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The 3rd album from Submechanical and the hardest, most forwards
and dense collection of audio devastation yet to be released. 10 tracks
of unrelenting driven beats, noise and bass with little space or respite.
Also included are 2 remixes of Submechanical tracks: “Mash – Up –
Inna – Speaker” by Shelley Parker and “Raw” by 3.14. Mastered:
Daniele Antezza / Dadub Written: Carl Jordan / Submechanical
Artwork: Darko Kolar

Gianni Brezzo (213k Monthly Listeners on Spotify), the jazz affiliated band / studio project led by Cologne-based producer maestro Marvin Horsch, has a diverse musical profile that is reflected both in his genre-hopping as well as his creative output. Along with producing for Cologne bands like Keshavara, Woman and Xul Zolar, Gianni has released a number of EP and LP’s since 2017, including 2021’s “The Awakening” which featured vocal appearances from Berlin/Tel Aviv based singer / producer J.Lamotta and soul singer Otis Junior from Louisville, Kentucky. Gianni’s 2022 LP “Tutto Passa,” released on Jakarta Records, was a meditation around Marvin’s relationship to Italian culture, accompanied by research into Italian composers of the 60’s / 70’s such as Piero Umiliani, Stelvio Cipriani and Armando Trovajoli to more recent work by Sven Wunder. This was quicklya followed up with EP “Amoria,” an extension of the themes grown from “Tutto Passa,” along with the groovy baroque-jazz of LP “Soundscapes Vol. 1 – Music for Harlequins.” Gianni’s tracks have consistently placed on Editorial Playlists including Spotify’s “State Of Jazz” (908k Likes), “Lounge Jazz” (75k Likes) “Jazz-Funk” (316k Likes) and more, and most recently was synced in an episode of Gossip Girl for HBO US. Gianni Brezzo’s new project, “Filigrani” is a testament to the continued sonic growth and experimentation that pushes the music to new heights. The tracks, meticulously crafted, were born live in the studio, capturing the raw energy and creativity of Brezzo's jazz-driven genius. "Filigrani" introduces a unique fusion, seamlessly blending jazz progressions with touches of ambient electronics. Brezzo weaves a tapestry of sound, inviting listeners into a world where guitar melodies intertwine with subtle drum beats, dreamy harps, and the enchanting whispers of saxophones and flutes. The result? A groovedriven masterpiece that expands the boundaries of sonic artistry. The single and LP artworks by the esteemed Jason Jagel (MF DOOM, Madlib, JJ Whitefield) provide the perfect accompaniment to Gianni’s ever shifting grooves. The albums lead single is eponymous “Filigrani” due out Wednesday, November 22nd with LP pre-order announcement the following Friday, December 1st. This is to capitalize both on Gianni’s upcoming festival appearance at Linecheck in Milan on November 22nd and Bandcamp Friday on December 1st. With a guitar + drum progression that will have you swaying along, the track ebbs and flows as if your ears are gently skiing down fresh sonic powder. Recorded live in studio, the tracks lush horns and tranquil synth pads slide to and fro, combining the best of Khruangbin-style acoustics w/ Gianni’s unparalleled creativity. 2nd single is the lush, late-night vibes of “Milan Nights” out December 13th. Perfect for cozy evenings around the fire and slow dances with that special someone, the tracks harp, guitar, saxophone and slow, yet light and driving drums are a perfect groove to fall into the holiday vibe with. All you need is snow. Focus track is the effortlessly smooth, soulful jazz-funk piece, “Dreams of Sudden Clarity.” Certified 100% fresh, it’s a perfect way to kick off the year. The progression gives you a euphoric, elated feeling, like you’re finally arrived at that special place you never knew existed, but were always meant to find. Promotion will be handled via the label and artist profiles, along with further promotion by external agencies within Italy where Gianni has upcoming live events.

It’s rare to come across new talent that hits the spot with their music at just the right time. But then again you never know when it will happen, when that right one comes along, and for Vega Records that time is now. Mr. X a young new talent from Northern Jersey, USA takes it to the raw underground with driving electronic stabs and a deep pulsating bassline with swinging beats and unique perc sounds that pop in and out abruptly within the arrangement on the track entitled “The Curse” on Side A1.

Early distribution of the track to impacting djs in the dance scene, Honey Dijon, Kenny Dope, Anané, Luke Solomon, Melvo Baptiste, Joseph Capriati, & Louie Vega have all been championing the new hot track entitled “The Curse”. Side A2 “The Underground” has a hooky flip flop keys action happening with vocals saying “Thank You” creating a hypnotizing groove ala Mr. X Style. The B-side of the 12” starts with a steaming revisit to “The Curse” giving it another life on the dance floor along with the sample hits and catchy groove on “B-Side Only” created only in the way Mr. X can to make you jump on the dance floor. All hot club bombs, CATCH THE FIYAAAH

Decision Paralysis is the first collaboration by Eva Sajanova and Dominik Suchy.

Their music is very minimalist, repetitive, still, the compositions // songs surprisingly evolve over time. The cold synths are beautifully augmented with raw or effected layers of Sajanova's vocal. Of striking prominence is the decision to forgo the use of any beats or percussive elements. The whole album revolves just around vocals, synths, and layers, and the richness they possess enough in themselves.

This goes in line with Suchy's previous work, one of his trademarks being working mostly with melody and harmony, defying a lot of what is going on in contemporary experimental music. In a way, it is a strive to return to classical or pop ????? in her deepest sense; experimental more in the use of sounds, approaches and forms, rather than defying the musical.

The lyrics are exclusively in Slovak, open to interpretation and perhaps leaving the listener unburdened by meaning, enabling them to focus on Sajanova's voice, phrasing, and vocal techniques. They span from child-like repetitive dadaist poems, to heavy existentialist statements on life's inherent beauty yet meaninglessness.

All of it is further supported by the album cover by the Slovak illustrator Martu, blurring the lines between the naive, the beautiful, the natural, synthetic, dark, and glowing. All at the same time.

"Detroit Stories" is the name of this cool social project happening in Motorcity, USA, aka Detroit. It's a rad way to capture and show off the history and present of the city and its peeps. They're doing it by interviewing OG residents and immigrants from way back, the ones who lived through all the ups and downs of the Motor City. You've got stories of good times, hard work, opportunities, but also struggles, violence, and social movements that shaped Detroit's rise and slow fall. This city's always had a lot to offer in terms of music, culture, and beyond.

And guess what? DJ and producer Luca Fronza gets in on the action, finding some of those interview podcasts. He's turning their stories, the vocals, and speeches into some killer beats, with the distinctive motorcity raw house touch that we absolutely love here at Flexi. And to top it off, you've got a remix by the master himself, Prins Thomas! It's gonna be lit!
All tracks (except B2) produced and composed by Luca Fronza Remix of “Gipsy” is by Prins Thomas

Detroit music legend, Marcus Malone and Dan Smith of The Noisettes reveal their awesome new collaborative long player, ‘Interstate 75’, on Ramrock Red Records, loaded with 60’s style Rhythm and Blues, old school Soul and back to the future Funk. Across the album there’s 10 incredible songs loaded with finger snapping beats, hip swaying grooves, infectious brass and raw, soul-drenched vocals, all written and performed with the highest level of musicianship. From the empowering opening track, ‘Ain’t No Telling’ to the groovilicious album title ‘Interstate 75’, and the irresistibly funky ‘Other Side Of The River’, this stunning set of work joins the musical dots between 60’s Stax, Motown and Cadet, along with early 70’s Funk of Sly and The Family Stone and Eugene McDaniels, creating an instantaneous authentic classic vibe.

“I’ve got a future Blues classic on my hands with an indefinable time scale – it could’ve been recorded in the mid 70’s and feels like an instant crate diggers delight!” – Jo Wallace (Ramrock Records)

" From the pulsating streets of Detroit to the rhythmic alleys of Verona, immerse yourself in "V-troit", a sonic gem crafted by Italian rapper Capstan and Detroit's very own Dankery Harv of Frank-N-Dank, well known for their collaborations with J Dilla and Madlib. Born from an electrifying encounter in Verona, this EP is a testament to international collaboration at its finest. Journey through raw beats, compelling verses, and a gritty ambiance that transcends borders. Ready to vibe with the V-boys? Press play and dive into the essence of "V-troit

For Fans Of... El Michels Affair, Adrian Younge, Roy Ayers, Karriem Riggins, The Roots, Khruangbin. Producer "Grimez" has been making music for 20 years deep Grimez has ghost produced tracks for 50 cent, Hi-Tek, Kool Keith, Stick man (DEAD PREZ), Killah Priest, Sadat X, MOOD & Talib Kweli, and Mighty Diamonds to name a few. Gritty & raw analog instrumentals. Jason Grimes is all about making timeless music. The Cincinnati-based DJ and producer has a long history of record collecting, sampling, and creating new sounds with analog gear. Grimes works with some of Cincinnati’s finest studio musicians to create raw, soulful, instrumental hip-hop under the moniker Doctor Bionic. As a teenager in the 90s, Grimes fell in love with hip-hop at an early age. He became comfortable scratching on a pair of 1200s and sampling records with an NPC in high school. After years of collecting records and working on his sound behind the scenes, he had compiled a huge discography of original songs – but he wasn’t sure how to share them. “I got pretty burnt out and I had to take a hiatus for a few years,” he explained. “There wasn’t much going on in the Cincinnati music scene, and it always felt like an uphill battle.” Then, on a casual bike ride with his wife through Loveland in 2015, Grimes came across a new record shop. “I heard some music playing and I saw a sign that read ‘funk/soul’ – I had to go in and see what these guys were all about.” He spoke with Terry Cole, co-owner of Colemine & Plaid Room Records. “It was a breath of fresh air to meet Terry. The interaction inspired me to start making records again.” A short time later, Grimes started his independent label Chiefdom Records. His studio persona Doctor Bionic was one of the first to see a release on the new imprint. “Doctor Bionic is a studio band of session musicians,” he shared. “The personnel changes on every record. It depends on the sound I’m going for.” For every record, the goal is to make timeless music. Grimes is responsible for writing, recording, producing, mixing, and releasing the records. Spiritual Conquest features several heavy hitters from the Cincinnati music scene. Brad Myers and Brandon Scott played guitar on a few tracks each. Marvin Hawkins laid down some live drums. The album offers a dynamic mix of instrumental hip-hop sounds. From punchy, head-bobbing beats to ethereal, floating piano lines, the mix offers a little something for everyone

Sistro (Sistrum) is a kind of percussion instrument that has had several incarnations and names in various cultures since the time of the Sumerians and throughout history has always been associated with religious rituals. It’s from this relationship between music and the transcendent that Nuno Oliveira (Nuno O, Judas Triste, José Pinhal Post-Mortem Experience), Tito Silva (Vasco da Ganza, José Pinhal Post-Mortem Experience) and Rodolfo Oliveira (Oficinas TK) were gradually inspired to create a trio that pays homage to this instrument of ancient times.

The project was born casually and without intentionality throughout several incursions into megalithic monuments in the hills and mountains of northern Portugal, culminating in an unusual two-day session of musical experimentation in Esposende, in September 2019. In this two-day session, codenamed “Arménio Sessions”, the trio explored a sound based on sea soundscapes, electronic beats, electric noises and the strings of na altered guitar. Channeling the strength of the elements and the mystique of the place in the form of a musical experience.

In 2021, Sistro collaborated with Mario Klingemann (aka Quasimondo) who created a music video especially for the band, created using a vintage video mixing board. Then using feedback loops and a process that Klingemann calls “Neural Edit”, which uses an artificial intelligence algorithm to correlate the raw video material with the sound.

After a long period of incubation, the group's first full-length release sees the light of day on the 31th October, 2023, moment in which a sequence of rituals begins to present and celebrate the relationship between music and the transcendent. Sistro's debut album will be released by Favela Discos, having been mixed by Tito Silva and mastered by Pedro Augusto. The photography and graphics are by Oficinas TK.

‘Demos/sketches/interludes from the hinterland between records. Drum machines and single take vocal sketches tied together with downtime synth experiments and recordings of local disappearing areas.’ True as it is, Jabu’s strap-line is a somewhat understated take on what also proved to be a transformative experience for them. The follow-up record to their 2020 sophomore LP ‘Sweet Company’ (and the ensuing ‘Versions’), ‘Boiling Wells’ weaves a smudged, group -mind spell. Originally released earlier this year without fanfare as a digital-only release, it now receives the proper release attention it deserves, issued in a neatly packaged vinyl edition of 300 copies. Dreamlike, woozy, raw and in dub, the album documents a blossoming process, and encapsulates a fragment in time - holed up in the country, soaking up the atmosphere in collective isolation, creatively embracing the limitations of a small recording set-up, and finding a new way to work as a band. “My mum had gone away so we’d decided to take the mixing desk and a couple of drum machines out to her house and set it up in the front room. We did it a couple of times to get the bulk of the tunes on 'Boiling Wells' done, one in summer and one boozy one around Christmas. I think we all immediately enjoyed working that way, sat around all together, more of an immediate thing. Jas started to play a lot more guitar, her and Al would write lyrics on the fly or be programming a drum beat in or something. We were all switching around and getting ideas down really quickly, not worrying too much if they were good or not. The music was limited by the stuff we had there, I didn’t bring a big desk so we only had six channels or so, and everything was basically just recorded in as a stereo take so we were more or less stuck with it after we’d laid it down - which was nice too. I don’t think we would’ve changed them anyway; it was the sound of the room and of us doing it together in the moment that was really important.” There has always been a collaborative heart to Jabu, though its nature has shifted and morphed over time. In their earliest incarnation, in after-school jams, Alex Rendall would rap over Amos Childs’ beats, but by the time they began releasing music in 2012, Al had found his singing voice – a sweet, soulful counterpoint to Amos’ increasingly dub-wise, experimental backing. Both are founder members of Bristol’s Young Echo, a collective of friends and musicians first operating loosely together on radio shows, artistic collaborations and events, and later on, running a record label. As expansive as their original remit was, Young Echo has steadily evolved since featuring in The Wire’s 2013 cover feature on Bristol’s new school of post-dubstep bass music. Of late, Seb (aka Vessel) has been working with violinist Rakhi Singh on string arrangements for Jabu, and the upcoming residency at Bermondsey’s MOT will showcase relative newcomers Birthmark and Intel Mercenary alongside the regular crew. Jabu’s debut album proper, ‘Sleep Heavy’, arrived in 2017 courtesy of Blackest Ever Black. A sublime, focused meditation on grief and loss written largely by Amos and Al, it marked the debut of Jasmine Butt (aka Guest), adding a further layer of vocal texture to their palette. ‘Sweet Company’, their first album written as a trio (released via their own do you have peace? label), drifted into lighter, more ethereal introspection. Featuring guest appearances by Sunun and Daniela Dyson, remixes by Equiknoxx’s Time Cow and Young Echo ‘s Ossia teased out the inherent pop and dub sensibilities respectively. Recent times have also seen remixes by kindred spirits Seekers International and Jay Glass Dubs, and a collaboration with the renowned T.S. Eliot Prize-winning dub Poet and musician Roger Robinson on a pair of plaintive, aching 7” singles. Jabu’s broad raft of inspirations can be experienced first -hand on their monthly NTS Radio show ‘Music 4 Lovers’, co -hosted by long-time friend and soul afficionado Andy Payback. A celebration of the endless tapestry of interrelated musical connections, it runs parallel to Jabu’s own reinterpretation of their influences. For ‘Boiling Wells’, Amos remembers a diet of “A.R. Kane, Cocteau Twins, DJ Screw, Southern/Memphis rap mixtapes, early 90’s jungle, Karen Dalton, Sybille Baier, Vashti Bunyan, Svitlana Nianio, a lot of soul, Armand Hammer & Alchemist, Grouper, Bobby Caldwell. Jazz was a constant, Japanese, Polish, Latin, American…”. And from those diverse strands, something new and singular has formed, to line up alongside them. ‘Boiling Wells (Demos ‘19-’22)’ is released by UK newcomer Six of Swords in a limited vinyl edition of 300 copies, pressed on black vinyl housed in full colour 270 gsm matt varnish sleeve and black paper inner, with full download coupon

Forging acclaim for their fiercely unrelenting sound production, New Frames are no stranger to shattering the parameters and caveats within electronic music with their masterfully curated approach to chaos. The collaborative project of Berlin-based David Frisch and Mathis Mootz (aka The Panacea) sees the duo engineer their hybridised palette of maximalist yet modular techno music in both their DJ and live sets. Pulling influence directly from dance floors both contemporary and from raving's genesis, New Frames' all encompassing signature of ferociously layered sonic weaponry promises to leave no stragglers in their wake. Presenting their debut double long player 'Scherben' - the body of work demonstrates the pair's eclectic merging of cataclysmic pure and raw techno, ominous vocals and distorted sound design across the eight track LP. Nimble mixing interbreeds New Frames' quintessential cacophony of instrumentation, laminated with bombastic drum-beats and carnal vigour. Additionally with appearances from Eva Vuillemin, fellow BITE Records protagonist Omon Breaker as well as label co-founder Phase Fatale, the album comes as a natural progression following two previous EP releases on BITE as well as featuring on the labels fifth anniversary compilation record 'Shedding Skin' .

Run-D.M.C. leaves no doubt about its intent on King of Rock. The New York trio's hard-hitting sophomore album begins with a statement of purpose ("Rock the House") that serves as a stereophonic primer for the title track, a hybrid warning-anthem-theme song that swarms with justified boasts, heavy metal riffs, booming beats, cowbell accents, and dance-worthy grooves. The back-to-back tunes set the tone for a 1985 record that largely established the blueprint for the hip-hop that would follow for the next two decades – and which helped make rap a mainstream currency via the previously off-limits channels of radio, TV, and the national stage. "It's not Michael Jackson/And this is not Thriller," the group broadcasts early on in the record. Truer words – and music recorded with such honesty, pride, rawness, and integrity – have seldom been committed to tape.

Run-D.M.C.'s Raising Hell remains the turning point at which hip-hop crashed through mainstream barriers and never left. Anchored by the crossover smash "Walk This Way," the 1986 blockbuster still sounds like a revolution unfolding in real time. It has everything – hard-rock riffs, turntable scratching, itchy rhythms, hit singles – not the least of which are the trio's invigorating raps and inseparable chemistry. And now it's the first rap record afforded audiophile treatment, courtesy of Mobile Fidelity.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, the reissue label's numbered-edition 180g 33RPM SuperVinyl LP elevates Raising Hell to sonic heights on par with its musical and cultural significance. Ranked the 123rd Greatest Album of All Time by Rolling Stone, 43rd on Pitchfork's Greatest Albums of the 1980s, one of the Top 100 Albums of All Time by TIME – and included on "Best of" lists by Spin, Paste, XXL, Entertainment Weekly, and basically every other significant media outlet – the triple-platinum effort rocks the house.

Benefitting from the ultra-low noise floor and groove definition of SuperVinyl, Raising Hell unleashes a torrent of massive dynamics and tsunami of frequency-plumbing details underlined by Rick Rubin's taut, crisp, albeit raw and streetwise production. Just as the Queens-based group both defined what hip-hop could represent – and displayed just how big it could get – Rubin's work melded ear-worm hooks, savvy drum loops, metal-leaning guitars, and, of course, Run and D.M.C.'s cross-fire lyrical interplay into watertight frameworks bursting with ideas, tones, samples, and beats. Heard anew on Mobile Fidelity vinyl, Raising Hell is in every regard the aural equivalent of a direct-to-console 1970s classic. And it sounds as fresh as hell.

As for the music, it ranks among the most influential, inventive, and invigorating ever released – rap or otherwise. Vanguard artists such as Ice-T, Eminem, Jay-Z, and Public Enemy's Chuck D – who declared it his all-time favorite and "the first record that made me realize this was an album-oriented genre" – have testified on behalf of its brilliance. And never mind the presence of the Top 5 single "Walk This Way," whose power helped make Aerosmith's Steven Tyler and Joe Perry relevant for the first time in nearly a decade – and literally put Run-D.M.C. in bedrooms ranging from the Bronx to Bartlett to Bad Axe.

Look instead to the rest of the entirely filler-free set, be it the corkscrew turns, slippery wordplay, and "My Sharona"-meets-"Mickey" mixology of the boisterous "It's Tricky," the fat-but-minimized bass grooves and warped turntable wobble of the hysterical "You Be Illin'," chimes-accented inertia and boombox-on- shoulder thunder of the now-iconic "Peter Piper," or voice-as-percussion attack of the funky "Is It Live." With Raising Hell, the answer to the question is always affirmative – a sensation bolstered by the fact the group always had something to say.

The definition of Golden Age Hip-Hop in every way, Run-D.M.C. avoids the negativity and misogyny that later plagued the style, spinning assertive tales about identity (the biographical and culture-changing "My Adidas"), work ethics ("Perfection"), and, most notably, pride (the Harriet Tubman- and Malcom X.-referencing "Proud to Be Black"). Pavement-packed inner cities, tree-lined suburbs, and cornfield-rimmed rural areas would never again be the same. And rocking a rhyme that's right on time would become trickier than ever.

Stu Chapman is out hardcore hero from down under. Originally from the UK, he packed his bags and his records and moved to sunnier climes, but still has those raw UK flavours still pumping around his veins!

This is the first EP by Chapman on Amen Brother – his previous outings have been on his own Enormous Mouse imprint as well as Remix Records and Ars Musica Imprendere Vitah.

Chapman productions always have a more uplifting feel to them and these are four hardcore anthems to make the ground shake and those hands to reach up to the lazers!

Get tripping on these beats!

Limited to 300 copies, this 2x12" double vinyl VA is the third physical release of the industrial techno label, Askorn Records. Including 8 tracks ranging from dark and tortured slow beats to hard and industrial techno bangers, this release brings together 9 producers from Belgium, UK, Poland, Australia and France: Twan, Dahryl, Mickey Nox, Tripped, 14anger, Draugr, Hel.IV, Ogmah and Hatelove.

A1: Twan & Dahryl - Ammunition
Pure industrial techno banger. 142bpm bomb full of fast rolling drums and screaming synths, this collaboration between
Belgium based artist TWAN and Dahryl from United Kingdom, is a furious dancefloor destroyer.

A2: Mickey Nox - Switching Horsepower
Classic industrial hammer by Mickey Nox from Australia. A crazy 4-4 techno track with his famous stomping kick, strange FX sounds, chopped with some glitchy voices. Sounds like an unstoppable engine.

B1: Tripped - Fat Load
Tripped demonstrates the perfect mix between hardcore and techno into this track, using his famous and indescribable style. Industrial hardcore and destroyed 909 gabber kickdrums, scary synths, amen breaks and terror atmosphere.

B2: 14anger - Bachman
Heavily distorted bass-line, overdrived kickdrum, an acid break and some electrical noises: Bachman is the latest 14anger
banging track. This raw industrial techno track definitely brings some oldschool rave vibes to this project.

C1: Draugr - Discipline
A dark and groovy track by Draugr. He brings his famous threatening atmospheres, spooky bass and catchy drums on
this one. Crunchy kickdrum, radar noises and a perfectly chosen speech about order and discipline.

C2: Hel.IV - Brave & Thick
Hard, dark and punchy as usual, let's introduce Hel.IV from Paris. Deep and hard kickdrum with catchy drums patterns
surrounded by a screaming distorted vocal sample, and an epic and menacing synth.

D1: Ogmah - No Feelings, Pure Wrath
New harsh and scary bomb by Askorn's founder, Ogmah. A slashing and industrial beast with some shrill highs drums,
creaky and industrial FX sounds, and a long break with scary vocals about sins.

D2: Hatelove - Snakebyte
A slow and dark track with a deep as hell atmosphere, produced by the one and only Hatelove from Poland. Full of filters
automations, psycho and spooky noises, banging drums and crazy sound design. Angering af.

The artwork is an engraving by the artist Daniel Girault from Brittany in France. This is the result of a dark and disturbing
abstract design engraved on a hard metal surface, made by cutting grooves into it with differents sharp tools. After being
drowned into an acid bath, this metal plate is finally pressed with black ink on a thick paper sheet.

“Cinematic electronica embraces intelligent Indian infused beat making”.

Belgian beat collective Up High Collective return with their new album 'Koinonia.' Their second full-length comes five years after their debut album in 2018. For 'Koinonia' they have invited Belgian iconic drummer Lander Gyselinck (STUFF.) and several other guest musicians. The first single 'Koi' is available now, the record is set for release on Wednesday October 11 on vinyl, Bandcamp and via all digital platforms via San Kofa Rhythm Records.

"Going with the cinematic tides of sound: first single 'Koi' features compelling South-Asian sitar, imminent strings, drums by Lander Gyselinck and carefully constructed beat making."

Spearheaded by producer duo Koen De Petter and Renaldo Maria, this record is Up High Collective’s most ambitious music project to date and has been in the works since 2015. The name of the record - Koinonia is Greek for "fellowship" or "community" - refers to the intense and inspiring interplay between the collective and several musicians they invited to contribute.

Raw analog recordings and beats by the producer duo, brimming with imperfections and samples from original Indian music, laid the foundation for live studio sessions by Bert Cornelis, one of the few sitar players in Belgium, drummer Lander Gyselinck (Lander & Adriaan, STUFF.), double bassist Jens Similox (Orchestre Collone) and multi- talented bassist Boris van Overschee (Okon, Delv!s). From their intrinsic penchant for deconstruction, the live elements were cut up by the producers, heavily rearranged and presented as new sounds. After several sessions in their Up High Studio (Leuven), carefully constructed collages gradually started to form with all of its layers filling the deepest corners of the sound space.

The result is a record that balances perfectly between cinematic electronica with complex harmonies to get lost in and solid club oriented beats with crunching textures and off the grid rhythmic patterns.

"All of these songs share an underlying, invisible force bound by the intense interplay and mutual inspiration between us and the live musicians.

CAMOUFLAGE COLOURED VINYL


Zeer gelimiteerde gesigneerde versie (100 stuks). Big2 (Twan van Steenhoven) is rapper en producer en is tevens de helft van de populairste hiphopact van Nederland; The Opposites. Op zijn nieuwste plaat is de transformatie naar zijn leven als pas geworden vader te horen. Voor het eerst rapt Big2 over zijn zoontje, die voor het album als grote inspiratiebron heeft gediend. ‘New Life’ bevat hits met Big2’s keiharde onmiskenbare sound en persoonlijke tracks met een nieuw geluid evenals klassieke hip-hop tracks op échte kenmerkende Big2 beats. Met gastbijdrages van o.a. Josylvio, Winne, Sticks & Antoon mag deze klassieker niet ontbreken in je platenkast.. Eerder verschenen al de tracks 'Denk Er Niet Meer Over Na', 'Vogelvrij' feat. Josylvio en Sticks en het meest recente 'Life Goes On'.

Didattica is the first album from Zetas, a female rap duo coming straight out of the city of Salerno, on the south west coast ofItaly. Entirely produced by beatmaker, rapper and DJ/producer Tonico 70, a true veteran of Southern Italian hip-hop,the full-lengthdebut isreleased on DJ's Choice, a partner label of Four Flies Records.

Born between the 90s and 2000s, rappers Annarella and Miriade were exposed to the world of underground hip-hop from an early age, jamming and freestyling. Rather than going for the sounds of trap and auto-tune that are so popular in their age group, however, they immediately embraced the spirit of old school rap, withitsboom bap vibes. As suggested by the album's title itself (which translates as 'teaching' or 'learning') they view of rap as a school – that is, as an art form where constant training is key if you want to stay true to your values and identity.

With the help of producer Tonico 70, Zetas have created a record that is fresh and contemporary, while paying tribute to the past.They rap about everyday urban life in the exuberant dialect and slang of their native city, delivering raw rhymes with a tightand very expressiveflow, while Tonico70 uses a classic sampling approach but also incorporates real instruments into his beats–Antonio D'Apolito's guitar, Peppe Maiellano's keyboards, Giuseppe Desiderio's bass and Giuseppe Limpido's drums.

The result is an excitingcombination of funk, soul, dub, R'N'B, reggae, and even electronic influences,one where deep bass and syncopated rhythms blend wonderfully with the melody, urgency and authenticity of dialect rhymes.

Indonesian trio Grrrl Gang builds on their considerable worldwide buzz with Spunky!, their full-length debut album. Released on 22 September 2023 by Green Island Music in partnership with exclusive licensees Kill Rock Stars (United States), Trapped Animal Records (United Kingdom) and Big Romantic Records (Japan and Taiwan), the album is preceded by its title track and first single dropped on May 30, featured from the same title of the album, 'Spunky!' Spunky! arrives following some major life changes for Angeeta Sentana (vocals, guitar), Akbar Rumandung (bass, vocals), and Edo Alventa (guitar, vocals), including a switch in locale from Yogyakarta, the city where they formed the band while still in college. “This is Grrrl Gang’s first release after we graduated and got day jobs that made us have to move to Jakarta, which is undeniably 180 degrees compared to Jogja,” says Rumandung. “But moving to Jakarta enabled us to work with Lafa on Spunky! from start to finish.” The song itself essentially describes Sentana's experience during a manic episode. “I feel like I’m on top of the world, untouchable. I do things without thinking, always chasing after that feeling of instant gratification. I feel extra confident in myself to a point of grandiose thinking and that I could do anything,” Sentana explains. That would be Lafa Pratomo, the in-demand producer brought in to help shape the ten tracks that make up Spunky! With a resume that includes the likes of the chanteuse Danilla and legendary singer-songwriter Iwan Fals, Pratomo might not seem the obvious choice to take the Grrrl Gang producer’s chair. But according to Rumandung, “In terms of production, this was something new for us by working with someone outside of Grrrl Gang’s comfort zone.” Indeed, Pratomo considerably beefs up Grrrl Gang’s sound particularly Alventa’s guitar tones, Rumandung’s rumbling bass, and touring drummer Muhammad Faiz Abdurrahman’s muscular beats while preserving the band’s signature raucous energy, catchy melodies, and Sentana’s attitude-filled, equal-parts-honey-and-vinegar vocals. The music video for Spunky! premieres on the Grrrl Gang YouTube channel on the same day as the release of the song. The video, directed by Bathroom Girls, is part of a continuous movie, with Spunky! being the second chapter. It tells the story of an introverted girl who goes to a house party to validate herself among her peers. Despite facing challenges to her self-esteem, she manages to overcome her discomfort to survive the night. During the party, she watches Grrrl Gang perform Spunky! and is mesmerized by the confident performance of Angee, the lead singer. The girl imagines herself as Angee, a confident and cool person that she will never be. Hailing from the cultural city of Yogyakarta, Indonesia, Grrrl Gang is a rising force in the independent music scene with their infectious melodies, anthemic songs, and electrifying live performances. The power trio, composed of Angee Sentana on guitar and vocals, Akbar Rumandung on bass, and Edo Alventa on guitar, has been making waves in the Southeast Asian music scene since their formation in 2016. Grrrl Gang's music is a celebration of their collective roots and a testament to the power of pop music to connect people across cultures and borders. Their lyrics touch on themes such as feminism, mental health, and relationships with a raw honesty that speaks to a generation of young listeners. With their infectious energy, socially conscious lyrics, and unique sound, Grrrl Gang is poised to take the global music scene by storm and become a voice for a new generation

Since his career started over three decades ago back in 1981, The Chicago house veteran Boo Williams has been heavily involved in the house music industry, racking up highly strong reputation with his massive discography which includes a wide range of influences.

Hooking up with Mr Green Velvet, aka Curtis Jones’, much celebrated Relief Records in the mid-‘90s, the hard, jackin’ sub-label of Cajual, and later releasing on the tough-as-nails Dutch label Djax, 1996 saw Boo produce his seminal album with the bouncy house of ‘Home Town Chicago’, the first of a series of reissues by Anotherday Records.
Boo has since gone on to record for reputable imprint such as Ovum Recordings, Relief Records and Rush Hour.

For those who have religiously followed Boo over the many years, he continues to deliver as promised, once again bringing the driving beats and textured etherial soundscapes as you'd expect from the master‘. And for those who are just tuning in for the first time, Boo will open up your ears to a new level of sound.

Many things have been said, written and rightfully attributed to DJ and Producer Boo Williams' monumental career: "innovator".
As Boo Williams said: «House music will never die! Love, peace and hair grease».

Label owner, Adrien Calvet, is in charge of the B side. Always trying to push boundaries of raw sounds and electro glitch.