus track "Hello" that captures the vast scope of Godblesscomputers's musical prowess. Find the LP, CD, and digital release on 823's and Jakarta Records's Bandcamp and local record stores.

Repress

This new Acid Avengers EP celebrates the new UK electro scene with two of his most talented ambassadors : London-based producer Nite Fleit, known for some killer records on Unknown To The Unknown, Return to Disorder and International Chrome, and Bornemouth-based producer False Persona, who just released an EP on Nite Fleit's label Atomic Alert. The result of this association is six punchy acid tracks, somewhere between funky electro and dark techno !

For over two decades Jonathan Katsav has used his Crave project to fray rap at its fringes, using Memphis and Houston's low-and-slow legacy to inform sounds that have as much in common with Merzbow as they do Tommy Wright III. Working under a variety of different monikers such as Lieu Noir, Sniper Bait and Soul Collector, the French producer is most prolific as Crave, and "Inner War Delirium" is a substantial and broadly cinematic addition to his canon. Katsav approaches each track as if it's a scene from a movie, using real life experiences to explore separate characters and contrasting emotions. Using different narrators and disparate vocal styles, he navigates grim, blown-out landscapes, driving neon drenched trap synths and horror choirs against overdriven kicks and waterlogged industrial atmospheres. Mangled field recordings, squealing static and gurgling synthesized bass opens 'PHYLLIS', goading the cautious with serrated, carnival synths and cacophonous vocals that sway lugubriously between rap and grindcore. The relationship between dark and light, death and rebirth, is at the heart of "Inner War Delirium", rippling through every track's oozing amalgamation of inebriated hip-hop and buzzsaw noise. Katsav's sounds are an attempt to subject us to the physicality of his own life's puzzle, and he cuts them into vignettes like a director. On the album's final track, listeners are swiped from in front of the speakers and bundled into the trunk of a car, rain rattling on the metal and the album playing on in the distance. It's a way for the producer to turn the camera back on the audience and ask them to consider their own complicated reality - it's Crave's story, but everyone's a part of it.

A crackling fire is burning under the bridge. BANG! the brow hits against the steel drum, Hey! I only bowed down! BOING! The elbow jabs into the door of an abandoned ragtop, To lash the laces! CRACK! the knee strikes the rusty trash can, Of my brand new black sneakers! RASP! YAWP! SCREEECH! The gang rabbles on the dancefloor. Metallic sounds blaze out of the speakers. A rustle, a chatter, a rattle, a flapper. Cops troop in gazing in wonder while converting into liquid coppers. A warm kicking bass sets in. A voice from down below. Though, right next to your ear. The floor is demanding a sacrifice. Jog your head, swing your hip. Wave your hands, and shake a leg: Tighten up, and then let go, for this Dance aboulic! Producer and DJ Dave DK with his new »Chicama« EP on Pampa. Three kicking, bumping tracks for all day and all of the night. Euphoric percussive floorkillers with a hint towards an alluring gloominess.

2023 Repress

Taking the basics from the past we seed our future. Apparently the songs hosted in this 12" are just techno tracks but the man behind them knows what he is doing.

Expect the unexpected: trap breaks, Chicago swinged rhythms, epic breaks and a lot of cowbell. All out of the ordinary to surprise the crowd, the listener and your neighbor if you play it loud enough during lockdown. All written and produced by one of those underrated genius who has studied and mastered the history and culture of rave music.

Dj Plant Texture is a sublime vinyl DJ, he owns a record store in the south of Italy and his prolific producer catalog along genres speaks for itself. Honored to have him in this second edition of Música Techno para Discoteca Presenting his new alias A.662

Disruptive techno music for believers, disc-jockeys and collectors. Play under your own risk.

“Can’t Slow Down“ was originally released in 2009, 15 years after Foreigner’s previous studio album. It marked the Melodic Rock comeback of the year; praised by fans and critics alike. “It was our first studio album with the new lineup and I think it has a tremendous amount of energy in it“, says founding member and lead guitarist Mick Jones. “The title just seemed to sum up the way we were feeling at the time. It captured the fact that Foreigner had become a powerful live band and was ready to take on the world again. I’m happy to say that it drew the attention of Foreigner fans, old and new, and went on to become a chart album in several countries.“ CD1 includes the complete studio album, produced by Mick Jones & Marti Frederiksen (Aerosmith, Ozzy Osbourne, Mötley Crüe) and featuring the song ‘Fool For You Anyway‘, produced by the acclaimed Grammy Award-winning producer Mark Ronson. Exclusive to this 2CD Deluxe Digipak Edition is the second CD „B-Sides And Extra Tracks“ which includes a carefully selected set of Foreigner’s biggest hits as well as beloved fan favourites – all recorded in energetic live versions of which some will be released the first time on CD. This collection istopped of by an exclusive Radio Edit of “Can’t Slow Down“’slead single ‘In Pieces‘. CD2 will also become available as a Strictly Limited Heavyweight Double LP Edition on transparent orange vinyl.

UK born, LA based producer and singer/songwriter Somni preps for his third full length album "Gravity", filled with unique and melodic songwriting, headnod-inducing rhythms, and swirling electronic production.

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

Available only n Germany!

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

Moving to England for its second release, Rant & Rave Records presents a proper EP from South Wales-based producer JoeFarr, known for his dancefloor jams on labels such as: 'SLAM', 'Arts', and his most recent success with 2019's epic 12" 'Death Becomes Us'. On the a-side 'In This Anger', which JoeFarr has written with Louisahhh, an anxiously dark, slowly developing atmosphere menaces behind a slow rolling, broken beat for maximum effect. This is punctuated by dark, slightly distorted female vocals with sporadic lyrics subtly encouraging its dance floors to move.. and think. Signature hard and bouncy grooves with infectious in-yer-face techno riffs dominate the rest of the EP with tracks 'Laced Up', 'You Can See Me' and 'You will See Me (Hardcore)', effortlessly weaving in and out of the pulsating groove with an interesting palette of machine sounding synths and heavily processed vocals.

Carole Porter grew up around Manny Campbell, acclaimed producer of Nu'Rons fame and one of those characters that kept feeding jobs to Joe Tarsia contributing to the greatness of his Sigma Sound Studios.

Carolynn was also vocalist in his jazz band from 1966 to 1969 that included jazz legends John 'Papa' DeFrancesco (father of Joey DeFrancesco), and Grover Washington Jr. She never commercially recorded anything else, continued to gig until she settled into marriage/family life. These masters were retrieved from the original reel tapes now preserved at the University of Pennsylvania. We are proud to finally release this song (and a few others over the next months) thanks to that immense character of Manny Campbell and the younger members of his family.

The inaugural release on cult eyewear label Kuboraum's new music platform, SALÒ is a mystifying fusion of noise, prog rock and psychedelic music that attempts to imagine a "dreamy and decadent" Roman renaissance. It's the brainchild of multidisciplinary artist Emiliano Maggi, who links with Mai Mai's Toni Cutrone, Wildmen's Giacomo Mancini, producer Cosimo Damiano and musician, writer and critic Stefano Di Trapani to distill a wellspring of poems, fairytales, anecdotes and mythologies - drawing on mythological symbolism, medieval theater and rural iconography - into an oozing celebration of art, ecstasy and extravagance.

The Madlib Invazion Music Library Series Entry #3: Drummer and Producer J-Zone offers his take on The Ultimate Beats, Breaks and Funk. This is the next up in a series of music library releases, with future volumes produced by DJ Muggs, Karriem Riggins and more. The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat.

Gold nugget vinyl (2023 repress)! A masterclass in cinematic psychedelia, `God Intentions' is the third studio album from Glasgow outfit Helicon and is due out April 28 on Fuzz Club. Their most ambitious and collaborative album to date, it was recorded at Dystopia, Glasgow with producers Luigi Pasquini and Jason Shaw, mastered by RIDE's Mark Gardener and includes contributions from the Rhona MacFarlane String Quartet, Lavinia Blackwall (Trembling Bells), Mark O'Donnell (Tomorrow Syndicate), Sotho Houle (French avant-garde violinist) and Anna McCracken. Talking about the new record, guitarist/vocalist John-Paul Hughes says: "`God Intentions' is inspired by my brother Gary's story and a few other influences. It's a journey through regret, redemption and resurrection. Our familiar darkness is there, but the record carries a fresh and uplifting positivity. I had a clear idea of how I wanted it to sound and feel long before it began. We're so pleased we achieved it. We managed to hold true to the idea whilst allowing the string quartet, Sotho, Lavinia, Anna, Mark, Jason, Luigi and other collaborators the space to put their mark on it. The album art, by San Francisco-based collage artist Nina Theda Black, captures the depth and breadth of themes and sounds we brought together to create a kind of motion in your mind."

Producer Scrappy Jud Newcomb and Cleaves teamed up for the third time in early 2022 between Covid surges to record a new batch of songs, Slaid's first in five years.

Familiar themes of struggle and resilience will be a surprise to no one. As Scrappy puts it, "This album speaks to the hopeful, the hard working, the battered, confused, and the sad. But above all to the believers in the city of freedom that we heard in the stories of our youth and all those FM radio hits."

The first single, "Through the Dark," was co- written with Slaid's long- time collaborator and life- long friend, Rod Picott ("Broke Down," "Take Home Pay").

Slaid describes it simply as "a song about offering comfort in hard times."
Joseph Hudak of Rolling Stone calls Cleaves "a master storyteller, one influenced not by the shine of pop-culture but by the dirt of real life."

"More than 20 years into his career, Slaid Cleaves just keeps getting better . . .

There are few contemporaries that compare. He's become a master craftsman on the order of Guy Clark and John Prine." - Austin Chronicle

Working with Bat For Lashes producer David Kosten (aka Faultline), the recording of Man Alive was completed mainly in a chapel in North Wales. The album sounded unique. Nothing dates like the future, yet Man Alive sounds dateless, placeless, and as a result, stands up perfectly many years later.

Man Alive was only the beginning of the group's adventures in – to use their words – 'Mismatched styles of music mashed together.' The result is often exhilarating; there are Brazilian drums and a prog guitar breakdown in Schoolin', classical influences, as well. Its subject matter is often way outside the realms of conventional songwriting; MY KZ, UR BF explored the different Americas: the cosy self-centred domesticity of programmes such as Friends versus a foreign policy
based on killing; Qwerty Finger examines imperialism. Anglo Saxon guilt is also present.

The album's artwork was striking – a photograph of a fox by Swiss photographer, Laurent Geslin, reflecting the track Tin (The Manhole) which deals with the theme of depression, through, as the band said in 2010, "the story of an urban fox that ingests all our pollution and grows massively in a sort of dream sequence. We chose photos of an urban fox for this reason, but we partly attacked the code of the digital image to create a glitch distortion . . . a reference to digital manipulation and chaos as well as our modern lives online".

Released in August 2010, Man Alive made the UK Top 20 and was well reviewed.

For example, BBC Music commented that the group "know more than most how to craft a song, how to make an album. They know how to give it depth, light and dark, and they - crucially - know when to stop." Man Alive was shortlisted for the 20th Mercury Music Prize in 2011.

The original LP edition of the album is super- scarce, released before the 'vinyl revival' kicked in, hence the original pressing now selling in the high three figures.

This re-issue is presented with scrupulous attention to the detail of the original UK first pressing, complete with gatefold sleeve, poster and 8 page booklet. It is pressed on 140gm vinyl.

Before he was old enough to legally drink, there were "Best Of," rarities compilations, and .zip files floating through the ether.

Whenever industry prospectors earmarked him as the next big thing, he disappeared back underground, only to reemerge sharper, leaner, weirder.

Though only 26, the St. Louis- born rapper and producer has seen enough for several lifetimes--and raps as if he's tapped into many more. But after a few years of highs, lows, and traumatic odysseys, he was able to stare straight into the abyss and conquer it. This regained confidence is exhibited on fish don't climb trees, the largely self-produced new album that reaffirms him as one of rap's great auteurs.

While working on "fish", he vowed to be more true to the emotions and experiences he'd endured. Being true to those fractured, discordant feelings requires a prismatic approach. And so you get fish's exhilarating hairpin turns: from downtempo dub ("bora bora") to 808s rattling through a haunted house ("tourniquet"), beats that sound as if they're molting into new shapes in real time (the two- song suite of "daze" and "grey theory") to ones that that plunge to the
bottom of a pocket ("spirits").

The album's title comes from the maybe-apocryphal Einstein quote, about how a fish judged by its ability to climb trees will "spend its whole life believing it is stupid." For Watson, this meant embracing the cheery first half of the quote ("Everybody is a genius"), but also being cognizant of the dark undercurrents that flow just beneath seemingly innocent misjudgments and mis-categorizations.

Taking a giant leap forward, replete with addictive hooks at every turn, Dolphins (the 9th record in the catalogue), stands out as the strongest and most articulate Islands record yet. Nick Thorburn and crew manage to tap into both the pain and the joy of living, (sometimes within the very same breath), while musically stripping things down to their simplest element: a bouncing bassline, a snappy kick and snare, or a persistent, hooky guitar line.

Though Dolphins is arguably their biggest musical departure (which is saying something, coming from a band that has constantly reinvented their sound from album to album), the DNA of Thorburn's first band The Unicorns can clearly be heard throughout songs like "Headlines", "Life's A Joke" and "And All You Can Do is Laugh".

Dolphins, which came together over a methodical, carefully considered multi-year process, continues Thorburn's fruitful collaboration with co-producer Patrick Ford (!!!), and features production on a few songs from Chris Coady (Beach House) and Mike Stroud (Ratatat).

It's full of moments that can be heartbreaking (as on the AMA UK 2023 Awardwinning single 'Car Crash'), deeply romantic and genuinely uplifting. These are songs imbued with the virtues of forerunners that inspired Hannah as both an artist and a producer, from Wanda Jackson to the Shangri-Las, and that exude the atmospheric allure of true, original Americana noir. The common link is a voice that's at times delicate and restrained, and at others powerful and stirring.

United by a shared love of performing bluesy, soulful music in the most intimate and acoustic of settings, Blicher Hemmer Gadd's hard- swinging 4th album recreates the excitement and energy of the late- night sets they've performed around the world together. The album also features two special songs that were recorded during lockdown in Michael's studio in Copenhagen.

Formed after a chance encounter more than 11 years ago, they continue with this joyful project, which has flourished despite the 3,000+ miles, 40+ years and 3 busy touring schedules which separate them.

After decades performing stadiums with the likes of Eric Clapton, James Taylor and Steely Dan, Gadd relishes the opportunity to rediscover the sound and feel of playing almost acoustically "This is honest Music" he says, "no one plays like this anymore."

"It's bluesy, swinging and soulful jazz played by exceptional musicians" - Rhythm Magazine

The album has been produced together with Brinkmann (Germany), one of the world's leading producers of hi- end turntables. To deliver the highest possible sound quality, on both LP and CD the record has been mastered using MQA technology and converted to analog with a Brinkmann Audio Nyquist Mk II Streaming Digital- to- Analog Converter. The MQA Master has been directly fed from the DAC into the cutting machine. A Brinkmann Audio Bardo direct drive turntable is employed for quality control.

Preceded by his reputation as a rap experimentalist, Bladee is a prolific and highly inventive entity with work spanning and intersecting the worlds of music, art and fashion.

He began his career as a teenager, trading art and lyrics with close friends. After releasing his first projects, international recognition came quickly and his network of Stockholm innovators soon arrived at the vanguard of a new era in music culture.

Working on Dying is a collaborative mixtape between Bladee and Philadelphiabased producer collective Working on Dying. Features appearances from Yung Lean and Ecco2k.

A showcase of premium West Coast sunshine pop!

During the summer of 1966, Sandy Salisbury arrived on the Sunset Strip in his VW Bug. Knowing little of the mainland from his childhood home of Kailua- Kona, Hawai'i, he became friends with his next door neighbor, who invited him to a party. At that very same time, Curt Boettcher was an up and coming producer, who the Association chose to produce their first album. Introduced by a mutual friend, and Sandy's neighbor, Boettcher and Salisbury went on to form the Ballroom, and later on, the Millennium.

Salisbury and Boettcher saved all of their publishing demos - demos that were to become future material for the Millennium and/or Ballroom. Untouched for over 50 years, step back in time to 1967 with this rare collection of southern California sunshine pop!

After 25 years of living his dream as one of hip hop’s most respected producers, Hi-Tek is digging back into his roots with a brand new trio of instrumental vinyl LPs in 2023. “Beatbox Studios (1995 MPC 60II)” is the first of the series, each featuring a selection of restored and remastered beats, carefully chosen from an archive of DAT tapes. These LPs manage to both provide a window into Tek’s development and to shine light on the work of an already enormously-talented musician whose beats would’ve sounded right at home on classic releases from the mid-1990s.

Having learned to make beats off of borrowed equipment as a teenager, the aspiring DJ/producer born as Tony Cottrell achieved a break of sorts when he was hired in 1995 to manage one of the rooms at Beatbox Studios, a sprawling complex in the Clifton neighborhood in Cincinnati. It became the go-to-spot in town for emerging talent, giving him a chance to learn about the intricacies of recording and to sharpen his communication skills with artists to maximize their performance The gig also gave Tek plenty of down time to practice on and to master the studio’s Akai MPC 60II while making his own music. It was around this time he began to collaborate with the top rap talent in Cincinnati, and he started regularly visiting New York City to plant seeds for new relationships in the industry.

Though his work eventually evolved far beyond the styles present on “Beatbox Studios,” here you’ll find many signature elements of that era’s contemporary New York sound: some snappy drums reminiscent of A Tribe Called Quest or Easy Mo Bee, plenty of horn stabs a la Pete Rock or Lord Finesse, and the kind of dark pianos and filtered bass lines that producers like the Beatminerz were steadily employing. These were his biggest influences at the time, and that was the sound of 1995. As it turns out, that classic sound remains in demand today, and while Hi-Tek was not a well-known name in hip hop circles at that time, the calibre of beats on “Beatbox Studios” prove that he was a talent to be reckoned with, even then.

On this album, his third work published on Umor Rex, the french producer Alexandre Bazin takes what he started in Four Steps (Umor Rex 2022) to the maximum point. However, on Innervision, there is no longer that discreet flirtation towards the dance floor. Instead, the ten cuts that make up the album are influenced by musical research and the UK and Berlin electronic scene. Bazin's new proposal revolves around sound textures, saturations, feedback, autosampling, and cut and tuned sounds, allowing new melodic elements to emerge in the process, akin to a live act. While maintaining his minimalist exploration and obsession with melody and structure, Innervision undoubtedly marks a turning point in Bazin's discography. It is epic, compelling, euphoric, utterly enjoyable, and at times violently beautiful.

The album was composed and mixed by Alexandre Bazin at Château Rouge, Paris, and mastered by Rafael Anton Irisarri at Black Knoll, New York. François Desmoulins played the acoustic drums on Four Steps (Remix). The artwork for the album was created by Daniel Castrejón in Mexico City.

Baguette Magique returns with four original tracks produced by Madrid’s own Babu, who shares with us a beautiful and timeless piece of work.
The Ep starts off with “The Chamber”, a perfect intro to the electric energy of the record with a mischievous bass line, laser sounds and trippy chopped-off vocals from video game Halo that welcomes you literally into’s Babu’s universe.
Then comes “Play My Game” which shares the same name of the EP as we consider it to be the center piece of the record. A timeless electro gem, cut for the club and for the after hours.
The beautiful deep bass, malicious synths and ominous robotic voices are genuine and powerful. The Madrid based producer keeps on giving bangers for the club on the flip side with “Radio Transmission”.
The electricity is tangible in this hybrid track between Minimal, Techno and Electro topped off with glitchy fx and looped vocals. We conclude the ride with the lovely retro house track “Alpedrete House”. The deeper and groovier sounds make it the romantic cut from the record to dance and maybe fall in love on the dance floor.

Banshee is the new record label from internationally renowned DJ/producer Brianna Price (B.Traits/Baby T). Drawing “esoteric aggressive feminine energy” from the folkloric figure that gives Banshee its name, the imprint will focus on the output of Price’s Baby T alias.

Brianna knows her way around a dance. Years spent producing, DJing, and touring under the B.Traits alias have given Price a vast knowledge of rave culture. Now, all of that experience has been put to good use as part of Baby T’s “hardcore junglist shit only” approach. Anyone who has encountered a Baby T tune in a dark basement over the years should know that there will be no messing around with Banshee’s output. Baby T specialises in hardcore rave tackle schooled by junglism, electro and darkside techno, the project’s sound was honed via releases on labels like Samurai Music and Central Processing Unit. It’s a style at once wild yet focused, untamed yet laser-precise - This is music that will make the hairs on the back of your neck stand up – not unlike a banshee’s shriek, in fact…

The first Banshee release is not a collection for the faint of heart. Each of these four cuts is primed for deployment at the point of the party when things really kick into overdrive. Fiercely danceable, and unapologetically abrasive, Baby T’s productions here can school any challenger in the electro, techno, and jungle fields yet also carry themselves with a punkish spirit that sets them apart from the pack.

FUSE head honcho Enzo Siragusa drops his first EP of 2023 with the long-awaited release of ‘Laughing Tones’, backed by a remix from Subsequent boss Voigtmann.

It’s safe to say that every time FUSE founder Enzo Siragusa steps out on his home label with fresh music, it’s an event that carries a lot of attention and for a good reason. His last EP on the label ‘Dreamscape’ celebrated the imprint’s 50th EP release, while stand-out releases and records dating back to his very first on the imprint back in 2011 have continued to shape and evolve the label’s core identity, pushing the sound forwards while still bringing that trademark ‘FUSE aesthetic’. Returning to the label for his first release of the year, mid-July sees the renowned selector and producer unveil his latest EP ‘Laughing Tones’ as he uncovers a pair of heavily-requested productions that showcase his diverse production range backed by a driving remix from Voigtmann.

“While many people know about the influences I draw from jungle and hardcore, my sound has always been routed within house music. The inspiration behind ‘Laughing Tones’ comes from the house music from the late 90s; Mood II Swing, Inland Knights, the dubs and those deeper b-sides.. this record is a bit of a modern twist on that influential sound” - Enzo Siragusa.

A production drenched in rich melodies, title cut ‘Laughing Tones’ is a bright and lively production as the vibrant, sweeping leads and delicate chords meet a zigzagging, engrossing bassline and skippy percussion arrangements for a deep and bubbly trip through all hours of the night. Next, ‘Blossom’ enters the fray built around killer breaks and subtle low-end evolutions, all accented by jazzy tones and hazy textures, before Voigtmann’s vinyl-only remix of the title cut takes things into more off-kilter territories as eerie interludes, sharp hats, and cosmic tones take hold of things and dive deep into the early hours.

Australian label Lunatic Music’s second release (LM002) comes from London-based, Tokyo-born producer, DJ Himitsu. The first EP from Himitsu, Three Acid’s A-side offers up percussive dance tracks entangled with solid acid lines – a generous offering perfect for the party’s deepest hours.

When it’s time to relax, the B-side delivers with a balearic track full of looping organic samples. Complementing the release is renowned lunatic, Dexter Gregg, going hard with his take on B3 – Squid Friends (Solid State Remix.)

Fast-rising Dutch producer, Baril, returns to Intercept Records with the emphatic release of his debut album, For You, Forever. Set for release August 25th, the project see’s Baril build upon his chillwave approach to dance music which serves as a warm embrace to listeners. Merging contemporary songwriting with a plethora of electronic influences, the album transcends ambient, breakbeat, and Deep House - the result is one that fits perfectly both on the dancefloor, as well as home listening. The project arrives two years on from his six track EP ‘One More Rush’ which gained the artist worldwide recognition from the likes of Bicep and Fred Again.

Madben's superb Troisième Sens album is remixed again, as new mixes from Josh Wink and AVNU join previous offerings from Alinka and Avision on this standout EP.

Kicking off this fantastic package is Ukraine-born but Berlin-based Alinka. She is now right at the cutting edge of the scene after big releases on the likes of Rekids and Live at Robert Johnson. She is a regular at iconic spots like Berghain/Panorama Bar, Circoloco and Smart Bar and flips 'Addicted' into a heavy house cut with thumping drums and lithe baselines. Acid sprays about over warmer synths to make for a real peak-time weapon. Next up is Josh Wink, a legendary electronic artist who heads up the Ovum label and has consistently crafted some of house and techno's biggest tracks. He flips '1AM At A Rave' into seven-plus minutes of scintillating electronic deepness with trippy leads and real synth intensity building to an explosive peak.

NYC DJ and producer Avision has released EPs such as ‘Innocence’ on this label while also getting support for his new school techno from Adam Beyer and Chris Liebing. His remix of 'Circuit Breaker' is a chunky and textural affair with seriously weighty drums. Stark synths rise up through the mix next to bubbling acid to make for a heart-of-the-dance-floor classic. Scottish artist AVNU is another label regular who dropped his ‘Tough To Love But Worth The Effort’ album here last year. He flips '1AM At A Rave' into a dark and atmospheric cut with flashes of strobe-lit synth and zippy leads that rip up the crunchy electro-tinged drums.

This is a vital package of varied reworks that bring plenty of new direction to the superb source material.