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All The Hits is the speedy follow up to Myriad Myriads’ debut album, Shardcore (released on Trilogy Tapes in September 2024). 200 vinyl pressed. Myriad Myriads was FKA Bass Clef. Wrong Speed Records have released two albums by Bass Clef (the 2020 limited vinyl reissue of 2011 cassette Inner Space Break Free and 2021 album Magnetic Chapters). Both organic and beautiful, both differing takes on electronic dancefloor - from 70's Germany, late 80's UK, and 90's Detroit. Myriad Myriads closed out the 2024 Wrong Speed Fest Weekender in the back room of a rowdy pub in Glastonbury (real Glastonbury, not Pilton). To watch up close and see the physicality was rapturous, to hear this music at volume positively transformative. All The Hits, recorded in Myriad Myriad's hometown of The Hague, Netherlands, is Carl Stone meets Sonz Of A Loop Da Loop Era. Carl Cox meets Harmonia. It's a headphone monster. Through a PA it will destroy. At home it's a living room shuffle, a synapse burster. It's a privilege for us to somehow be in the position to release records by Myriad Myriads / Bass Clef. We've known him for a long time. He's remixed a couple of Hey Colossus tunes. Check out the recent Patrick Cowley/Jorge Socarras covers 12" You Laugh At My Face on State 51 Conspiracy. His 22-minute-long reworking is a masterpiece. We love to be connected. We love Wrong Speed Records switching from Part Chimp to Myriad Myriads and on to Deep Cabaret via Jacken Elswyth. All come from the same place, if you feel it you know. This is our record collection

Sharpening his modernist, hybridised club sound with the restless energy he’s made his name on, Breaka returns with Aeoui. Nodding to the vowel-only vocal samples he scatters throughout his tracks, this much-anticipated second album reaffirms Charlie Baker’s reputation as a many-sided bass music innovator.

Since 2019, Breaka has been primarily shaping his own destiny by self-releasing most of his music, and it’s afforded him the space to evolve his sound on his own terms. In the wake of his 2022 debut LP We Move, the consistently prolific producer had been looking for a fitting window to channel his work into a second full-length. The opportunity arose when he struck on a fit of jet-lagged inspiration in late 2023 and laid down two of the new album’s key tunes, ‘squashy track’ and ‘yolo bass rewind’. Jutting out at a distinct angle from his other work, Breaka knew he’d found the anchor point around which to build out the next phase of his sonic evolution.

This productive period also aligned with a new studio space to work in, leading to the album’s striking double-dose opening of ‘Aeoui’ and ‘Are We There’. With the flavour of his new album established, Breaka was able to comb back through his reams of existing ideas and find the remaining pieces that fit the emerging puzzle. There are enduring influences which bind together the Breaka sound — footwork, techno and dancehall continue to guide the infectious floor-ready pressure of the record, but he worked free of stylistic concerns to find a vibe that remained true to his independent spirit.

It’s clear the Breaka DNA reaches beyond purist club music — his roots as a jazz drummer from an early age guide the expressive flair in his beat programming, while he took a more direct influence from a mind-blowing Sons Of Kemet gig in 2022 to make psychedelic centre-piece ‘Roundhouse’. Elsewhere ‘Cascara’ pays tribute to the Afro-Cuban rhythm of the same name, which he fused with amapiano’s lithe log drums and shakers, Brazilian percussion and edgy sound design to create a maverick soundsystem wrecker.

The collision of organic and synthetic, crisp forms and chaotic energy are captured perfectly in the cover artwork created with Jordan Core. It’s a savvy sum-up of where Breaka is at right now, continually building out with clear intentions while embracing the unpredictable energy of lived experiences and the ideas that get sparked along the way. That’s why Aeoui sounds like no one else out there but Breaka.

I wrote The Shit Punx Hate for Realicide in 2005. This version was made for Decide Today around a decade later, maybe 2015? It was about the pathetic narrow-minded dogmas that were common in Cincinnati punk, being discriminated against when our approach defied dominant aesthetic criteria, chronically misunderstood and rejected without consideration.

This experience in my formative years led to a long path of thought as I entered adulthood. Those feelings of being "other"ed, treated poorly based on who I was, started to seem less significant compared to the prejudices I saw friends faced with. Targets of bigotry due not to a subcultural choice, but aspects of themselves they were born into. Of course I mean things like race, gender, class, abilities. If being dissed by punk rockers sucked for me, imagine what it must feel like being the only black kid in a social circle that can't even recognize its own racism, the only woman in places misogyny is the celebrated standard, having a non-white family at risk of deportation, growing up "male" or "female" when you've always known they are wrong about you, etc. This was my mental gateway into prioritizing these struggles, wanting to become an ally, then even more so an accomplice.

Revolutionary Reason was written in 2018 during my time working with Mass Action for Black Liberation, and revised abruptly this year while recording for this record, as it was inconceivable not to address the epitome of merciless colonial atrocity orchestrated by the state of Israel. While I write this, the IOF is massacring families in the West Bank. The death toll in Palestine is currently estimated at around 41,000 and it hasn't even been a year since this modern Nakba began. I hope these songs help make apparent that whatever you said you "would do" during Jim Crow America, Nazi Germany, Apartheid South Africa, any archetypal history now synonymous with wrongness, yes I can confirm NOW IS THAT TIME to do it ...if you were for real about it that is.

Big respect to my Arab friends who are so patient while I learn the stuff my school conveniently omitted, to my Jewish friends tirelessly combating the violence of their ethnicity being shackled to a cult of Zionism, to native resistance across Turtle Island that articulates so well that this fight is also still/always very domestic, to contemporary hiphop telling today's stories while rock music often merely offers retro fashion, and of course to Kieren and Borg my homies in OZ.

All my love to intifada direct action everywhere dismantling the imposed global suicide pact that is white supremacist capitalism.

~ Robert Inhuman 28 August 2024

ANAN is a project born from the musical inspiration of DJs Roberto Agosta and Massimo Napoli (Galathea). The name ANAN comes simply from the repetition of the initials of their surnames.

Their new single ‘Naif’ blends African musical roots with a European groove and celebrates the cultural fusion of modern times and explores sounds that transcend borders. Imagine listening to Fatoumata Diawara or Ali Farka Touré meeting St. Germain or Bonobo

This track opens with a pulsating rhythm, featuring traditional instruments, percussion, and the vocal performance of Kadi Koulibaly from Burkina Faso.

Koulibaly manages to convey a sense of joy and vitality, evoking soundscapes rich with texture and dynamic motion. The melody is skilfully combined with electronic and jazz elements, creating an aural experience that invites you to dance. In short ‘Naif’ is a celebration of cultural fusion, an invitation to indulge in rhythm and explore sounds that transcend boundaries.

Out soon: FLASH-X-28 - Florian Meindl - Chaos EP (12") Splattered Vinyl - 180g - Limited Edition of 150

Eurorack tweaker, 8-bit master, king of carnival madness, Dutch producer Solo Moderna is back with his female alter ego singer Krage, for a perfect fusion of Afro-Latin and Caribbean rhythms with modern synth pop. Highly entertaining, Clever and unique blend of organic sounds, samples and vintage synths tweaking, "Daïsm" is a fun and enjoyable journey to the frontiers between electro, mento, dub, rocksteady, contemporary African rhythms and cumbia with a twist.

Certainly not your average tropical music. This new album is definitely a step up for the eccentric artist, as he's now reached the next level of mastering the fusion of genres and the art of blending organic sounds with electronic elements. Solo Moderna is one of the few “electro” artists you can immediately recognise when you hear one of his songs. In the creative process of “Daïsm”, Solo Moderna met his soulmate singer, Krage, who sings in a delightful mixture of English, French, Spanish and Jamaican Patois. Together, they found their very own way of expressing their love for nature and diversity through universal language.

Multi coloured splatter vinyl repress of the celebrated debut from the New Zealand-born singer-songwriter, as well as the first album on Phantasy Sound. ‘Forever Dolphin Love’ is a psychedelic pop-folk celebration of a world between fantasy and reality, innocence and wisdom, a gateway to a world of Connan’s own… contains the singles ‘Faking Jazz Together’, ‘It’s Choade My Dear’ and ‘Forever Dolphin Love’.

Grey Vinyl Repress

Best of 2Pac is a posthumous greatest hits compilation series from Tupac Shakur released in two parts: Thug and Life. Both albums were released on December 4, 2007 in the United States and December 3, 2007 in the United Kingdom. Both compilations consists mostly of songs released before his death.

For this special release, we’re excited to unveil something brand new: a triple vinyl, perfect for casting a spell on your Halloween night

Witches brew and cauldrons bubble, as Halloween stirs up an eerie trouble! Step into the world of spooky beats with Lofi Girl's 'Halloween 2024' compilation. Featuring talented artists from around the world, this potion of ghostly rhythms and haunting melodies sets the mood for a night of chills and thrills. Whether you're conjuring up potions or unwinding under the moonlit sky, let the witchy magic of these chilling beats take over your Halloween night!

The third internatonal release by the legendary Malian singer and guitarist is many fan's favourite. 'The Source' established Ali Farka Touré on the internatonal stage and paved the way for his legendary collaboraton with Ry Cooder on the GRAMMY award winning album 'Talking Timbuktu'.
Available for the frst tme on vinyl, the album has been re-mixed from the original master tapes and includes a previously unreleased track from the same sessions.
The album is presented in a gatefold sleeve containing double 180g vinyl and large format 28 page booklet with lyrics.
'The Source' features Farka Touré's frst recordings with his home town band Group Asco, with vocalist Afel Bocoum and percussionists Hamma Sankare (calabash) and Oumar Touré (congas). Touré's trademark acoustc and electric guitar (as well his njarka violin) playing are highlighted on some of his best loved and most sophistcated compositons.
The father of the desert blues unleashes a set of driving small group performances, intmate love songs, mesmerising guitar solos and two unique duets with the great American bluesman Taj Mahal.

'A Toda Cuba le Gusta', the classic debut album by the Afro-Cuban All Stars. The frst in a trilogy of extraordinary albums recorded by World Circuit in a single two-week session
at Havana's EGREM studios, 1996. The other albums, which share many of the same personnel, were 'Buena Vista Social Club' and 'Introducing Rubén González'. Remastered by Bernie Grundman from the original analogue tapes and now available
for the frst tme on double 180gm heavyweight vinyl, housed in a gatefold sleeve and presented alongside a 32 page booklet as part of World Circuit's classic album series. Plays at 45rpm.

2LP Vinyl Reissue of Late Registration, the second studio album by American hip hop artist Kanye West, released on August 30, 2005, by Roc-A-Fella Records. Recording sessions for the album took place over the course of a year at Record Plant Studios, Chalice Recording Studios, and Grandmaster Recording Studios in Hollywood, and at Sony Music Studios in New York City. West collaborated with American record producer and composer Jon Brion to produce Late Registration, and the album features guest contributions from artists such as Jay-Z, Common, Lupe Fiasco, Jamie Foxx, Nas, Brandy, and Adam Levine, among others.

Zy The Way hail from Taiwan and are recognised as pioneers of the jazz scene in Asia. Their signature style is to infuse their work with ancient Chinese poetry and their first outing 'A Different Destiny,' reimagined 3,000-year-old poems curated by Confucius and earned them plenty of plaudits. Now, they unveil two EPs as a prelude to their upcoming album. Collaborating with renowned remixers who operate at the jazz-electronic crossroads, they present 'Ten Acres' with a remarkable remix by Mark de Clive Lowe. Maintaining jazz's essence while igniting the dancefloor, this EP bridges East and West, past and present and shows Zy The Way as a transformative musical force who are pushing boundaries.

WE ARE EXCITED TO PRESENT THE NEXT RELEASE ON THE NORTHSIDE LABEL, COURTESY OF MELBOURNE HIP HOP / AFROBEAT GROUP : COOL OUT SUN.

Melbourne's Afro Hip Hop veterans, Cool Out Sun are releasing their sophomore LP 'A LION IS A LION' October 4th.

Spearheaded by the duo of Nfa Jones and Sensible J (known for their work across 1200 Techniques, REMi, Sampa The Great & solo projects) are joined by a star studded line up of guests. These include Sampa The Great, Lamine Sonko, Immy Owusu, Vida Sunshyne, Bilalli and more as COS aim to shine light on on their local circle of creatives and inspirations.

Cool Out Sun creates music bridging the traditions of classic Hip Hop with the traditions of Afrobeat, Afro soul & roots music blending West African language and culture with modern sonics that jump out the speakers. Beats are built on the MPC & refined with all live instrumentation & vocals recorded in their lofi indie label, House of Beige studio in the middle of nowhere.

The group's explosive live show has them performing consistently, and their music has been getting a lot of Australian airplay as well as spins across the US, EU and the UK radio.

Cool Out Sun songs go deep into social subjects and storytelling with historical and cultural messaging hidden in catchy hooks and heavy grooves. This collection of songs continues this theme while leaning into the more vibrant side of what Cool Out Sun cooked up in the studio in the creation of this album, 'A LION IS A LION.

To order copies at the WHOLESALE RATE of $25 comes with a minimum of 3 units with each order. Shipping can be arranged and also records can be picked up from here in Fitzroy at Northide.

The complete iconic Bill Evans LP Sunday at the Village Vanguard, featuring Scott LaFaro on bass, and Paul Motian on drums. LaFaro would die in a car accident shortly after this LP was recorded. Contains perennial versions of "Solar," "Gloria's Step," and "Alice in Wonderland." This edition also offers an exclusive collector's item consisting of a replica of the very rare Japanese 7" disc Riverside single SR-3033, containing Evans' readings of "My Foolish Heart" and "Polka Dots and Moonbeams."

THE COMPLETE LP + 1 BONUS TRACK - PLUS 7" BONUS SINGLE ON COLORED VINYL INCLUDED INSIDE - 180-GRAM VIRGIN VINYL - LIMITED EDITION

Modern Obscure Music is proud to present Pierre Bastien & DJ Low's "Swing Low", a work that fuses the poetic inventiveness of Pierre Bastien with the visionary legacy of the late DJ Low (Tom Deweerdt), a central figure in Belgian independent music and founder of the influential Lowlands label. This album, which interweaves memory and experimentation, represents Bastien's debut on the Barcelona label's catalog and a testament to the creative bond between the two artists.
The album, composed of seven pieces, stands out for its hybrid nature: five reinterpretations of Bastien's previous works, some of them coming from his influential Mecanoid (originally released by Rephlex), and two unreleased improvisations, A Pupa and Reviver, which seal the unique character of the project.
Pierre Bastien, recognized as a composer, inventor and builder of sound machines, has been a tireless explorer of the frontiers between the mechanical and the musical. From his contribution to the Belcanto Orchestra, his collaboration with the PRSNT project to his participation in Pedro Vian's Earth, Our Planet or his collaboration with Tomaga for the Other People label, his career illustrates a constant commitment to experimentation and the intersection of disciplines. Among the artists he has worked with are names such as Robert Wyatt, Jac Berrocal, Jaki Liebezeit and designer Issey Miyake. His works have found homes on iconic labels such as Marionette, Morphine and Discrepant to name a few.

The album is presented with a visual design by Koen Bruyneel, reinterpreted as a tribute to Tom Deweerdt, a decade after his departure.

Limited vinyl release for aya's 2021 Hyperdub-debut album, a one-time pressing on Ecomix random colour-mix recycled vinyl. Originally released in 2021 as a book and digital album, im hole is now presented on ecomix splatter-effect vinyl. A welcome reminder ahead of new aya music in 2025. On im hole, aya distilled the incisive sonic experimentation of her early run of releases, the tongue-in-cheek giggles of her DJ sets and edits, and the identity-fluxing lyricism of her live shows. The album was immediately championed from all corners, 'Best New Music' in Pitchfork to DJ Mary Anne Hobbs Album of the Year, followed by incredible live shows which drew new listeners further into the net. Contorting language, dialect, gender and sexuality between intermittently controlled bursts of rhythm, noise and aural goop, aya sculpted a set of autobiographical vignettes that challenge established norms, question supposed truths, and affirm a spectrum of interlocking experiences. But while it's wide open and personal, im hole also challenges queer art's tendency to veer towards repetitive solipsism. Even the title itself references the unwieldy mix of self-actualization and sexualization that bogs down cultural perceptions of the trans experience. It's neither one thing nor t'other, just as much a sly nod to dissociative afterparty sloppiness as it is any self-congratulatory pinkwashed grandstanding. The music follows suit, fragmenting familiar sounds, twinned with familiar words, assembled in unfamiliar ways, full of sharp humour, even in the middle of despair. Stories are muddled with phonetics just as dubstep is macrodosed with microtonal drone.










j B4. If [redacted] Thinks He's Having This As A Remix He Can Frankly Do One

The highly anticipated final Juice WRLD album is revealed.

Featuring Eminem, Fall Out Boy, Nicki Minaj, Offset, The Kid LAROI, and production from benny blanco, Nick Mira, and Cashmere Cat among many more collaborators, the posthumous set is a fitting celebration of a once-in-a-generation artist.

The Party Never Ends finds Juice diving down different alleyways of his colorful, complex psyche. On “Misfit,” he turns his outsider status into a reason to rejoice over bright acoustic guitar and big distorted drums: “I don’t fit in, I’m a misfit, oh / First thing on my mind, that’s to get rich, oh.”

Meanwhile, on the darkly booming “Celebrate” with Offset, Juice is “overstressed,” declaring, “Wow, up and down, the Devil been on the prowl / He loves when I frown, make him and his demons smile.”

STRUKTURSTRUKTUR's “the Gestalt” is a statement toward their search for their own aesthetic and
conceptual perception and is at the same time descriptive of their music.

Profile 1
KONISHI yasuharu
Band leader, songwriter, arranger and producer of the now disbanded Pizzicato Five (1985- 2001). Although having 2 successful world tours and 5 international albums under his belt, with fans ranging from London’s Karminsky Experience to Karl Lagerfeld, many of his fans know him as a DJ, spinning in Tokyo’s hotspots such as Shibuya’s ‘Organ Bar’. He tours regularly throughout Japan and abroad. In the Jackson 5 Remix Album, his remix ‘I want you back (readymade 524 mix)’ received an extraordinary amount of national radio play.
The remix album itself has scored healthy rankings in major record stores. In 1998, his own project ‘Punch the Monkey!’ (in which he remixes the theme tune of a popular Japanese cartoon series ‘Lupin the Third’) sold over 700,000 records, and this, some say, began Japan’s remix rush. His achievements truly invaded the mainstream when in 2000, he produced the No.1 single ‘Oha-Rock’ which became a social phenomenon in itself. Most
recently, he set up his own record label, ‘readymade international inc.’ from he which he plans to release new exciting solo works.
His talents also embrace film and photography and he is well known as a director in promotional videos, shows and advertisements. T-shirts and original goods which Konishi personally designed are sold in select shops such as BEAMS of Shibuya.
He is also a writer having regular columns in various magazines, and has also written several books. A collection of his essays have been published under the title ‘Kore wa koi de wa nai’ (’This is not love’
)
Profile 2
IKEDA masanori (Mansfield)
Began his DJ career in London, 1991, while working in Soho’s Soul Jazz Records. After becoming resident DJ at ‘Blow-Up’ in London’s Wag Club, he has toured the country and the rest of Europe. With his friends Karminsky Experience and Gentle People, he has also organised numerous club events, compiled CDs and produced radio programs. Returning to Japan in 1997, as the DJ with the rarest records in the East, he immediately made his name Djing at many popular events up and down the country. He is recognised for rocking dancefloors on a global scale having completed a very well-received European tour in 2000.
Apart from his DJ work, he has contributed remixes for Konishi Yasuharu’s ‘Punch the Monkey!’. His solo releases include his mix CD series ‘Spin Out’ , ‘Spin Out 2’ (V2 Records Japan). His albums ‘6 Complexions of Mansfield’ and ‘It’s a mans’s man’s field’ (readymade records) released under his alias Mansfield have established his name as a sound creator. He is expecting to release a new album from readymade international early 2002. This
is the DJ/composer that everyone’s talking about.

No matter how much of their filthy riches Munich’s oh-so shiny and smart glitterati are going to spend on generic pest control, they’ll never manage to exterminate SPINNEN (n.b. German for “spiders” – and also for “being bonkers” ;) Instead, SPINNEN will spread even further, they’ll form new networks, take over new corners, new spots, connect more musical dots with invisible, incendiary cobwebs.

Whereas these two SPINNEN – Sophie Neudecker (drums) and Veronica “Katta” Burnuthian (bass) – have been doing their spidery thing(s) in countless muggy, experimental corners of Munich for years (think bands such as Bombo, Uschi, Apian, The Living Object, Friends of Gas + other art ventures, tats, Schaufel & Besen Records…), the duo’s first full-length offering for Weilheim-based Alien Transistor sees them move on towards a warm kind of light – “Warmes Licht”. Inspired by Lambrini Girls, Peaches, McLusky, Amyl And The Sniffers, and all things loud and gain-heavy around their hometown, the album – obviously two body parts (A + B side), 8 legs (tracks) – is set to arrive in March 2025.

“Zusammen wachsen/Zusammen fallen,” meaning grow together/fall together feels like a fitting motto on opening track “Träume,” an initial onslaught of shouts, spiky basslines, crunchy chords, a whole lot of awesome friction in that lovely lower end. “Visionen folgen/Kämpfen und Erschaffen,” is another apt line while doing just that, fighting, creating, turning visions into soundscapes, into pure sonic fun & resistance. Putting even more pressure on the mosh pit with wordless “Wirken,” that titular warm light eventually breaks through towards the end of hypnotic “Moment”: The lyrics might talk about a calm state of mind – but these two are certainly not slowing down, not aiming for consistency, or for “making it”…

“Warm” has no drums, no message, it’s pure light, all playful organ hypnosis, paving the way for the b-side that opens with first single “Geister” (spirits/ghosts/genies): Arriving with a rough wind that immediately turns things upside down, it’s all screams and riffs, turbines and propellers – one of many moments that make you realize how bad you want to see this hi-octane duo live, how good it must feel to have them scare the shit out of your body (“Verscheuche mich aus meinem Körper”). They’re like two genies coming from the same smashed bottle, offering three wishes to those who’re lucky enough to listen (Fuzzy Noise Pop? Punk Catharsis? Rrriot Krautsound?).

Following a quick melancholy breather (“Lichter”), things once again get restless as they rush towards the punk finale via slow-burning demolisher anthem “Ermüdend”/“Immer wieder,” only to unleash one last battle cry, one last middle finger made of light and noise to the heated room (“Mäuse”) they’ve long taken over.

It’s certainly no coincidence that a certain square/fine/upstanding citizen named Margit O. gave Munich’s Bürgerpark Oberföhring a scathing 1-star review on Google Maps exactly four years ago – at the very moment that Sophie and Katta first met just there, which eventually lead to the formation of SPINNEN. The reason for O.’s negative rating: “Too loud”.

After many years, Deformer has proven to still amaze and reinvent themselves. Fans always await the next record, because you never know what to expect, other than that it's most likely ear-shattering. This time again Deformer exceeded the expectations! The new crushing four track record entitled 'Instruments of torture', shows that Deformer still takes the lead when it comes to originality. Deformer has collaborated with some musical giants before and this time teamed up with Death Metal icon David Vincent (Vltimas, I Am Morbid), who previously shook up the music industry with Death Metal legends Morbid Angel. Featured on two tracks, David's signature grunt goes hand in hand with Deformer's musical carnage. This is not just groundbreaking, it's legendary!

Deformer producer, Mike Redman, is considered a musical maniac, known to be an artistic freethinker and has never watered down the Deformer concept. Where its foundation is still Hardcore Jungle, Deformer has always added various music genres into the mix making Deformer a genre of its own, even before terms like 'Breakcore' existed. Many of the more popular names in the field acknowledge that Deformer has always been a great source of inspiration. Where David Vincent made a blueprint in Death Metal, Deformer definitely did that for Hardcore Jungle/Breakcore.

Kike Pravda is back on his own label Senoid Recordings.
One year of work in the studio summarized in 8 tracks with his own and unmistakable style going further with new sounds and going into sci-fi techno in some tracks combining them with powerful weapons for the dance floor at peak hours.
This album is conceived to last for years.

Since its release in March 2024 Perc's album 'The Cut Off' hascontinued to rise in stature with glowing reviews including an 'RA Recommends' award from Resident Advisor , 'Best of 2024' list appearances and tracks such as 'Static' featuring Sissel Wincent and 'Imperial Leather' becoming dance floor hits around the world. The album also spawned a 26 date album tour with shows at festivals and clubs across Europe, USA and South America.
Now 'The Cut Off' returns as two remix EPs containing reworks from a wide range of artists all operating at the cutting edge of forward facing electronic music, with this first EP taking in everything from tough industrial hardcore through deeper sounds all the way to London acid techno.
Opening up the EP is Dutch legend Ophidian, who transforms 'Static' from grinding techno into an epic fusion of hard edged techno and industrial hardcore. Already one of the most requested tracks from Perc's recent sets, this Ophidian remix once heard is never forgotten.
Staying with the Netherlands, Vera Grace shows a relatively new side to her sound moulding Perc's 'Fett23' into a echoing slice of hypnotic techno. Heavy on sound design with a driving synthesised pulse leading the charge Vera's remix constantly builds momentum without ever getting repetitive.
On the B-side Acerbic (aka London acid techno hero Ant) pumps 'Imperial Leather' full of caustic acid with a huge arrangement that never sits still for long. Perc is known as a key supporter of this classic London sound and this remix has been his biggest acid track recently.
Finally Argentina's Zisko becomes the first ever South American artist to appear on Perc Trax. A breakout star of the new wave of groove led percussive techno with multiple recent appearances
at Berghain, Zisko takes deep cut 'Milk Snatcher's Return' and adds swinging hihats and rides and just a touch of dub techno for a perfect example of why his sound is so in demand right now.

"At the end of the day, a new one begins. Sometimes dust covers the wounded human spirits, nebulizing their ambitious world with melancholy from some far place. Today we met and melded our emotions. Improvisation is the art of becoming sound. Loose lyrics on Hollywood dreams, galaxy economy, and algorithm poetry, banned and warped in drama industrial, synth-journey-music, ghost pop, anger electronics, and analogue deserts. Improvised recording sessions for epochs where head liquefies the concrete. It’s all about fashion, now, that we have recession. Dressed to kill with murder fabrics. The anger of the machines. The happiness in their language. Inkasso & ML asked themselves"

On their fourth album, from the original line-up only Robert-Jan Stips and bassit Ron Van Eck remain. The album represents a change in style which is now jazz-rock and it is a loose concept album about Alexander The Great. Iskander is available as a limited edition on crystal clear vinyl and includes an insert with lyrics and printed innersleeve.

Repress!

VERY LTD 100 COPIES UK

‘Indian Wedding Sweetmeat Celebrations’ transparent Yellow vinyl.** Ten years on from its original release, Ample Play Records will release, the ground breaking ‘Cornershop And The Double ‘O’ Groove Of’ album by Cornershop feat. Bubbley Kaur on vinyl for the first time. The LP, pressed as a stunning limited edition of 500 copies on ‘Indian Wedding Sweetmeat Celebrations’ sticky transparent Yellow vinyl in a gatefold sleeve with poster insert, will be available via mail order direct from the group and in all good independent record shops from 3rd December 2021. Cut for vinyl at optimum levels by Fluid Mastering, the same clever folk who mastered both the celebrated ‘England Is A Garden’ and ‘England Is A Garden Instrumentals’ albums. It’s a vinyl release that Rough Trade Shops have petitioned us for years to action and we’re pleased to report they consider the audio results to be “topknotch, an amazingly defined cut”. After many a time in the studio, under lab conditions Cornershop originally released the album in 2011 featuring the incredible double sugar-coated vocals of Bubbley Kaur. When Tjinder and Bubbley decided to work with each other, she had not recorded a note of music. They had met very fleetingly, years ago at a cellar gathering in Preston Lancashire, where Tjinder & Benedict studied. So it was much surprise when a taxi driver friend introduced him to a lady that liked singing, worked in a local launderette, and was the same lady he had met in a northern cellar bar. They then met a good many times at Tjinder’s house where they would listen to and discuss traditional Punjabi Folk Music, and slowly Bubbley came out writing her own original lyrics, which were set to a varied range of modern musics. ‘Natch’ was the first song she recorded, followed by ‘Topknot,’ and together they became the first double ‘A’ single on Rough Trade Records. The complete recordings were made in their own good time. Tjinder explains “There was no need to quickly put the album out, but there was a need to make it top rank and evergreen, especially as I have wanted to do an album like this for 20 years.” Benedict & Tjinder set up their own label, Ample Play in 2009 to release the highly acclaimed album ‘Judy Sucks A Lemon For Breakfast.’ The way Tjinder & Bubbley met was like a hindi movie script, and the outcome of the music is like an Asian version of The Kids From Fame – totally upbeat, giving rise to new ways of expressing yourself.

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

Die britische Indie-Pop Band The Lathums kündigt ihr neues drittes Studioalbum 'Matters Does Not Define' für den 7. März 2025 an. Die Band hat bereits zwei aufeinanderfolgende Alben auf Platz 1 der offiziellen britischen Albumcharts vorzuweisen und ein weiteres Jahr mit riesigen Open-Air-Shows hinter sich. 'Matter Does Not Define' wurde von der Band, bestehend aus Sänger Alex Moore, Scott Concepcion (Gitarre, Piano und Gesang), Ryan Durrans (Schlagzeug) und Matty Murphy (Bass und Gesang), in ihrer Heimatstadt Wigan geschrieben, bevor es in den Kempston Street Studios in Liverpool in Begleitung des langjährigen kreativen Mentors John Kettle und des Produzenten Chris Taylor aufgenommen wurde. 'Matters Does Not Define' folgt auf ihr bisher erfolgreiches zweites Album 'From Nothing To A Little Bit More' und ihr Debüt 'How Beautiful Life Can Be' von 2021.

Die britische Indie-Pop Band The Lathums kündigt ihr neues drittes Studioalbum 'Matters Does Not Define' für den 7. März 2025 an. Die Band hat bereits zwei aufeinanderfolgende Alben auf Platz 1 der offiziellen britischen Albumcharts vorzuweisen und ein weiteres Jahr mit riesigen Open-Air-Shows hinter sich. 'Matter Does Not Define' wurde von der Band, bestehend aus Sänger Alex Moore, Scott Concepcion (Gitarre, Piano und Gesang), Ryan Durrans (Schlagzeug) und Matty Murphy (Bass und Gesang), in ihrer Heimatstadt Wigan geschrieben, bevor es in den Kempston Street Studios in Liverpool in Begleitung des langjährigen kreativen Mentors John Kettle und des Produzenten Chris Taylor aufgenommen wurde. 'Matters Does Not Define' folgt auf ihr bisher erfolgreiches zweites Album 'From Nothing To A Little Bit More' und ihr Debüt 'How Beautiful Life Can Be' von 2021.

Limited Red Vinyl

At the end of the roughest year in their history, Ulver is proud to release their thirteenth studio album, titled Liminal Animals. Liminal Animals is permeated by the smell of disaster and documents, with deep concern, a dark and troubled place in a dark and troubled time. The cover art features The Senseless Seven, a 1911 drawing by Austin Osman Spare. Design by grand magus wolframgrafik Paschalis Zervas.

At the end of the roughest year in their history, Ulver is proud to release their thirteenth studio album, titled Liminal Animals. Liminal Animals is permeated by the smell of disaster and documents, with deep concern, a dark and troubled place in a dark and troubled time. The cover art features The Senseless Seven, a 1911 drawing by Austin Osman Spare. Design by grand magus wolframgrafik Paschalis Zervas.

Fumio Itabashi is a jazz pianist who has garnered global recognition from jazz enthusiasts around the world. Following the success of Watarase ECHO, which compiled previously unreleased takes of his signature work Watarase through the lens of Minoru Wakasugi, a pioneer of the Japanese jazz scene, the second installment of the series, Watarase VOICE, is now being released by P-VINE. This new album focuses on the "voice" aspect, compiling previously unreleased tracks that feature a diverse array of vocalists who participated in Watarase.

Looking back on a remarkable 40-year career, the series carefully selects and presents the Watarase compositions that are most deserving of being heard today. Through this series, listeners can experience a glimpse into Fumio Itabashi’s life and his ongoing passion for expressing the pinnacle of jazz as an art form, a passion that continues to this day. The Watarase series offers a unique opportunity to savor not just the music, but the essence of Itabashi’s dedication to jazz.

Red Motorbike maestro Eddie C drops on the ensemble with an anthemic ode to the most sought-after of desires. We’ve been keeping this secret for far too long; it’s time to bring U Be Mine into the light, complete with remixes from Lex, Da Silva and Marcello Giordani aka Italo Deviance.
It was just over a year ago when Eddie sent us his original demo of U Be Mine. I remember plugging i the speakers in my fat, pressing play. A fash from a place of love that wet, grey day. The lyrical bass, euphoric stabs, the iconic delay, the pining vox. There are times where things seem naturally bound, designed to intertwine. An instant essential. We couldn’t wait to throw it down in the disco. Much like the coveted desire of its vocoder-clad protaganist, we needed a club-ready fx. Eddie, getting the message, sent us over a quick master - the Eddie C ‘Cash’ Version. Over the next year, at parties from Lisbon to Ibiza, I saw how those swirling arps locked onto the foor, how dancers cosied up to its decadent groove. It was peak time, warm-up and wind-down at once. In the true spirit of the ensemble, we got to work curating a cast of balearic technicians to write their distinct shade of depth onto Eddie’s golden letter. And that’s where it lands.
Lex from Athens casts an exotic, eclectic spirit with his Plaka Remix, all shufing percussions and wild, breezy strings, rejigged baselines and NYC disco tackle. Label curator Da Silva ups the ante with his 7-minute club-ready fx: tight kicks and searing acid, all the bells and whistles for your peak-time excursions. Finally, Marcello Giordani shifts into hyperdrive with the ITALO DEVIANCE ACID CONTROL version, conjuring creatures of the night in kaleidoscopic confgurations, a trusted party roller for the most decadent dancefoors.
We’re releasing U Be Mine on 150 pristine discs only. Claim it as yours, forevermore.

Recorded in 1964 during two concerts in the venerable Greenwich Village venue, the Café Au Go Go, two months after Astrud Gilberto's "Girl From Ipanema" became a Top Five pop single. However, the focus of these sets moved away from the Brazilian flavoured fare, bringing Gilberto into the realm of a decidedly more North American style. The band features a young Gary Burton (vibraphone), Kenny Burrell (guitar), Gene Cherico (bass), and Joe Hunt (drums). There are a few personnel substitutions, with Helcio Milito (drums) and Chuck Israels (bass), respectively, filling in. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

“We all grew up playing heavy music. For me personally, listening to artists like Swans, Godflesh, Neurosis and Kiss It Goodbye in my 20s was cathartic in a lot of ways. Identifying with people that have a similar world perspective, who are channeling their angst and frustration into the creative outlet of art and music — that was important.”

Josh Graham isn’t just talking about his decades-long career in heavy music, which has included A Storm of Light, Battle of Mice, and many years as the one-man visual department for Neurosis. He’s also talking about the formation of Guiltless, his new band with bassist Sacha Dunable (Intronaut), drummer Billy Graves (Generation of Vipers) and guitarist Dan Hawkins (A Storm of Light).

Guiltless released their debut EP, Thorns, via Neurot Recordings in early 2024. Crushing and cheerless, it seemed to welcome the apocalypse looming on our collective horizon. “The EP had a pretty narrow focus starting from my ideas,” Graham explains. “With this record, my main goal was to really collaborate with Sacha and Dan and Billy because those guys are great songwriters. The new album is meant to open up the sonic palette and explore more territory.”

That new album is Teeth to Sky, the band’s first full-length. Even more pulverizing and focused than its predecessor, the album’s collaborative songwriting approach was paired with an adjustment to the lyrical content.

You can hear it on “One Is Two,” which channels a tightly controlled Meshuggah churn through the more visceral lo-fi approach of Kiss It Goodbye or Swedish noise rock legends Breach. On “In Starless Reign,” Guiltless blend dissonant black metal and thundering doom while Graham invokes humanity’s inability to see the forest through the trees. Then there’s the bruising title track, which combines the gnarled sensibilities of The Jesus Lizard, Cherubs and Barn Owl into a rumination on Mother Nature’s revenge.

Teeth To Sky was recorded remotely by the members of Guiltless—except for the drums, which were recorded by Travis Kammeyer (Generation of Vipers) at Fahrenheit Studios in Johnson City, Tennessee. The album was mixed by Kurt Ballou at God City in Salem, Massachusetts, and mastered by Brad Boatright at Audiosiege in Portland, Oregon.

Actual Earth Music - Volume 1 & 2’ presents two caustic, yet alluringly unreal live sets from Canadian noise-rock entropy hunters Earth Ball. Following on from the group’s critically appraised ‘It’s Yours’ LP (released 2024 on Upset The Rhythm - UTR164) this release captures the band at the peak of their powers, playing live, composing spontaneously.
Side A features Earth Ball live at The Fox Cabaret in Vancouver, supporting Wolf Eyes on August 4, 2023. Jeremy Van Wyck from the band considers this “the gig that sent us into orbit, really. Causing Olson & Young to wax poetic about our interstellar jams to a fine bloke across the big sea. Upsetting our casual rhythm and forcing our hand. All that talk led to an LP, ‘It’s Yours’, and a full UK tour the following spring”.
Now, with the birth of this live series ‘Actual Earth Music’, it seems only fitting that Volume 1 should be this gig. It’s a doozy. Listening back is a pure revelation. Earth Ball whip up a vortex of thrashing wild energy, the ecstatic release is off the charts. “You don’t always catch every nuance of the jams as they come down. I mean, this one felt good, but upon listening back to the tapes, it sounded very good” confides Jeremy. “It reminded me of Von Trier’s Melancholia: the sound of a large sphere coming toward you to bring doom. However, this one reverses course, heading away to some other shore, bathing you in reflective bliss before saying goodbye—instead of ending humanity as we know it”.
Volume 2 occupies Side B of this LP, showcasing a collaborative summit from the second night of their recent Café OTO residency on May 21, 2024. This event featured Earth Ball laying down three separate sets—all collaborations. This second recording presents their opening performance and features pivotal UK improv luminary Steve Beresford on piano and free-jazz phenomenon Chris Corsano on drums.
Running Time: 42 mins

Crafted from solo recordings of 42 top-notch improviser musicians mostly drawn from Berlin’s multi-layered experimental scene, the monumental Phantom Orchestra project by Raed Yassin is finally getting released on Morphine Records. More than 1000 minutes of source material, recorded at the Morphine Raum during the fall of 2021, is distilled into a cogent work marked by a dazzling display of editing and blending, and packed into a double LP containing 7 “movements” of the Phantom Orchestra composition.

Crafted from solo recordings of 42 top-notch improviser musicians mostly drawn from Berlin’s multi-layered experimental scene, the monumental Phantom Orchestra project by Raed Yassin is finally getting released on Morphine Records. More than 1000 minutes of source material, recorded at the Morphine Raum during the fall of 2021, is distilled into a cogent work marked by a dazzling display of editing and blending, and packed into a double LP containing 7 “movements” of the Phantom Orchestra composition.

The Lebanese composer, musician and visual artist Raed Yassin has built a career straddling artistic mediums and communities, his devotion to improvisation, his connection to experimental electronic music, and his interest in the archive distinguishing a progressive impulse rooted in historic exploration. In 2020 Morphine Records released his wildly ambitious Live in Sharjah, made by a kaleidoscopic expansion of Praed, his duo with clarinetist Paed Conca. He resumes his interest in large-scale projects with Phantom Orchestra, conceived during the pandemic when most European improvisers were forced to redirect their energies into solo work,

Each set of the Phantom Orchestra’s solos was cut on a Dubplate, ready to be performed on 12 turntables routed to a six-channel setup, to create a unified and breathtaking composition from the spontaneous material. The resulting material was then edited and prepared to be cut on a Double LP format, marshalling a staggering variety of improvised footage into an air-tight collage that locates abstract consonance, stunning sonic rhymes, and unusual harmonies without shutting out the sort of exhilarating collisions and fraught tensions inherent in collaborative improvisations. With this final stage of the composition, Yassin offers a vibrant testimony to the diversity of Berlin’s community of improvisers, to say nothing of his own refined artistic sensibility in achieving such a remarkable feat of blending so many contrasting voices into a truly unified piece of music. “For me it's about how to learn to be a community again,” he says. “And how to live in a world together again, which is a very difficult question for me.”

“This Album was published with the support of the Arab Fund for Arts and Culture – AFAC”