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You Can Believe it ??"

After five years Simone Guerra (aka Relative) returns to the "House of Mikkit" on his own Flexi Cuts imprint. This dancefloor-oriented album is a manifesto of raw obsession and future patterns, crafted for those who’ve stopped chasing trends to find something real.

The record breathes through deep fat analog basslines and hypnotic arpeggios, layered with dreamy synth lines and ghostly vocoder textures.

It’s a gritty, essential dive into the Italian underground—eight tracks where the machine finds its soul.

If you’re feeling down with your things, if you’re always chasing the tail end of the wave and looking back to it saying "wow"… this is a record you might want to listen to.

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Packaged in a protective PVC sleeve with a super raw hand-printed cover.

Including a postcard + 8 tracks download code.

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Produced, composed and mixed by Simone Guerra aka Relative at Studio Noce (Lugo) between dec '24 and sept '25.

Mastered by Francesco Brini

Design by Yari Calanna and Pietro Galeati.

Words by Matteo Garavini

We are excited to announce the release of a new album by Solidwood, Life Of Relative Bliss, available starting June 20, 2025. The album will be released exclusively on vinyl and will be ready for distribution to independent record stores next month.

Life Of Relative Bliss is the second chapter of Solidwood’s musical journey.

This album delves into the ephemeral nature of human happiness: a relative bliss, never absolute, that constantly drives us to seek new personal gratifications. The tracks reflect on how each joyful moment is often followed by a sense of longing, fueling a continuous cycle of desires and expectations.

Vinyl Only 300 Copies Limited.

Sascha Dive returns to the Tenampa podium with another outstanding release. True to form, he stays faithful to his signature style: a well-defined, punchy, groovy, and solid tech-house sound that has become his trademark... sophisticated and refined!
On remix duties, the excellent Tuccillo delivers his touch of class, fresh off a string of acclaimed releases on some of the most respected electronic labels around, and delivers a standout remix. This is a must-have addition to your collection: a vinyl-only release, limited to just 300 copies worldwide, featuring a stunning full-cover illustration by renowned Mexican artist El Stitch.
Straight from Tenampa, and blazing, get yours!

Grey Marbled Vinyl

everything one needs to know about this album: a misshapen,
CHUD-like figure wanders in a graveyard bearing a cross,
while a mutated fish flops in a polluted ditch and a clutch
of factories belch their smoke above it all. The message of
the illustration is not to frighten or warn, but to celebrate
and admire.
Originally released in January of 1984, Disease Is Relative
is an unapologetic and wholesale embrace of death,
disease, and dystopia, with liberal doses of absurdism
and an unrelenting devotion to anything unexpected,
chromatic, or evil sounding. Sporting influences as
diverse as no wave, death rock, funk, post-punk, hardcore,
metal, and prog rock, this music somehow happened in the
midst of a first wave hardcore scene, before there was a
“post-” to be “post” of. Less surprising is that this happened
in Cleveland, which also inspired a desire to recreate the
feeling of the city’s post-industrial desolation in sound.
There’s also some epic screaming and crazy guitar playing.
The album features three songwriters (brothers Andrew
& Chris Marec, Robert Griffin), who also divide guitar,
bass, and vocals equally between themselves here.
Drummer Bruce Allen is the secret weapon, and provides
a clue to what a young Bill Bruford might have done in a
band like this. And yet, beyond all odds, the end result is
cohesive, cathartic, and utterly idiomatic. The distinct vibe
of the album, and its sheer quantity of killer riffs, songs
and performances have made it an album that people have
championed over time, while others have come to know it
through the interwebs as a result.

everything one needs to know about this album: a misshapen,
CHUD-like figure wanders in a graveyard bearing a cross,
while a mutated fish flops in a polluted ditch and a clutch
of factories belch their smoke above it all. The message of
the illustration is not to frighten or warn, but to celebrate
and admire.
Originally released in January of 1984, Disease Is Relative
is an unapologetic and wholesale embrace of death,
disease, and dystopia, with liberal doses of absurdism
and an unrelenting devotion to anything unexpected,
chromatic, or evil sounding. Sporting influences as
diverse as no wave, death rock, funk, post-punk, hardcore,
metal, and prog rock, this music somehow happened in the
midst of a first wave hardcore scene, before there was a
“post-” to be “post” of. Less surprising is that this happened
in Cleveland, which also inspired a desire to recreate the
feeling of the city’s post-industrial desolation in sound.
There’s also some epic screaming and crazy guitar playing.
The album features three songwriters (brothers Andrew
& Chris Marec, Robert Griffin), who also divide guitar,
bass, and vocals equally between themselves here.
Drummer Bruce Allen is the secret weapon, and provides
a clue to what a young Bill Bruford might have done in a
band like this. And yet, beyond all odds, the end result is
cohesive, cathartic, and utterly idiomatic. The distinct vibe
of the album, and its sheer quantity of killer riffs, songs
and performances have made it an album that people have
championed over time, while others have come to know it
through the interwebs as a result.

All sounds recorded at various locations in Europe, South America and at EMS, Stockholm using the Buchla 200 modular synthesizer.

soar, all sounds recorded with Klara Lewis in Montreal 2018


Mastered by Russell Haswell. January 2020

Cut at Schnittstelle, Berlin by Andreas Kauffelt, January 2020


Image : Mark Hogben

Layout: Nik Void

The last two years have seen me maintaining an association with an unusual bedfellow, death. The loss of Mika Vainio, as well as three members of my own family, has had a profound effect on me and spurred a lengthy reflection on life, death, and everything in between.

Parallelly, while studying the philosophy of science, I came across shadow photons:


"Tangible photons are the ones we can see or detect with instruments whereas shadow photons are intangible (invisible) detectable only indirectly through the interference effects on the tangible photons.

There is no intrinsic difference between tangible and shadow photons: each photon is tangible in one universe and intangible in all the other parallel universes.

They travel at the speed of light, bounce off mirrors, are refracted by lenses, and are stopped by opaque barriers or filters of the wrong colour. Yet, they do not trigger even the most sensitive detectors. The only thing in the universe that a shadow photon can be observed to affect is the tangible photon that it accompanies. This is the phenomenon of interference.

Shadow photons would go entirely unnoticed, were it not for this phenomenon and the strange pattern of shadows by which we observe it.

Thus the existence of a seething, prodigiously complicated hidden world of shadow photons has been inferred."*


I have drawn a parallel between shadow photons and death. The interference phenomena, parallel universes, and how shadow photons affect tangible photons they accompany, offer, in my opinion, similarities, an unknown universe which is death and how we, remaining tangible human beings, are affected. This quest has led me to be more willing to accept chaos in my life and to conclude that Death is perfection, everything else is relative.

Our second vinyl release ‘ABYSS 002 – Relative Disparity’ marks the next stage of our vinyl catalog and features a collection of tracks by artists that we believe contribute something unique to the ABYSS project.

20th release in the Relative family. A split EP by founders John Swing and EMG with 4 heavy duty house floorkillers in typical Relative style.

Vinalog with a deep haunting technotrack on the Relative label. Spooky atmosphere combined with steady 909 percussion. The flip side has a stripped version.

Anlässlich des 25-jährigen Label-Jubiläums erscheint erstmalig seit zehn Jahren auf Thrill Jockey eine Wiederauflage des Jeff Parker Albums "The Relatives" aus dem Jahr 2005 als Vinyl mit MP3-Download Coupon. Jeff Parker ist Multiinstrumentalist und bekannt als Mitglied von Tortoise sowie für seine Arbeit mit Isotope 217, Fred Anderson, Rob Mazurek, Tricolor, Chicago Underground, Brian Blade Fellowship, Makaya McCraven, Toumani Diabaté, Matana Roberts und Meshell Ndegeocello. Das Album wurde von John McEntire aufgenommen und Parker wird von Percussionist Chad Taylor, Bassist Chris Lopes und Pianist Sam Barsheshet begleitet.

Taking place in the Paras district, Cangallo province, in the Ayacucho region of the Central-South Sierra of Peru - this is a recording of a ritual held on February 5th 2020 for the one year anniversary of the death of Mrs. Sofía Miranda de Bellido, recorded by her grandson Hánkel Bellido.

At noon the coffin of "Mamay Sofía" was presented, so that her relatives could say goodbye for the last time. Following tributes from family members, these songs dedicated to her life and her passing were sung.

The townspeople were notified of the events by the sound of bells that produce a peculiar and powerful sound, and that can be heard in the other nearby towns of Paras. It is said that these bells were greased with human fat, and brought from the Cerro de Pasco region during colonial times. The bells must be played all morning until the change of mourning takes place.

At midnight the songs of the Almakunapaq (also known as San Gregorios) mass began. These are unique to the Andean peoples - a fusion of Andean and Christian syncretic traditions - and are said to help the dead to enter the eternal Kingdom.

It was 4am when the change of mourning took place, and in accordance with traditions, the friends & family announce the presence of harp and violin players, to liven up the proceedings with songs of joy and merriment until the next day.

"Mamay Sofia, manan wañukunkichu, kawsakuchkankim sunquykupi; sichus qunqarusqaykiku, chaymi ichaqa wañukunki!"

"I have not died, I will die on the day that you forget me!"

Did you know that Judy Freeman and Blackrock cut more songs than the 4 that were put out in 1971? We know of at least one.

"I Know Where You're Coming From" is a 70s funky Northern Soul masterpiece. We've rescued a lost, never heard before, track by the group for the A-Side here. Fans of their music will immediately connect with this blistering anthemic Northern Soul monster. Go ahead and grab the talcum powder, and prepare to dance up a storm to this one.

We've selected the completely unrelated, previously unreleased Marshall Hooks "She Is All I Need" for the B-Side on this one. A relatively straight ahead Otis Redding-styled Soul original that thumps and a nice compliment to the A-Side. If you aren't familiar, Marshall released one LP on Blue Horizon and a monster R&B 7" in 1965 on the Muriel label.

"Delegation is a British soul, funk, and disco band known for their success across Europe, though they remained
relatively under the radar in the U.S. Formed in 1975 by Jamaican singer Ricky Bailey, the group’s music quickly
gained traction with their first single, ‘The Promise of Love’ and follow up ‘Where Is the Love We Used to Know’
became a hit in Britain. Despite frequent lineup changes, Bailey was a consistent member throughout as the band
recorded much of their music in London, including their popular Eau de Vie album in 1979. The band continued
to evolve until the early 1990s and put out new music back in 20121. This is a comprehensive Best Of across two
sides of coloured vinyl."

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

The programm with a personality, It will get on all your discs.
It will infiltrate your brains.

Yes it's (malware) bizzarre!

It will stick to you like glue and it will modify reality, to send in the bizzarre.

We are pleased to announce the first FEX live album, Don't Look Back. The release features selected recordings from two concerts in Paderborn and Uelzen, both captured in 1985. All tracks on the album are previously unissued, including entirely unheard songs such as It's a Hard Life, Just Get Back, Legend, and Waiting Song, alongside a previously unreleased version of Subways of Your Mind, widely known as "The Most Mysterious Song on the Internet."
One of the most striking aspects of the album is the remarkable sound quality of the live recordings, as well as the strength of the performances themselves - particularly given that FEX were still considered a newcomer band at the time. The four-piece lineup consisted of singer, guitarist, and primary songwriter Ture Rückwardt, Michael Hädrich on keyboards and occasional second guitar, Norbert Ziermann on bass, and Hans-Reimer Sievers on drums. In 1985, the band was preparing for broader exposure through a nationwide tour organized by the small promotion company HBM-Musikbüro.
The album opens with the psychedelic Skyscraper, a track Rückwardt reportedly regarded as a personal favorite to perform. Hädrich contributes dynamic synthesizer layers, while Ziermann underpins the track with a distinctive slap bass groove. This is followed by the energetic rock number It's a Hard Life, which once again demonstrates that the band possessed multiple songs capable of matching the impact of their best known track Subways of Your Mind.
After this energetic opening, the album shifts into a more restrained mood with the synth-pop ballad I Got My Eyes On You. It is followed by Strange Feeling, presented here in a particularly compelling live version that arguably surpasses the previously released studio demo featured on the Skyscraper LP, with Rückwardt delivering one of his most expressive vocal performances. On Goldrush, another fan favorite, it is Hädrich's DX7 synthesizer work that stands out.
Don't Look Back continues to flow seamlessly, moving between styles such as new wave, synth pop, and a blues-influenced form of classic rock. On It's Good To Know, a song addressing the theme of stardom, the band returns to a heavier rock sound. In contrast, the synth-driven Just Get Back reflects on the conflict in Northern Ireland, then ongoing at the time. Lines such as "It's the money, it's the money why they come along" are directed at mercenary soldiers, while "even Sunday's a killing time" directly references Sunday Bloody Sunday by U2.
Previously known songs such as Dirty Slapstick and Heart in Danger lead into We Don't Want It No More, perhaps the band's most striking pop ballad. It is easy to imagine that the track had the potential to achieve radio success in the 1980s. The following piece, the epic Legend, explores themes of loneliness and love simultaneously. With poetic and abstract lines such as "some isolate in the falling rain" and "that's why I count all the reasons they call out for living, sadness is falling inside," it builds an almost eerie atmosphere.
One of the final highlights of the album is Subways of Your Mind, recorded in Uelzen. In this version, Rückwardt's vocal performance is even more on point than on the previously issued recording from Paderborn. Another notable moment is the driving, 1970s-inspired rock 'n' roll track Waiting Song. Both the composition and its live performance carry an energy that could easily stand alongside the repertoire of bands such as AC/DC. It was usually the track that FEX ended their concerts with, calling out each band member at the end of the song.
This leads to a broader reflection: it is striking that FEX did not achieve a wider breakthrough at the time. The performances captured here suggest a band capable of delivering consistently, song by song, note by note. It is not difficult to imagine FEX performing in large venues and engaging sizeable audiences. In reality, however, most performances in 1985 took place in front of relatively small crowds. The recordings featured on this album originate from the Roxy club in Paderborn and a small, unknown venue in Uelzen, likely in front of fewer than fifty attendees.
An essential figure behind these recordings is the engineer known only under his nickname Hase (German for "rabbit"), who was responsible for capturing not only these concerts but many other surviving FEX recordings. Bringing his own mixing desk to performances, he developed a deep familiarity with the band's material and was able to shape the live sound with precision, including the timely use of vocal effects. The original recordings existed only on cassette and required careful and extensive restoration work. Zoey Cairs was finally responsible for bringing them to their present quality.
This album marks the beginning of the Live Waves series, following the rediscovery of additional recordings that have gained international attention since November 2024, when they surfaced through what has been described as the largest "lost wave" music search to date. The title of this first live LP Don't Look Back carries a certain paradox. While the album invites listeners to revisit recordings from forty years ago, FEX themselves were always oriented toward the future. In that spirit, further releases of brand new material are already planned.
The cover artwork is once again based on an image by Magnussen from the Kiel archive, depicting the Prinz-Heinrich-Brücke. The bridge, once located in the northern part of the city, no longer exists. As a symbol, however, it remains fitting: a bridge stands for movement and connection - qualities that FEX sought to embody on tour, bringing their music to different places and audiences.

Greg Mendez war schon immer ein sparsamer Songwriter - er nutzt Zurückhaltung und Einfachheit als Werkzeuge, um den Kern seiner Songs zu schärfen. Auf Beauty Land, seinem neuen Album und Debüt-LP für Dead Oceans, werden wir von einem ironischen, aber nachsichtigen Erzähler begleitet, einem Underdog, der gelernt hat, Zynismus und Glauben in Einklang zu bringen. Diese Songs sind zurückhaltend, ohne selbstmitleidig zu sein, sorgfältig konstruierte Altäre der Unvollkommenheit, vermittelt durch Pop-Melodien, schimmernde, aber eindringliche Gitarren und eine Stimme, die nach der Unschuld eines Chorknaben strebt. Der Großteil von ,Beauty Land" wurde direkt auf Band aufgenommen, fast ganz allein in Mendez' provisorischem Heimstudio in Philadelphia - einem kleinen Raum ohne Tageslicht. Es ist sein erstes Album in voller Länge seit seinem unerwarteten Durchbruch mit dem selbstbetitelten Album im Jahr 2023, das nach 15 Jahren des Schreibens und Aufnehmens von Musik in relativer Unbekanntheit zwischen Philly und New York ein langsamer Erfolg wurde. ,Beauty Land" knüpft dort an, wo wir vor drei Jahren aufgehört haben - es lotet die Tiefen von Trauer, Liebe und Sucht aus -, aber seine intensive, ruhige Klarheit zeigt Mendez von seiner besten Seite als Songwriter. Teile von ,Beauty Land" fühlen sich wie ein luzider Traum an, in dem angeschlagene Charaktere sich ihren Weg durch eine karikaturhafte und verzerrte Welt bahnen - der gebrochene Uhrentakt von ,I Wanna Feel Pretty", das klingende Spielzeugklavier in ,Gentle Love". ,Mary / Dreaming" beginnt als spärliche, fingergezupfte Klage, bevor es abrupt zu einer enttäuschten, Beach-Boys-artigen, aber verkorksten Auflösung übergeht, die sowohl Melancholie als auch Freude hervorruft; ein Gefühl, dass alle Dinge gleichzeitig wahr sein können. Keiner der 14 Tracks ist länger als drei Minuten, aber sie erzählen Geschichten, die ein ganzes Leben umfassen. Der Tod schwebt durch das Album, sei es als Erinnerung oder als Bedrohung. Alles fühlt sich prekär an. Die Art und Weise, wie diese Songs aufgebaut sind, hat etwas Zerbrechliches: die Art und Weise, wie die Begräbnisorgel neben dem Morphium in ,Looking Out Your Window" erklingt, die verheerende Einfachheit von ,Frog" mit seinem verlangsamten Keyboard und dem nackten Refrain: ,Bitte vergib mir meine Fehler." Beauty Land fühlt sich manchmal unmöglich einsam an. Umso mehr zählt es, wenn das nicht der Fall ist - wie zum Beispiel, wenn Mendez gegen Ende von ,So Mean" im Duett mit seiner Frau und Bandkollegin Veronica singt und es sich wie ein lang ersehntes Wiedersehen anfühlt, wie ein flüchtiger Moment der Erlösung, wie eine vorübergehende Teilung der Meere.

Greg Mendez war schon immer ein sparsamer Songwriter - er nutzt Zurückhaltung und Einfachheit als Werkzeuge, um den Kern seiner Songs zu schärfen. Auf Beauty Land, seinem neuen Album und Debüt-LP für Dead Oceans, werden wir von einem ironischen, aber nachsichtigen Erzähler begleitet, einem Underdog, der gelernt hat, Zynismus und Glauben in Einklang zu bringen. Diese Songs sind zurückhaltend, ohne selbstmitleidig zu sein, sorgfältig konstruierte Altäre der Unvollkommenheit, vermittelt durch Pop-Melodien, schimmernde, aber eindringliche Gitarren und eine Stimme, die nach der Unschuld eines Chorknaben strebt. Der Großteil von ,Beauty Land" wurde direkt auf Band aufgenommen, fast ganz allein in Mendez' provisorischem Heimstudio in Philadelphia - einem kleinen Raum ohne Tageslicht. Es ist sein erstes Album in voller Länge seit seinem unerwarteten Durchbruch mit dem selbstbetitelten Album im Jahr 2023, das nach 15 Jahren des Schreibens und Aufnehmens von Musik in relativer Unbekanntheit zwischen Philly und New York ein langsamer Erfolg wurde. ,Beauty Land" knüpft dort an, wo wir vor drei Jahren aufgehört haben - es lotet die Tiefen von Trauer, Liebe und Sucht aus -, aber seine intensive, ruhige Klarheit zeigt Mendez von seiner besten Seite als Songwriter. Teile von ,Beauty Land" fühlen sich wie ein luzider Traum an, in dem angeschlagene Charaktere sich ihren Weg durch eine karikaturhafte und verzerrte Welt bahnen - der gebrochene Uhrentakt von ,I Wanna Feel Pretty", das klingende Spielzeugklavier in ,Gentle Love". ,Mary / Dreaming" beginnt als spärliche, fingergezupfte Klage, bevor es abrupt zu einer enttäuschten, Beach-Boys-artigen, aber verkorksten Auflösung übergeht, die sowohl Melancholie als auch Freude hervorruft; ein Gefühl, dass alle Dinge gleichzeitig wahr sein können. Keiner der 14 Tracks ist länger als drei Minuten, aber sie erzählen Geschichten, die ein ganzes Leben umfassen. Der Tod schwebt durch das Album, sei es als Erinnerung oder als Bedrohung. Alles fühlt sich prekär an. Die Art und Weise, wie diese Songs aufgebaut sind, hat etwas Zerbrechliches: die Art und Weise, wie die Begräbnisorgel neben dem Morphium in ,Looking Out Your Window" erklingt, die verheerende Einfachheit von ,Frog" mit seinem verlangsamten Keyboard und dem nackten Refrain: ,Bitte vergib mir meine Fehler." Beauty Land fühlt sich manchmal unmöglich einsam an. Umso mehr zählt es, wenn das nicht der Fall ist - wie zum Beispiel, wenn Mendez gegen Ende von ,So Mean" im Duett mit seiner Frau und Bandkollegin Veronica singt und es sich wie ein lang ersehntes Wiedersehen anfühlt, wie ein flüchtiger Moment der Erlösung, wie eine vorübergehende Teilung der Meere.

Greg Mendez war schon immer ein sparsamer Songwriter - er nutzt Zurückhaltung und Einfachheit als Werkzeuge, um den Kern seiner Songs zu schärfen. Auf Beauty Land, seinem neuen Album und Debüt-LP für Dead Oceans, werden wir von einem ironischen, aber nachsichtigen Erzähler begleitet, einem Underdog, der gelernt hat, Zynismus und Glauben in Einklang zu bringen. Diese Songs sind zurückhaltend, ohne selbstmitleidig zu sein, sorgfältig konstruierte Altäre der Unvollkommenheit, vermittelt durch Pop-Melodien, schimmernde, aber eindringliche Gitarren und eine Stimme, die nach der Unschuld eines Chorknaben strebt. Der Großteil von ,Beauty Land" wurde direkt auf Band aufgenommen, fast ganz allein in Mendez' provisorischem Heimstudio in Philadelphia - einem kleinen Raum ohne Tageslicht. Es ist sein erstes Album in voller Länge seit seinem unerwarteten Durchbruch mit dem selbstbetitelten Album im Jahr 2023, das nach 15 Jahren des Schreibens und Aufnehmens von Musik in relativer Unbekanntheit zwischen Philly und New York ein langsamer Erfolg wurde. ,Beauty Land" knüpft dort an, wo wir vor drei Jahren aufgehört haben - es lotet die Tiefen von Trauer, Liebe und Sucht aus -, aber seine intensive, ruhige Klarheit zeigt Mendez von seiner besten Seite als Songwriter. Teile von ,Beauty Land" fühlen sich wie ein luzider Traum an, in dem angeschlagene Charaktere sich ihren Weg durch eine karikaturhafte und verzerrte Welt bahnen - der gebrochene Uhrentakt von ,I Wanna Feel Pretty", das klingende Spielzeugklavier in ,Gentle Love". ,Mary / Dreaming" beginnt als spärliche, fingergezupfte Klage, bevor es abrupt zu einer enttäuschten, Beach-Boys-artigen, aber verkorksten Auflösung übergeht, die sowohl Melancholie als auch Freude hervorruft; ein Gefühl, dass alle Dinge gleichzeitig wahr sein können. Keiner der 14 Tracks ist länger als drei Minuten, aber sie erzählen Geschichten, die ein ganzes Leben umfassen. Der Tod schwebt durch das Album, sei es als Erinnerung oder als Bedrohung. Alles fühlt sich prekär an. Die Art und Weise, wie diese Songs aufgebaut sind, hat etwas Zerbrechliches: die Art und Weise, wie die Begräbnisorgel neben dem Morphium in ,Looking Out Your Window" erklingt, die verheerende Einfachheit von ,Frog" mit seinem verlangsamten Keyboard und dem nackten Refrain: ,Bitte vergib mir meine Fehler." Beauty Land fühlt sich manchmal unmöglich einsam an. Umso mehr zählt es, wenn das nicht der Fall ist - wie zum Beispiel, wenn Mendez gegen Ende von ,So Mean" im Duett mit seiner Frau und Bandkollegin Veronica singt und es sich wie ein lang ersehntes Wiedersehen anfühlt, wie ein flüchtiger Moment der Erlösung, wie eine vorübergehende Teilung der Meere.

The master of ambient soundscapes, intertwining authentic old school breakbeats with his inimitable style returns with a fresh album of choice cuts for the Spatial crew. A1 - Form of Defraction Opening the LP in his gloriously unique style, Aural Imbalance sets the tone with a powerfully ambient intro of padwork and delicately filtered breaks before dense, analogue old school breakbeats roar to life sending the track skyward. The sublime 808 bassline simmers beneath an ever-evolving soundscape of twinkling melodies and strings, the very essence of serenity captured in just under 7 minutes of audio bliss. A2 - Discreet Function Enveloping the listener with a warm blanket of silky ambience, Discreet Function soon jolts to life with a crunchy breakbeat that counteracts yet compliments the pads and myriad of delicious micro melodies so well, you wonder how it’s possible to take such extremes and mix them down so expertly that our ears accept it as one. After a relatively brief breakdown the track rolls out before the breaks are snatched away at the death - capping off a quite unique composition. B1 - Softlight Light cymbals and delicate textures introduce us to Softlight, a track which sees Aural Imbalance guiding the listener through the clouds to a haven of gentle serenity where your troubles simply fade away, punctuated by a stunningly programmed and memorable Hot Pants break pattern, timid classic basslines and an overall plethora of sun-baked energy - perfect for the headphones and the record box - as always. B2 - Airwave Immensely old school vibes are immediately present in Airwave, with analogue breaks and succinct female vocal samples that mingle with echoing melodies and synthwork to create a beautifully flowing and unique slice of atmospheric gold. Additional breaks are fused into the mix as the track progresses, elevating the piece to the heights we have come to expect from Aural Imbalance, yet never cease to amaze. C1 - Speed of Light Gentle cymbals and filtered breaks open Speed of Light, before a crisp barrage of amen goodness descends and dominates proceedings - just as a good amen should! Programmed to perfection with an immensely danceable rolling pattern, the amens lead us through a sea of washing synths and delicate melodies, intertwining and frolicking in the mix, completing a charming and memorable piece. C2 - Fading Star Playful strings and a luscious 808 bassline play with sumptuous padwork in the intro to Fading Star, a track which sees Aural Imbalance capture the essence of 90’s jungle and it’s symbiotic relationship with atmospheric drum & bass perfectly. Developing throughout with an array of unassuming effects and a quietly moving vibe, Fading Star is the perfect addition to sets spanning the entire history of this music. D1 - Drifting Under Bright Skies Aural Imbalance resurrects the excellent break last featured on Spatial in his sublime track Surface Area, this time chopped and sliced to a different vibe, with kickdrums at the forefront and that fantastically crunchy snare deployed more sparingly. Shimmering padwork and light melodies dance across the mix throughout to leave us with a refreshingly unique and memorable track you won’t be able to get enough of. D2 - Violet Completing this fine LP of old school ambient breakbeat mastery, Aural Imbalance deploys Violet to see us out - a climactic-feeling romp that opens with quiet intent before launching the listener through cheery melodic tones and bustling soundscapes, sprinkled liberally with airy pads and fluttering micro melodies that zip and whoosh around thick analogue breakbeats. A fitting end to a thoroughly enjoyable album. Words by Chris Hayes (Spatial / Red Mist) credits

2026 Repress

In the beginning of the 1970’s, Guinea-Bissau was a country broken up into many ethnic groups and at the heart of a war for independence. By reviving traditional musical genres as Gumbé and singing in guinean Kriol, José Carlos Schwarz & Cobiana Djazz established an immediate affective bond with their audiences. Through its music and politically engaged spirit of the lyrics, the band played a significant role in shaping the social and political consciousness of the masses. As well as influencing local bands like Super Mama Djombo and giving back a deep sense of cultural identity to bissau-guineans.

The explosive birth of Cobiana Djazz brought about other kinds of detonation. Schwarz became involved in urban guerilla activities which resulted in several bombings in the centre of Bissau, leading to his imprisonment and torture. He remained in lockup for a total period of about 2 years, between 1972 and 1974.

The process of decolonisation, in the wake of the Portuguese revolution of 25 April 1974, led to the recognition, during the same year, of the sovereign nation of Guinea-Bissau.

Schwarz, a key figure in the fight for independence, played an important part in the transition to the democratic regime, profiting from his popularity as an artist. Soon, his criticism (underscoring opportunism and irresponsibility in high places) became a thorn in the side of the political elite. Uneasy with the disquieting effects of his work, government officials effectively separated the author from the masses by assigning him to the embassy in Havana.

José Carlos Schwarz met a tragic and untimely death at the age of 27, when his plane crashed on arrival at Cuba's José Martí International Airport, on May 271th 1977.

Hailed by african giants like Orchestra Baobab, Letta Mbulu or Miriam Makeba (with whom he recorded his first and only solo album), “Zé Carlos” and his poetry won a lasting position in the annals of Guinea-Bissau. However, this collection of songs remains relatively unknown outside the country and its diasporas.

We are proud to offer, in close collaboration with the Schwarz family, this first official reissue on vinyl. Remastered and pressed on heavyweight vinyl.

On her new album, Neon Summer Skin, Bedouine, the project of Azniv Korkejian, explores this feeling of safety long before one can fully understand the concept. Written with vivid, honest and intimate imagery after visiting her family in Saudi Arabia, it tells the story of family and upbringing, and mourns the end of her childhood. There is a singular resonance and newfound heft in this music previously unheard in Bedouine’s discography. Bedouine is known for making gentle, lilting folk songs that build fingerpicked guitar melodies into tsunamis of emotion. Her masterful songwriting and timeless melodies have earned her praise from publications like Pitchfork, who said her music “boasts a surreal calm and lived in glow,” and Rolling Stone, who lauded her “humble folk-pop brilliance,” plus an NPR Tiny Desk Concert, and tours with the likes of Fleet Foxes and Father John Misty. While working on the record, Bedouine realized the pain of displacement, of searching for home, has been a throughline in her family history. Other relatives have also experienced this sense of loss as they’ve migrated between Armenia, Syria, and Saudi Arabia. “I felt so frustrated about the places that I'm from becoming war torn or difficult to return to,” she says. “My family has been split apart time and time again.” This realization prompted her to document and honor her parents’ lives and stories. On a family trip to Houston, Bedouine recorded a conversation with her mother and sampled the introduction to “Canopies.” The song tells the story of her mother’s time in an orphanage. She was put there by her own mother as a way of escaping her abusive father. Nearby, her mother would sing about feeling her daughter’s essence in the air: "The waves of Beirut's beaches flutter, and how sweetly they blow my darling's air." It’s a story of profound yearning told with the quiet profundity of a flower blossoming.

After a relatively quiet year - by his standards at least - Glyne Braithwaite aka Risk Assessment is back with three more simultaneously released EPs. This one, number eight in the long-serving producer's ongoing series, boasts four more happy-go-lucky, party-friendly workouts. Check first 'Love Music Part 1', where disco samples from a cover of an O'Jays classic (including the familiar piano refrain) rise above a typically thickset house groove, before admiring the more urgent, excitable and musically detailed disco-house rush of 'Son of a Gun'. The fun continues on the flipside, where 'Want You Back (Kitchen Disco mix)' - all shuffling beats, lovely Clavinet licks and female vocalisations - is joined by the similarly celebratory 70s soul-goes-disco-house goodness of 'Welcome (Remix)'.

After nearly three years, *Can You Feel It Vol. 5* marks the release of a brand-new installment in Tramp Records' Disco/Boogie series. Like all four previous volumes, Vol. 5 offers a colorful mix of songs from the late 1970s and early 1980s. From extremely rare tracks to easily accessible ones and even unreleased material-this release has everything to make a collector's heart race. Once again, these songs will get you on your feet, inspire you to dance, and transport you back to the glittering world of the late 1970s. CAN YOU FEEL IT?

Let's take a closer look at a few of the songs on this album. Kicking things off are Bill Deal & The Rhondels, a band that needs no introduction. The same cannot be said for Tom Balistreri and Ryjel. The latter presents "Heart's On Fire," a seven-minute journey into previously unreleased deep disco. "Old Mother Winter" may not be a typical disco song, but it's undoubtedly a fantastic composition. The Stone Mill Band is relatively unknown even among hardcore collectors. The most recent track on this album is by singer Tory Wynter who already contributed a song for Can You Feel It Vol.4. "Oh Let The Rain Fall Down" was released in 1988.

The second record opens with "Been Thinkin' About You" by Avatar-an amazing song and probably the rarest gem on this album, in stark contrast to Piz-Zazz - a record you can find easily for a few dollars. Saxophonist King Perkoff was born in Santa Monica, California, but now resides in Berlin, and with "When You Live In Marin" he delivers a real disco-funk banger! Glenn "Shake & Bake" Doughty played professional football as a wide receiver for the Baltimore Colts from 1972 to 1979. Together with some of his teammates, he founded the Shake & Bake Band in 1975. We probably aren't telling Tramp fans anything new here. Anyway, a little over two years ago, we reissued the first of their two extremely hard to find 45-RPM singles ("Shake & Bake Pt. 1 & 2"). We also included a DJ-friendly edit of the song on "Movements Vol. 12." It is a must for us here at Tramp that we also reissue their second single, "Starflight Disco Pt. 1 & 2," soon!

So there you have it, 13 obscure but brilliant MODERN SOUL, DISCO and BOOGIE tunes of which all have not been compiled anywhere else. We sincerely hope you enjoy our guided tour back into the late 1970s and 80s Disco era.

For this edition, the label meets this duo of producers, that has been created by the musical synergy between Zonker and Daniel Gorziza, who go by the name – “SameSame”. This disc has been titled “Unconditional Society” and has been crafted with a mission to be brought to the worldwide dancefloors and to be foreseen by the adepts of the sound it conveys. The A side is opening with a deep trancey burner “Suspect Zero”, with time passing this side of the record is morphing into the prime-time speaker ripping sound of “Rip the Jacker. The B side will see more mellow feel to it and sometimes even could be said that the vibe turns relatively melancholic by the time the record reaches its natural conclusion. The words that have been shared do not translate the profoundness of the subject that the artists have carried through, but then again, sometimes them letters have to be present even if they are kept to the slightest. The frequencies communicate much superior to the words and by now you can stop reading this and immerse yourself into the sound.

In their third collaboration, the shared project between Merzbow and Pedro Vian shifts towards less confrontational and more introspective terrain. Bardo Thödol, released as an LP, draws on The Tibetan Book of the Dead not so much as an explicit narrative framework but as a conceptual resonance: a passage, a suspension between states.
Where Inside Richard Serra Sculptures and The Wheel of Mani foregrounded a relatively defined dialectic between Vian’s environmental restraint and Masami Akita’s impulsive, textural excess, that friction here appears to dissolve in favour of a more homogeneous mass. Noise, far from its most abrasive edge, is reconfigured as a continuous field — dense yet permeable.
Within this flow, melodic structures emerge without assertion, surfacing almost incidentally as by-products of the accumulation of frequencies itself. The result is less a reconciliation of languages than a blurring of their boundaries: a space in which intensity is internalised and the radical gesture folds into a more sustained, contemplative mode of listening.

Criso, a relatively new name to Dubstep, not only in the UK but also in America, delivers the "Make Some Noise" EP on Mala's DEEP MEDi.

"It wasn't until 2021 that I started getting into dubstep, actual dubstep."

Bootlegs, EPs and mixes gained early attention from the likes of Skream, Mala, Hamdi and live shows supporting Of The Trees, EPROM, Truth and Ternion Sound + more soon followed.

Criso's 1st UK release features verses from Pav4n and Rakjay on "Strictly Business", originally a Strategy bootleg, as well a co-production with the mysterious Crastinate on "Dialed".

Criso will be making some noise in the UK scene with this 4 track EP

After following Luke Blair's work for approaching two decades from his 2007 debut as Lukid on Actress' Werk Discs, we're humbled to present a new album on Death Is Not The End. Following relatively hot on the heels of 2023's Tilt (his first in 11 years, not counting his work with Jackson Bailey under the Rezzett guise) Underloop brings Blair's innate knack for building loops and sound structures further to the surface, while allowing his ear for emotional expression to be dialled up a notch. Those fortunate enough to be familiar with Lukid's work as a DJ will be aware of how distinct his ability is to seamlessly disappear into loop-based abstraction and back again seemingly without blinking, and often Underloop feels much like a collection of the sludgey interludes and foggy sketches that underpin his sets. Blending apparently ramshackle melodies and textures and pulling them together into an undeniable whole, Blair's tendency for pairing the simple and the indescribable with an understated vigour is fully on show here.

Written and produced by Luke Blair. Mastered by Giuseppe Ielasi.

Next up on Fluid Electronics, Irish producer Derek Carr joins up the fold with his “Harvest Time EP”, featuring Dutch techno staple Deniro on remix duty. Carr’s style, stretching from low-slung techno to squelchy electro, via breaks and chiselled IDM, teleports us to a zero-G headspace where shape and substance merge into an effervescing and highly stimulating maelstrom of sound. The very idea of self-reflexive dance music.

Fusing sino-flavoured harmonics with a straight out hi-tech edge, the lead single “Harvest Time” is the perfect balance between body and soul music, as it elegantly bridges the gap between that sense of weightless vaporousness and a more tactile punch. Pace itself feels relative. In the hands of Deniro, the track hatches into an eerily haunting piece of cinematic electronics, stressing further on the contrasting batucada-esque rhythms and slo-scudding synth tapestry.

The Italo-indebted “Dust Yourself Down” takes Moroder on a ride by the seashore, all arps and heavily processed keys blazing. Dipped in acid, “Rhea” pulls out a cascade of pretty aggro snares, prismatic bleeps, bloops, and a healthy dose of post-trancey waves crashing against a glassy sound design.

Four years on from their landmark Grassroots, visionary half-time heavyweights The Untouchables return with their third album, Lost Knowledge. The duo of Kate McGill and Ajit 'Nitrox' Steyns have carved out a space in modern D&B all their own, building on a legacy that reaches back to the late 00s to keep pushing into unexplored terrain with an assured and deadly line in rhythmic intrigue and atmospheric immersion.

Lost Knowledge launches into action instantly with the high-pressure drum science and dubby splashes of 'Drunken Bells', capturing the loopy techno propulsion and rolling intensity that drives so much of the output on Samurai Music. Where The Untouchables excel is in finding variety and nuance in their relatively forbidding, pared down sound. The heads-down groove of 'Mafia Town' owes as much to dembow and dancehall as D&B, while 'Lost Knowledge' spirals out into psychoactive flurries of synth strafes and organic percussion slathered in tight-locked delay trails. There's no light relief from strident hooks or riffs, just a pure, unshakeable commitment to the power of the beat and deeply designed layers of sound shaping out the space around.

'Busy Bones' makes space for carefully deployed hints of pad tone while the snares snap out of the mix with a sharp set of teeth. 'Four Eared Demon' baits the gabber crowd with its rapid-fire 4/4 hats atop seasick creaks across the midrange, keeping subtlety and patience in the lower frequencies to maintain the signature elegance readily associated with The Untouchables. 'Phase Correlation' teases an artfully unhinged ripple of synth that stands out amongst the murky murmurs filling out the middle distance, but it's still exercised with brutal precision.

Nothing happens by accident or feels out of place - McGill and Steyns are in total control, and they demonstrate incredible range and inventive approaches within their focused style. The accent of the grooves shifts, and individual sounds carry all kinds of artefacts, yet everything gets folded into the exacting Untouchables sound with a liberal dubwise sensibility. Brimming with inspiration and immaculately produced, on Lost Knowledge their one-of-a-kind sound is stronger than ever.

An’archives is proud to present Hanabi, a compilation of material from legendary Japanese folk singer, actor and writer, Kazuki Tomokawa. Hanabi draws from Tomokawa’s three most recent albums, Vengeance Bourbon (2014), Gleaming Crayon (2016) and Going To Buy Squid (2024), all released in Japan only on the Modest Launch imprint. Pulling together highlights from these three extraordinary albums, Hanabi collects ten songs of shattering intensity, with Tomokawa performing at an ecstatic peak, a mere six decades into his musical career.

Tomokawa’s life story is one of change, risk and dedication. He appeared on the Japanese folk music circuit in the early 1970s, performing at such significant events as the legendary 1971 Folk Music Jamboree. Over the second half of the decade, he released five stunning albums that cemented his reputation as an expansive, lyrical singer-songwriter and performer whose music jack-knifed between pensive melancholy and righteous fury. His recorded output slowed in the 1980s as he became immersed in theatre, acting and painting, but his connection with the sainted Japanese label P.S.F. led to a prodigious burst of albums across the 1990s and 2000s.

Some of those albums had Tomokawa playing alongside free jazz musicians, such as his long-standing collaborator Toshiaki Ishizuka (Brain Police, Vajra, Cinorama), and late double-bass improviser Motoharu Yoshizawa. Some of that spirit can be found amidst the songs on Hanabi, leavened by a more romantic sensibility on a song like “Night Play”, where Tomokawa’s impassioned vocals and guitar swim and bob amongst a drifting string arrangement. The ferocity of “To The Dead Man” is reinforced by a guest appearance, on saxophone, by upcoming free jazz player Harutaka Mochizuki; the two spar with each other while Hiromichi Sakamoto’s cello and electronics swarm under the surface.

For those who’ve missed the three albums that Tomokawa has released across the past fifteen years – understandably so, given the relative impossibility of finding them outside of Japan – Hanabi is a welcome re-introduction to one of Japan’s most significant, poetic and quixotic folk singers and songwriters. As Michel Henritzi notes in his typically perceptive liner notes, capturing the oneiric and unique spirit of Tomokawa’s song, he is nothing less than “a poet who cries out, opening the darkness and shadows with his song, throwing handfuls of ashes from lives that have fled into the wind, to us, his fellow human beings.”

At daybreak, as sunlight travels through the atmosphere and begins to reach Earth’s surface, daylight gradually emerges. This marks the transition from night to the beginning of a brand-new day. As the temperature rises—especially after clear, calm nights—relative humidity decreases, and mist, formed of tiny suspended droplets, begins to evaporate. Warm air rises and cool air sinks, creating an interplay of temperature, humidity and sunlight that gives way to a soft, diffuse glow. The sea breeze slowly clears the morning mist, setting life in motion once again as the world wakes up.

‘Daybreak’ is Sven Wunder’s fifth full-length album, seamlessly continuing the progression of his musical oeuvre. It takes the listener on a vivid maritime expedition, beginning the moment the first rays of light break the darkness of the night and embarking on a lush journey through the early hours of the day and far beyond, until the light slowly fades and night falls once again. True to Wunder’s now-distinctive artistry, ‘Daybreak’ is marked by elaborately crafted compositions and elegant pop-jazz arrangements for flute, percussion, brass and strings—supported by a decisive rhythm section, all of which add depth and build on his body of work, continuing to unfold his creative path.

Birchy is a relative newcomer to the Kniteforce label, although his previous release (KF266) that played with the Terminator theme tune was a big seller. It's not overly surprising, as Birchy may be new to the label, and a new name to many old skool heads, but he is an experienced producer who has been around for decades, with releases spread far and wide...
This EP samples the classic news broadcast surrounding the famous Castle Morton event in the UK, and the whole EP is deeply old skool and classic in feel. Full on breakbeats, pianos and authentic rave sounds are the name of the game here, and Birchy creates a timless feel to all of it!

The Armenian electronic underground has been quietly brewing something visceral. After years navigating the labyrinth of electronic production from his Yerevan studio, Dave N.A. strips away the excess to reveal six raw, uncompromising cuts that pulse with quiet intensity. Not the manufactured urgency of algorithmic dance floors, but the honest tension of someone who’s spent years refining his craft while the scene evolved around him.

Following his debut ‘Altura EP’ on no•id, where collaborations with freq444 showcased his ability to merge Armenia’s electronic scene with Brussels’ underground pulse, Dave N.A. returns with ‘Echoes EP’ after the label’s necessary creative hibernation. This isn’t about comebacks or grand statements. It’s about persistence. About the kind of restless creativity that emerges when you’ve been grinding in relative obscurity, releasing on labels like Uppers and Downers, Typeless, and Elicit Records, slowly building a sound that refuses easy categorization.

The EP opens hard and unexpectedly with “BLINK,” delivering a throat-cutting and all-consuming bassline. “ECHOES” builds around atmospheric sounds and percussive elements, driven by a straightforward yet effective drum sequence. “SHADO” ventures into darker and faster territory with sparse drum programming and heavy sub-bass emphasis. Both “RUSH” and “ORB” unleash torrents of unrelenting breaks, each percussive hit landing with surgical precision as sub-bass currents pull everything forward into hypnotic repetition. “HUNTER” closes the journey, stalking into frame with predatory low-end and razor-sharp hi-hats slicing through dense atmospheric fog.

The no•id ship continues to chart its course through Brussels’ underground, prioritizing artists who value craft over hype. With Dave N.A.’s return, the label reinforces its commitment to electronic music that functions on multiple levels: cerebral yet visceral, local yet universal.

Next in the We’re Going Deep label series, he welcomes 4 tracks of completely fresh material from a relatively unknown Italian producer, Davide Tonini. Hailing from the much fabled Adriatic coastal party town of Rimini in Italy, Davide has been shaping and sculpting Electronic sounds for well over 3 decades now. Having first started releasing music under his ‘Wet Basement’ alias back in 2015, his sonic palette traverses IDM, Techno, Deep House, Acid and Ambient soundscapes.

Having spent decades honing his practice, he has both self-released his music and worked with the long standing Odrex Music in Berlin. And there’s something deeply irresistible about his output that screams class and quiet dedication. In his own words, in around 2005 he got into the world of Eurorack and a few years later, Serge Modular. Since then, he’s been totally hooked...

In more recent times, Davide has recorded and released 2 digital LPs worth of material for ‘Detroit Underground’ under his own name, so it seems fitting that We’re Going Deep are now hosting a debut 12” cut – offering up 4 cuts of trademark sumptuousness. Bringing together the best of influences that touch on the likes of Aril Brikha, David Alvarado, Deepchord, Convextion and Basic Channel, he weaves together their respective magic to a new whole point of inflection that is both of this world and the other. All tinged with a warmth and smile that could only originate in Mediterranean climes.

The aptly named ‘A-1’ kick starts the EP in fine fashion as shimmering chords cut through rays of floatingly filtered synthesis, all beautifully dubbed out to a steady rolling kick and neatly shuffled high-hats, with precision bass notes interjecting to add an additional layer of funk. With bliss set to maximum, this is nothing short of genius. Followed by ‘Bilateral’, Davide offers a touch more space and lets the bottom end lead, whilst neatly filtered chords flicker to and fro - seeping their way into your consciousness as the tight drum work brings you to groove mode.

On the reverse, ‘Drive’ burrows further into emotive depths as Davide bathes you in layers of dub and twinkling melodics, all passed through a hazy film of goodness. Rounding off the EP with the deft touch of Distanze Logaritmiche – a soft roller that steeps you in undulating chords and cavernous effects. This is high class music that deserves patience and your attention to reap the ultimate rewards from a true master of his craft.

Finetune — Impulse LP

Singeley Wax presents the third installment of the Russian Series — Finetune's "Impulse" album by electronic musician and media artist Mikhail Komisarov (Michael Dop), co-founder of Slowdance Records.

__About the Music

Finetune is a project through which Mikhail explores and experiments with a sonic palette encompassing ambient, electronic music with elements of jazz and neoclassical. His medium combines modular synthesis, acoustic instruments, field recordings, and deliberately crafted effect chains. He creates distinctive compositions that guide listeners through various emotional states.

The "Impulse" album brings together ten tracks of experimental electronica: hypnotic synthesizer sequences, polyrhythmic structures, cinematic textures, and subtly shifting modulations blend into sonic landscapes where time becomes relative.

__Art Concept

The album's visual identity is based on the multidisciplinary neuro-performance "Impulse," created at the intersection of art and neurotechnology in collaboration with neurovisualization pioneers NeuroLab, digital art studio STAIN (working with algorithmic abstraction since 2009), and physical theatre project "Dancing in the Dark" — Russia's only company featuring visually impaired artists.

During the performance, the brain activity of visually impaired dancers was captured in real-time via neurointerface and transformed into generative graphics. This visual content, born from electrical impulses of consciousness in moments of musical perception, became the foundation for the album's artwork — both static and motion graphics.

It began with a cassette tape entitled 'Pleased To Meet You' gifted to us at Sessa's Fasching, Stockholm show by Yann Dardenne, the multi-tasking tour manager/sound engineer/producer/merch stall worker and co-owner of Seloki Records. On first listen, the selection of underground Brazilian artists from the Seloki's roster was superb, however, one song stopped us in our tracks. The hauntingly captivating ' GOSTO MEIO DOCE' by Nina Maia and Francisca Barreto, gave us a taste of Nina's ethereal, addictive voice and we knew we needed to hear more. Born in Minas Gerais but now based in Sao Paulo, the 22-year-old has already packed a lot into a relatively short space of time. The singer, songwriter, instrumentalist, and producer, has already collaborated on the soundtracks for six Brazilian feature films, including a track with the vocalists Maria Gadu, Iza, and Liniker. But things enter a new exciting era with this, her remarkable debut album entitled 'INTEIRA', which translates to English as 'whole'.

As much inspired by Billie Eilish and Rosalia, as Milton Nascimento and Toninho Horta and not sounding like other records coming out of Brazil, 'INTEIRA' is unique. Though rich in its Brazilian heritage, inspired by samba cancao, MPB, and the Clube da Esquina movement, it also channels influence from bands such as Portishead and Massive Attack, mixed with jazz, contemporary leftfield and electronic pop artists. Musically, it is not easily pigeonholed, with beautiful, well-crafted songs, sophisticated arrangements, eloquent vocals and intimate lyrics. Each track reflects different moments and stories from Nina's youth but with dialogues, feelings, and questions that span generations and resonate with all. This ambitious debut album is Nina's vision and sound, expressing herself without constraints and making music with her friends. Featuring a lineup of Thalin (drums), Valentim Frateschi (bass), Francisca Barreto (cello and vocals), Thales Hashiguti (viola and violin), Yann Dardenne (acoustic guitar and co-producer) and Nina on piano, Rhodes, guitar and production. The album led to a nomination in Paulista Association of Art Critics (APCA) award's 'Breakthrough Artist' category, who also listed 'INTEIRA' as one of the 50 best albums of 2024.

It also received support from Bandcamp Weekly and Jamz Supernova on BBC 6 Music. Released digitally by Seloki Records in Brazil in 2024, Mr Bongo in partnership with Seloki Records now present this new, deluxe worldwide edition that includes four additional songs. These comprise the brand-new exquisite 'MANHA', as well as an original twist on Vinicius de Moraes' classic 'Serenata Do Adeus'. Elsewhere you'll find a live recording showcasing Nina's remarkable energy on stage courtesy of 'DE DENTRO' and 'GOSTO MEIO DOCE' with the amazing musician/vocalist Francisca Barreto, where our whole story began. Here at Mr Bongo, we are honoured to release music by such a remarkable new talent - one whose musical trajectory is most certainly about to soar.

Archeo Recordings is a record label. Old, lost, obscure and forgotten gems and a boundless focus on the new Balearic scene for a wider audience of collectors, DJs and music lovers. All releases are limited edition. This release is the second in a series of EPs on which the label's favourite contemporaries pay homage to past masters for ‘10 Year Anniversary’. 4 new Remixes: limited edition on black vinyl (AR032). With the first volume still singing out both in our ears and on our turntables, Archeo Recordings lifts the veil on the second chapter of its celebratory EP series - another shimmering tribute to the timeless and the timely. Once again, the torch is passed to a new ensemble of sonic sculptors, who delve into the archives and emerge with reimagined treasures, equal parts reverence and reinvention. Philosopher and musical polymath Riccardo Giagni made his name as a cultural curator for RAI TV and radio, before lending his expertise in ethnomusicology as a studio musician and songwriter. Originally released to little fanfare and long overlooked until its Archeo reissue in 2019, his 1988 debut LP Kaunis Maa is a masterwork of Balearic ethno-jazz - a guitar-led journey through imagined geographies and dreamt-up dialects. Its closing track, Passeggera, pairs Mediterranean nylon with synth halos, sampled percussion, and the unplaceable vocals of Matia Bazar’s Antonella Ruggiero, singing not in language but in emotion. Now, Claremont 56’s Paul Murphy aka Mudd lends his gentle hand to the piece, reworking its al fresco fusion into something even more languorous. Highlighting the South American sway hinted at in the original, Mudd introduces jazzy synth flourishes, airy percussion, and occasional organ bass, casting the piece anew as a hammock-swung hymn - less a remix than a relocation, from the hills of Lazio to the lush gardens of Mudd’s imagination.

Archeo Recordings is a record label. Old, lost, obscure and forgotten gems and a boundless focus on the new Balearic scene for a wider audience of collectors, DJs and music lovers. All releases are limited edition. This release is the second in a series of EPs on which the label's favourite contemporaries pay homage to past masters for ‘10 Year Anniversary’. 4 new Remixes: limited edition on black vinyl (AR032). With the first volume still singing out both in our ears and on our turntables, Archeo Recordings lifts the veil on the second chapter of its celebratory EP series - another shimmering tribute to the timeless and the timely. Once again, the torch is passed to a new ensemble of sonic sculptors, who delve into the archives and emerge with reimagined treasures, equal parts reverence and reinvention. Philosopher and musical polymath Riccardo Giagni made his name as a cultural curator for RAI TV and radio, before lending his expertise in ethnomusicology as a studio musician and songwriter. Originally released to little fanfare and long overlooked until its Archeo reissue in 2019, his 1988 debut LP Kaunis Maa is a masterwork of Balearic ethno-jazz - a guitar-led journey through imagined geographies and dreamt-up dialects. Its closing track, Passeggera, pairs Mediterranean nylon with synth halos, sampled percussion, and the unplaceable vocals of Matia Bazar’s Antonella Ruggiero, singing not in language but in emotion. Now, Claremont 56’s Paul Murphy aka Mudd lends his gentle hand to the piece, reworking its al fresco fusion into something even more languorous. Highlighting the South American sway hinted at in the original, Mudd introduces jazzy synth flourishes, airy percussion, and occasional organ bass, casting the piece anew as a hammock-swung hymn - less a remix than a relocation, from the hills of Lazio to the lush gardens of Mudd’s imagination.

Slowly yet firmly blooming into focus, An Unfinished Rose is the new album from Australian duo Troth.

This is their first since relocating to Hobart, Tasmania and their introduction to Night School Records. With a detailed web of past releases on labels A Colourful Storm, Mammas Mysteriska Jukebox, Knekelhuis and Bowman’s own Altered States Tapes imprint, An Unfinished Rose is the group’s most realised and composed work thus far. While still drawing on the improvisatory and DIY practices that informed Troth’s beginnings, it points to a new incarnation of the duo’s music; an intentional language emerging from the fog of obfuscation and mists of uncertainty.

Over these 9 meditations on change, acceptance, renewal and rebirth, An Unfinished Rose finds Amelia Besseny and Cooper Bowman peeling back some of the roughhewn architecture that defined their earlier releases to reveal a masterful - if auto-didactic - use of space and melody. Composition and improvisation compliment and feed each other throughout, with locked-loop earworms providing the springboard for lines of clarinet or synth melody, and the negative space between chord clusters giving ample room for Besseny’s most confident vocal performances to date. Shaving off a little of the defining dissonance and tape compression of old reveals Troth’s music in radiant daylight, humbly accepting of its place in the world while yearning for better, more sympathetic modes of living. Leaning more heavily on acoustic instrumentation and post-production processes than previously, the result is a transcendent body of work infused with an almost zen-like presence.

Troth’s music exists in the border between forming and becoming, its goal to project a kind of preternatural beauty, leaving interpretation open to the listener. Field recordings, happenstance and improvisation may provide seeds for the duo’s compositions, particularly on Side A, but there is a deft touch of songcraft on show. Loam Loom Leaf Litter opens An Unfinished Rose, directly referencing natural cycles of life, death and regeneration, before the blissed-out drum machine groove of Gold Plum continues a discussion concerning the totality of nature and one’s place in it. Besseny’s vocal, swelling like an ocean churn in duet with itself is adorned with synthesised harp and a revolving synth pattern, conjuring plumes of medieval smoke. Thistle’s rounded, bass-heavy drums, nodding to the vast echo of dub, is a relatively new terrain for Troth. It’s propulsive and thumping, pulsing with a meaning and symbolism consistent with Troth’s past work, referenced overtly in Bessey’s lyrics - “Say it too much and it loses its meaning…”. Similarly, the sprawling modern-classical suite, Tides Reflected In Her Eyes, is intentional in its lyrical themes while traversing new ground, revelling in layers of bowed cello and vocal intonations. Side B’s 4 tracks feel like Troth’s most thoroughly accessible and affecting music to date. Leaning into their own detoured version of Synth Pop, Cocoonist explores downtempoisms via a crunchy low frequency synth, and dream-like, fuzzy trip-hop modalities, not unlike Besseny and Bowman’s other group, Th Blisks. Following on, Myrtle Mystes is an open and searching DIY pop song, forged out of drum machine, bass guitar and cello. (An) Unfinished Rose’s title-track is a clear stand-out, built upon an evocative rhythm sample that appears to change emotional resonance with each undulating repetition. Its cascading waves of affect, interjected with a subtle breeze of synth, bowed instrumentation and soaring, densely-layered vocals.

An Unfinished Rose is enveloping, warm, forgiving. Difficult, yet retaining a unique beauty. Troth’s music aims to celebrate the duo;s shared experiences of being in the world, despite the complexity often surrounding us all. Theirs is a message of hope and perseverance, learning and patience.

Repress!

Sophomore release from the acclaimed trio of Inspectah Deck (Wu-Tang Clan) And 7L & Esoteric. Features MF Doom, GZA, Method Man, Large Professor, Juju Of The Beatnuts, Ra The Rugged Man, & Meyhem Lauren. Packaged in a 70+ Page Hardcover CD Casebook / 2LP on Clear vinyl with Lyrics & Cover Art From L'amour Supreme (Mishka NYC). Includes a comic, written by Esoteric with artwork by Gilberto Aguirre Mata (El Ultimo Codice) & L'Amour Supreme. CZARFACE - Wu-Tang founding MC Inspectah Deck and veteran Boston duo 7L & Esoteric - isn't concerned with the glitz and the B.S. that modern consumer culture is pushing. And neither are the group's fans. In 2013, the trio appeared relatively unassumingly with their self-titled debut, which was chiefly produced by DJ 7L and included guests ranging from Ghostface Killah and Cappadonna to Vinnie Paz, Action Bronson and Roc Marciano. The soon-to-be acclaimed group found out quickly that there was a groundswell of hip-hop fanatics thirsting for the lunchpail, lyrics-above-all-else rap they fell in love with in the '90s. Several pressings of the album on CD, 2-LP and even cassette later, they are back and ready to up the ante. This time around the group is the same, but it's fair to say that all three men have stepped up their game. We knew how we felt about the last album, but weren't sure how it would be received by listeners,' explains MC Esoteric. But people really responded to it, even more than we had hoped. That gave us the confidence to really spread our wings and let loose on this one. The chemistry is even tighter this time around. We know exactly what lanes we are cruising in and what weight class we are fighting in for Round 2.' Inspectah Deck adds, Czarface is like the Danger Room for the X-Men, I can use all my weapons on there. When I'm in Wu-Tang, I have to come a certain way because we have a certain style of fan, when I'm here doing the Czarface projects, it allows me to actually be an MC, it allows me to actually just spit...I love that. I love when i can just spit freely and just be an MC.' The fighting analogy - whether drawn from pugilism or '80s wrestling, both which figure into Every Hero Needs A Villain - is an apt one, considering the unrelenting lyrical attacks that Deck and Esoteric unleash on track after track, each trying to one-up the previous verse. Best of all, it is friendly camaraderie, based around a loose theme of renegade mutant MC talents running wild. DJ 7L explains, All three of us are influenced by comics, sci-fi movies, TV, wrestling. Czarface encompasses all of that, and it helps with the visuals as well.' On the production side, 7L shows yet again - as he did with the group's debut - that he remains a formidable yet underappreciated musical force, constantly providing hard, funky and alternatingly ominous backdrops for the assembled MCs to use as lyrical luge paths. If that wasn't enough, it's all iced with a ridiculously intricate and beefy 70-plus page, hardcover CD casebook with lyrics and extensive artwork by Gilberto Aguirre Mata (El Ultimo Codice) and L'amour Supreme, and with Death & Abduction,' a comic written by Esoteric, and an explosive, comic-book-inspired cover by L'amour Supreme (Mishka NYC).

01. Don The Armor
02. Czartacus
03. Lumberjack Match
04. Nightcrawler (Feat. Method Man)
05. World Premier (Feat. Large Professor)
06. The Great (Czar Guitar)
07. Red Alert
08. Junkyard Dogs (Feat. Juju Of The Beatnuts)
09. Sgt. Slaughter
10. When Gods Go Mad (Feat. Gza)
11. Ka-Bang! (Feat. Mf Doom)
12. Deadly Class (Feat. Meyhem Lauren)
13. Escape From Czarkham Asylum
14. Sinister
15. Good Villains Go Last (Feat. Ra The Rugged Man)

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of the best crate diggers aroundto curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both hisown and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything havingto sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

We kick off our Prozpektiva series for the first time this year with relative newcomer Ocean T. Co-founder and manager of the Laconica label this talented DJ & Producer from Lviv has 3 releases to his name which has seen good support from some top selectors. This EP features perfect examples of contemporary house music with lush pads, banging beats and some real deal Plastic City vibes.

In this electrifying 2024, Flexi is still spinning, louder and prouder, as it marks 40 years of igniting dancefloors and fueling underground happiness. From its humble beginnings as a haven for vinyl enthusiasts to a cultural stronghold amidst the turbulent waves of the music industry, Flexi has become a name synonymous with passion, resilience, and the relentless pursuit of quality sound. To honor this milestone, Flexi’s indie label, Flexi Cuts, is dropping a second, limited-edition compilation. Aptly named "Musica Solida," this collection is spread across three or possibly four lush 12-inch samplers, each showcasing a handpicked selection of tracks from Flexi's cherished circle of artists and producers. This release is more than just a celebration; it’s a declaration—a call to arms to keep the spirit of the scene alive and thriving in Italy and beyond, against all odds.

"Musica Solida #2" doesn't just hold tracks—it’s got stories, moments, and grooves that demand movement. Each cut is a slice of that raw, unpolished energy that Flexi has championed for four decades.

Featured Artists on Musica Solida #2

Minimono: The powerhouse duo of Fabio Della Torre (founder of Bosconi Records) and Ennio Colaci take us on a hypnotic journey with their floor-filling "Before Morning." It’s the kind of track that keeps the dancefloor alive until the break of dawn.

DJ Rou: Going minimal yet impactful, DJ Rou delivers "Elastic Body," a dancefloor-ready cut that blends a stripped-back groove with robotic vocals—a futuristic twist that keeps things unpredictable.

Relative: Flexi’s proud owner kicks things off with an electro track that was conceived, birthed, and brought to life in a single whirlwind afternoon—an anthem for those who live for the moment.

Delphi: One half of the renowned Tiger & Woods, Delphi isn’t afraid to dive deep with a heavy-hitting house track, loaded with acid stabs and thick, pulsating basslines. A track that’s both a nod to the past and a push towards the future.

The record will be released in about 200 vinyl copies no more.

Packaged in the classic discobag 2- holes, with a distinctive letterpress print in a beautiful red cover.

Jamwax is thrilled to announce the reissue of the iconic 45 RPM single “The Man Who Sold The World” by the Wally Brothers, originally released in 1974 on the Explosion label, a subsidiary of Trojan Records. This deep roots reggae track stands out with its unique orchestral strings, delivering a soulful and distinctive interpretation of David Bowie’s legendary song. Some even argue that this version surpasses Bowie’s original in coolness and creativity.

Produced by Desmond Bryan and Webster Shrowder, the Wally Brothers, better known as the renowned reggae band The Cimarons, brought their signature style to this remarkable track. Featuring Bobby Davis on vocal as confirmed by Locksley Gichie of The Cimarons, this version bridges Jamaican roots music with international influences.

At the time of its release in 1974, The Man Who Sold The World was relatively unknown to the general public, making this reggae adaptation a daring and unconventional choice. Decades later, Kurt Cobain’s unforgettable performance of the song during Nirvana’s MTV Unplugged in New York introduced it to a new audience, transforming Bowie’s original and its various covers, including this reggae rendition, into a cornerstone of music history.

Originally released in 1974
Licensed courtesy of BMG Rights Management (UK) Ltd.

DLR drops his first album since starting Sofa Sound Bristol - ‘Money Till I Got None’.

The album is a tongue in cheek reflection on modern life, society, politics and of course MONEY. The never ending thirst and need for it; the stress and freedom it can bring; its power, its illusion and all its contradictions.

Drawing on life experiences from a relatively privileged position, but also from travelling and meeting many types of people across the UK and worldwide, the album explores different perspectives about money from varying sections of society.

In the 7 years since his last album, DLR has been through highs and lows, played big shows, struggled, released classic tracks and spent, spent, spent, spent. 'Money Till I Got None' is his journey of frustration and realisation and his first fully solo album in terms of production, but with a stellar lineup of vocalists and musicians to bring invaluable perspectives and experiences to the project.

Established poets, story tellers and MCs such as Fox, Rider Shafique, Jakes and Gusto bring unique insight, upcomers Freddy B & Kathryn Brenna add crucial flavours and we welcome Hal (Snazzback) on keys plus additional musical direction, with further instrumentation from Abbey Neave & Joe Bradford.

Roberto Musci, born in Milan in 1956, studied guitar, music and electronic instruments. From 1974 to 1985 he traveled the world studying African, Indian, Arabic and Oriental music, recording ethnic music “in the field,” studying and collecting ethnic musical instruments from all over the world. His self-produced debut album, “The Loa of Music,” is a seminal work of staggering originality and extraordinary beauty in which field recordings, musique concrète, electronics, synthesis and instrumentation are interwoven, drawing on the countless musics from around the world that he has recorded. The subsequent “Water messages on desert sand,” composed with Giovanni Venosta, was nominated for a Grammy in the UK in 1987. In the 1980s and 1990s he broadcast ethnic and electronic-experimental music from Rai and Radio Popolare radio stations. He has also composed and played music for videos, commercials, dance, poetry, theater, composed soundtracks and accompanied silent films live. From 1980 to the present, he has played with many Italian and European musicians: Giovanni Venosta, Claudio Gabbiani, Walter Prati, Giorgio Magnanensi, Massimo Cavallaro, Massimo Mariani, Moni Ovadia, Roberto Zorzi, Chris Cutler, Jon Rose David Moss, Steve Piccolo, Elliott Sharp, Keith Tippett and the Third Ear Band.

The theme of travel, ethnicities and mysticism are a pivotal point in this new album of his as well, demonstrating once again how music needs absolutely no sharp lines of demarcation. The music is one.

It goes from the search for deep meanings in a time spent in a Hindu monastery (Ashram) listening to mantras and studying Buddhist philosophy (The Principle Of Things) to space explorations and human settlements on the Moon or Mars wondering how man will live and what he will bring to the new worlds imagining that Sufism, an Islamic mystical religion, will accompany him in the discovery of new worlds (Derviches On Mars). In Goodbye Monsters, harmony and peace are sought. Memories Of A Piano Player is a tribute to Keith Tippett, a great pianist (King Crimson , Centipede, Mujician) with whom he played in several concerts and with whom I spent evenings talking about music, food and Italian wine. Quantum State focuses on how quantum mechanics is creating a revolution in the way of thinking and dividing reality into infinite Parallel Worlds. Panthalassa is the vast ocean that surrounded Pangea and blends South American marimba music and traditional Chinese music. Burn The Shadows is a tribute to the fascinating Indonesian shadow theater, from the stories told and the atmosphere created during the long plays told in the sacred Indian texts of Ramayana or Mahabharata. Shadows are also more or less pleasant memories to which one is attached, and to burn them is still to move on with one's life.

Torajan Funeral Chant: The Toraja are a people living in Sulawesi (Indonesia) who have a special worship of the dead. Funerals are festivals that last several days, the corpses are protected by Tau-Tau (small dolls that watch over cemeteries), and over the years, they exhume the corpses of their relatives and keep them in their homes with them for a time to remember them.

The experimentation goes all the way to modern Artificial Intelligence that 'interrogated' to create something new by inserting conflicting inputs joins them together but nonsensically creating interesting insights; hence A.I. In Confusion. Pangea, named after the continent that contained all the land that emerged between 540 and 200 million years ago, in the Paleozoic and Mesozoic periods, imagined as inhabited by man without divisions created by borders, wars, religions or ethnic groups, is also a tribute to Steve Reich, one of the fathers and a great musician of minimal music. Prophecies, a reading of sacred texts and religious songs from evangelical sects in the United States filtered into granular synthesis with percussion music from South India, closes.

An obscure bit of Brazilian folk rock from the early 70s - recorded with an easygoing, laidback style that's really wonderful! The group's working mostly here in a blend of acoustic guitar and percussion  and some of the guitar work is done by Jorge Amiden of O Terco, using a strange three-necked guitar that looks mighty weird in the picture! This instrument seems to be played using a bow at times - creating a "guitar strings" sort of feel that gives the record a bit more class than you might expect from its relatively rootsy setting  and there's also some great subtle production on the vocals that compresses them slightly, in a way that links the record to some of the other South American rock of the time. Titles include "O Jogo", "Tributo Ao Sorriso", "Blusa Le Linho", "Voce Pole Ir Alem", "Do Zepo Adiante", "Transe Uma", "Cara Ou Coroa", and "Venha Pisar Na Grama".

DJ TEETH’s Tremendo Recordings proudly presents its debut release, Orion. Rescued from DAT archives by Belgian-based Holographic Hallucination, the release revitalises a selection of rare or previously unreleased tracks from the early/mid-90s golden era.

The title track never made it to release, with just 200 promo copies made in ‘94, reflecting an eye-watering price and a high want list count on Discogs. Now, after years of relative obscurity, this release aims to introduce this sought-after work to a fresh audience. Orion is a 14-minute-plus journey of nostalgic arpeggiated baselines, coupled with mirroring in and out synth lines and swirls, creating an almost ominous mood.

First on the B-side ups the pace with an unreleased dub version of Rumble, a head-down, arms-up, feet-stomping raver track which was released on their label Holographic in ‘93.

The EP closes with an unreleased track produced that same year, Horizon, whirling through your ears and leading to feelings of transcendence.

Even as a relatively new face on the scene, Boaksi, isn’t a stranger to longer format releases. The budding Zurich based producer made a splash with his first two releases “Under The Pavilion'' and "I Thought It Was Yesterday” which featured remixes from Soela, Louf and Al Zanders. Now he debuts on Seb Wildblood's all my thoughts label with a 4 track emotionally visceral EP titled Keep Movin’.

The title track, "Keep Movin'," takes a dynamic approach, layering creamy pads and impactful percussion with subtle dub techno influences that create a refreshingly deep groove, propelling a carefully positioned vocal sample into the forefront.

“Didn't I", leads with a beautiful, progressive melody that evokes a sense of yearning, and the ever-relatable Romanticism of the club. Delicately triggered chords dance off the wonderfully unpredictable drum patterns, while Boaksi's minimalist vocals add a touch of human emotion.

"Running Out Of Time" takes a more introspective turn, featuring distant, detuned textures that set the stage for a bed of soft, distorted pads. Stripped-back percussion allows the climbing arpeggios to take centre stage, building to a cleansing break that allows the atmosphereto expand before settling back into a warm, percussive groove.

The EP closes with "Wanna Be With You," another emotionally intelligent piece that showcases Boaksi's
prowess for crafting captivating soundscapes. Elemental drums and breathtaking, climatic chords provide the foundation for a beautifully free-forming synth arpeggio that flutters playfully around an unforgettable vocal hook.

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche


Kicking things off on our next 4-track vinyl sampler series is Toolroom's very own Martin Ikin who returns to the label with ‘Make U Sweat’! He was the Best-selling Tech House artist on Beatport in 2020 and 2021 and has over 1m monthly listeners across streaming platforms. Recent studio collabs have included Noizu and Joshwa and tours have seen him travel far and wide to the US, Brazil, Bali, Ibiza, Italy, Croatia and of course, his hometown of London. This new record is the follow up to 'Oscill8' that dropped in March 2023 and sits in a similar lane, in that it's pure, unadulterated club weaponry! Next up is Italian house legend Flashmob with the frenetic, high-energy club vibe of new cut ‘My Body’. Flashmob's sound, production and go-for-broke DJ sets have changed with the game, embracing the vitality of new house music rather than hankering after sentimental sunsets. His ethic and aesthetic move relentlessly forward, using the old and new to craft unique sonic alchemy from big festivals like Tomorrowland to the intimacy of small clubs on the international circuit. ‘My Body’ is typical of Flashmob's current sound, combining solid drums and some insane synths and fx, alongside an earworm vocal sample that results in yet another memorable club cut from an established master. Canadian Tech House maestro Nathan Barato debuts on Toolroom kicking off the B-side to the vinyl alongside studio partner, Matheo Velez with 'Weapon'. A record that has already caught the attention of the underground elite with Michael Bibi premiering the track at his first appearance back at DC-10 in Ibiza last Summer. Both artists are enjoying great success across key labels such as Viva, Circus, Snatch and RAWthentic. This is an addictive, bumpy club track

that packs a huge punch on the dance floor and actually features Nathan's very own 'Move me… Rock me' vocals! Rounding things off is UK DJ/producer duo, Jenn Getz & Alfie who are residents at Dubai's #1 nightlife destination, Soho Garden, where they warm up for legends such as Sonny Fodera, MK, Claptone, Solardo & Fisher on a weekly basis. In their relatively short 3 year career they have already released on Solotoko, Abode and Toolroom Trax and now debut on Toolroom with 'Vibration'. Both girls are incredibly passionate about house music and are also big advocates for a life centered around well-being and meditation, and the idea of this record was to combine their 2 passions in life, so they proceeded to co-write these original lyrics to accompany the track, which in itself is very inspiring! This is a super cool club record that will excite fans and DJ's alike, welcome to the Toolroom Family, Jenn Getz & Alfie!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

On his new album always centered at night, moby has once again conjured into reality a collection of heartachingly beautiful, tender-yet-defiant songs, made in collaboration with uniquely talented, soulfully aware, other-worldly vocalists. All the songs are love letters to the unrestricted and enchanting music scene of late ‘70s, early ‘80s New York that shaped Moby as a musician. The featured vocalists were given the same assignment: “Please don’t write anything commercial. Let it be weird. Let it be personal. It doesn’t have to make sense.”

“Because of that randomized freedom, I’ve been on the receiving end of so much genius work,” says moby. “And the result has been one of the most exciting, surprising things I’ve ever done as a musician, and it’s one of the most worthwhile things a human being can do: make tender, gentle, vulnerable music that’s a clarion call to act.”

Featured on this album are some of the most exciting vocalists of our time. Some are well-known - such as serpentwithfeet on the breathless daydream of a song ‘on air’, the jazzy soulstress Lady Blackbird on the haunting ‘dark days’, or the astounding poet and activist Benjamin Zephaniah on ‘where is your pride?’. Other contributors have been found in relative obscurity - such as friend and vocalist Brie O’Banion on the Cream cover ‘we’re going wrong’, or Sheffield poet laureate Danaé Wellington on the powerful ‘wild flame’.

“The goal for always centered at night is to do something uncompromising,” says Moby. “To make music that is emotional, atmospheric and potentially beautiful. And what better use of this weird privilege I have than trying to foster creative expression that has uncompromising integrity?”

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche


Kicking things off on our next 4-track vinyl sampler series is Toolroom's very own Martin Ikin who returns to the label with ‘Make U Sweat’! He was the Best-selling Tech House artist on Beatport in 2020 and 2021 and has over 1m monthly listeners across streaming platforms. Recent studio collabs have included Noizu and Joshwa and tours have seen him travel far and wide to the US, Brazil, Bali, Ibiza, Italy, Croatia and of course, his hometown of London. This new record is the follow up to 'Oscill8' that dropped in March 2023 and sits in a similar lane, in that it's pure, unadulterated club weaponry! Next up is Italian house legend Flashmob with the frenetic, high-energy club vibe of new cut ‘My Body’. Flashmob's sound, production and go-for-broke DJ sets have changed with the game, embracing the vitality of new house music rather than hankering after sentimental sunsets. His ethic and aesthetic move relentlessly forward, using the old and new to craft unique sonic alchemy from big festivals like Tomorrowland to the intimacy of small clubs on the international circuit. ‘My Body’ is typical of Flashmob's current sound, combining solid drums and some insane synths and fx, alongside an earworm vocal sample that results in yet another memorable club cut from an established master. Canadian Tech House maestro Nathan Barato debuts on Toolroom kicking off the B-side to the vinyl alongside studio partner, Matheo Velez with 'Weapon'. A record that has already caught the attention of the underground elite with Michael Bibi premiering the track at his first appearance back at DC-10 in Ibiza last Summer. Both artists are enjoying great success across key labels such as Viva, Circus, Snatch and RAWthentic. This is an addictive, bumpy club track

that packs a huge punch on the dance floor and actually features Nathan's very own 'Move me… Rock me' vocals! Rounding things off is UK DJ/producer duo, Jenn Getz & Alfie who are residents at Dubai's #1 nightlife destination, Soho Garden, where they warm up for legends such as Sonny Fodera, MK, Claptone, Solardo & Fisher on a weekly basis. In their relatively short 3 year career they have already released on Solotoko, Abode and Toolroom Trax and now debut on Toolroom with 'Vibration'. Both girls are incredibly passionate about house music and are also big advocates for a life centered around well-being and meditation, and the idea of this record was to combine their 2 passions in life, so they proceeded to co-write these original lyrics to accompany the track, which in itself is very inspiring! This is a super cool club record that will excite fans and DJ's alike, welcome to the Toolroom Family, Jenn Getz & Alfie!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

The package, posted from Inglewood in California, dropped through my letter box…
I was looking forward to seeing this, the VHS of the then relatively ‘unknown’ but now legendary live show at the Saenger Theatre in New Orleans by Maze featuring Frankie Beverly. But when I fed it into my VHS player, I was disappointed. I could not quite figure out why. The band were tight, each musician sounded great, the product of being on the road, year after year, club after club in the States, sometimes playing five shows a night, all propped up by one of the best soulful voices we had ever heard, the maestro Frankie Beverly.
It took a second play of the VHS to realise what was missing. It was ‘too comfortable’ an atmosphere. A few wealthy customers sat around coffee tables quaffing champagne. It seemed to me that this audience, somehow, did not fit the band.
Paul Fenn at Asgard promotions received the contract from the band to appear live in London and Manchester. I became more and more convinced that his UK fans were going to be a lot more responsive than those from New Orleans.
We put the word out with just a couple of exclusive ‘shout outs’ by Robbie Vincent on his Radio London Soul programme. Those two plugs were enough to sell out all four shows at London’s premier music venue, the Hammersmith Odeon. The ticket office was rammed and the queue six deep, stretched halfway down Queen Caroline Street.
“I have never seen anything like it” expressed the manager of the theatre as he rolled down the shutters and turned on the “Sorry, SOLD OUT” notice above the theatre box office.
I was curious, so I went up and stood in the wings of the Hammersmith stage on that first show. Frankie, introduced to the stage by his sound engineer, Greg Blockman, sauntered past me, strumming his rhythm guitar, dressed in a casual dark green towelling suit, a brown leather visor and flip flops…and then five seconds later, he suddenly stopped. He seemed suddenly to be aware of the thunderous ’Welcome to London Maze’ roar, circling around the theatre about to engulf him. He slapped every black and white hand offered up to him that night, with a huge smile as he circled the edge of that stage. We wanted to get next to him, even if it meant climbing over rows of seats in front of us to do so.
That was the beginning of our love affair with Maze and Frankie Beverly. It certainly wasn’t New Orleans comfort; it was more like a crazy, but friendly, London riot.
Five albums on from the “Live in New Orleans” LP, Frankie sauntered into the California recording studio, probably with the same swagger as in London, to cut the delightful A-side here, “Somebody Else’s Arms”, from his aptly named ‘Silky Soul’ album. Along with the B-side, ‘Love is’ (from the “Back To Basics” CD, 1993) both are so delicious you might want to relax and pour yourself that London glass of champagne, 1983 vintage. Tell your mates your Maze/Hammersmith story too. You deserve it.

*Repress*

An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society.

Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock and roll hit South America in the sixties, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with.

In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.
Kicking off with the swirling samba-jazz-dance masterpiece ‘Agora Ou Nunca Mais’, the album hosts several groove-heavy Brazilian cult-classics including ‘Roda Mundo’ and ‘Eu Sou Mais Eu’. Deeper moments come in the form of the alluring future soul synth sounds on ‘Bairro Negro’ and ‘Sou’, and Mazzotti’s tender, hallucinatory version of ‘Feel Like Making Love’ (made famous by Roberta Flack) perfectly reflecting the idiosyncratic genius Mazzotti achieved with Bertrami’s visionary arrangements, and Romildo’s impeccable production approach.

Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl, Ninguem Vai Me Segurar (1974) will be available on vinyl LP, CD and digitally from 13th September.

Repress!

Amazingblaze is the latest red-hot new talent to be signed up by Charlotte de Witte's KNTXT label. The Russian artist serves up four fierce techno weapons on his Venture EP, due for release on 25th February 2022.

Though a relative newcomer, Amazingblaze is already making big moves mixing up heavy-hitting hard trance and techno. He has a sound that combines old school influences with new school sound design, and it never fails to captivate the dance floor. On this first EP for KNTXT, all of the signature Amazingblaze essentials are here: weighty drums, massive synths and authentic atmospheres.

Says the artist, "The Venture EP was started when I was living in Saint-Petersburg and there was a pandemic situation. Experimenting with different shades of techno I created a pretty authentic sound which works very well on the dance floor. After leaving Saint-Petersburg I decided to move to Moscow, gladly the pandemic restrictions there were lifted and I became inspired by the new city and parties where I've never been before, I completed the EP adding some new bangers with an already experienced touch.”

Says Charlotte de Witte, “My eye fell on Amazingblaze for the first time during the preparation of my Tomorrowland Around The World Set, where I closed with his beautiful track "Stratosphere". A couple of months later, I fell head over heels in love with his track "Venture", which, I'm proud to announce, turns out to be the title track of the newest EP on KNTXT. Venture captures every crowd of people I’ve played it to, ever since I debuted it in my set at Exit Festival. The entire EP is an out of the box masterpiece.”

First up is the mighty 'Venture' with its pummelling drums and turbo-charged trance stabs. They are bright and bring the energy while a rapped vocal adds something utterly fresh. 'Inner Fire' ups the ante further with a diva female vocal straight from the classic trance era. She brings waves of euphoria and, after a spine tingling breakdown, the machine-gun grooves fire on. There is terrific turbulence in the synth stabs of techno gem 'Flashback' as well as industrial textures and walls of white noise that bring real tension. ‘Neutron’ closes down with the most fierce groove of the lot, this time rippled with cosmic psy trance chords and irresistible video game synths to take you into the next dimension.

Venture EP is a superb outing from Amazingblaze.

Just mention 'Terrace' in a techno environment and soon someone else will shout "pioneer!" As Florence, Terrace and (half of) Acid Junkies, Brabant-based producer Stefan Robbers was at the flying centre of Dutch techno in the early 1990s.

Perks is Robbers' fifth EP for Delsin in a relatively short time. On the one hand, it contains his signature sound: melancholic melodies and complex drum patterns wrapped in outstanding production; on the other, Perks surprises on many fronts. For starters, the overall vibe is a lot more sombre, the chosen route much more experimental. Take 'Model A', a dreamy, 12 minute-long meandering epic that nods to the kraut-infused electronica of Tangerine Dream and Cluster but at the same time proudly carries the techno DNA. A fascinating return of a true pioneer.

Dam-based don Retromigration steps into the big leagues letting loose his debut album on WOLF Music. An LP that has long been in the works and for good reason too. Fourteen expertly executed tracks that range from hazy beats and jazz-tinged broken rhythms to club-ready groovers, deep excursions, soulful footwork and even some jungle energy. A flavour for every occasion and damn it tastes good.

With an envious run of releases on the likes of Handy, Healthy Scratch, wewillalwaysbealovesong and WOLF in a relatively short space – Retormigration is hot property and it’s clear to see why. A distinctive style and energy permeate his tracks with a breadth of influences on offer, from hip hop, to jazz, soul to funk. You just know a long player from this player is going to cover all bases.

His debut LP, Straight Foxin’, is a carefully curated and crafted journey showcasing the creative explosions firing off in Retromigration’s brain. Joining the dots between genres, taking elements from here, ideas from there – twisting and turning yet never out of place. Take the opening three tracks, all tied together by a deep fondness for jazz but served up in different styles, ‘Kunta’ with that hazy beatsy blend, ‘Formant’ leaning into the realms of broken beat and DnB and ‘Be Someone’ cruising with the off-kilter house.

Elsewhere there’s prime examples of Retromigration’s signature sample-laden house with deeper cuts like ‘Mada’ and ‘Bouncer’, sitting side by side with more soulful explorations such as ‘New Cribs’ and ‘ITWT’.

Not one to be pigeonholed, another course of Retromigration’s expansive taste gets served up with four high energy hits. The bouncing footwork flavours of ‘Kush Love’ ft. Passion Deez and ethereal excursion ‘What If’ lead into a captivating nod to the heydays of jungle and DnB on ‘Mild Fever’ and ‘Bad Knees’ respectively.

Straight Foxin’, mad flexin’ – Retromigration has laid down the law with this LP, a debut album done right.

From New Jersey via The Netherlands: longstanding US craftsman Joey Anderson makes his debut on Deeptrax with his inspiring new album… ‘Exotic Sequence’

His fourth LP to date, ‘Exotic Sequence’ is a fully instrumental deep dive into both Joey’s machines and mindset, as he explains himself… “The title ‘Exotic Sequence’ stood out to me because throughout the LP I tended to use a sequencer for the main melody of most of the tracks. Almost every time I approach a track with techno intentions it eventually ends up being deep / housey,” states the artist who broke through 15 years ago on Qu’s Strength Music and has worked closely with the likes of Dekmantel and, more recently, Avenue 66.

Now at home on the relatively new and positively thriving label arm of Dutch record store institution Deeptrax, Joey tells us where he’s at with a body of work that poignantly reminds us that it’s not the destination that counts; it’s the journey we endure to get there.

In this sense, ‘Exotic Sequence’ is the sound of Joey letting his instruments guide, inform and inspire him. Cuts like the constantly rising and hopeful ‘Sky Children’, the deep 808 bubbles and dreamy reflections of ‘Behind The Valley’ and the emotionally rich ‘Stop’ are just a handful of examples of Joey being lost in deep flow, channeling the creative energy in his studio.

It lands exactly three years after his last album ‘Rainbow Doll’, neatly bookending the strangest and most surreal start to any decade we’ve lived through since house and techno culture took root in the 80s. A timeless document that looks forward and back and remains unhurried, thoughtful and crafted with longevity, ‘Exotic Sequence’ is arguably the most honest and frank side to Joey Anderson we’ve heard in his extensive career so far.

CURRENT RAGE - The missing musical link between Athens and Atlanta
To celebrate the 40th Anniversary of the out-of-print forgotten classic, Propeller
Sound Recordings is set to release and remastered and expanded edition of
"Seven Songs". Fully immersed in the do it yourself aesthetic of the early-R.E.M.
era, Current Rage's sole indie record is highly regarded by record collectors
seeking out early eighties DIY releases. The relative scarcity of the original EP
today suggests the item does not circulate on the marketplace very often making
it ripe for reintroduction to the current marketplace with this expanded version.
Anthony DeCurtis of Rolling Stone wrote, "an enviable and impressive explosion
of new music was emerging from the Atlanta Athens area at this time" Current
Rage drew inspiration from Talking Heads, Pylon and R.E.M.

Moments is a music company organizing remarkable events, releasing groundbreaking productions, and daring to push innovations in underground dance music. The number seven symbolizes a quest for knowledge, and the seventh edition of Moments represents another step towards new horizons. Come Closer is a relatively new project on the global music scene. However, its mature artistic expression demonstrates the highest level of skills. The two- track material consists of over thirteen minutes of sounds that transcends genre divisions. Come Closer's music does not hesitate to include ethnic elements, funk, and even rock influences in the electronic dance structure. Both in its harmonious and production statements, Come Closer leaves nothing indisputable.

CURRENT RAGE - The missing musical link between Athens and Atlanta To celebrate the 40th Anniversary of the out-of-print forgotten classic, Propeller Sound Recordings is set to release and remastered and expanded edition of "Seven Songs". Fully immersed in the do it yourself aesthetic of the early-R.E.M.

era, Current Rage's sole indie record is highly regarded by record collectors seeking out early eighties DIY releases. The relative scarcity of the original EP today suggests the item does not circulate on the marketplace very often making it ripe for reintroduction to the current marketplace with this expanded version.

Anthony DeCurtis of Rolling Stone wrote, "an enviable and impressive explosion of new music was emerging from the Atlanta Athens area at this time" Current Rage drew inspiration from Talking Heads, Pylon and R.E.M.

Drawing from a strong history of electronic influence, Tomashevsky has created his own underworld of foreboding techno. We enter this EP with Incoherent, which exudes ominous sounds - reminiscent of murky radar blips that may be heard deep underwater in the metallic bowels of a submarine. Bubbling electronic delays remain adjoined to these metronomic blips and oer lateral, spontaneous movement around an otherwise sturdy song structure. Jittery melodies scatter nervously under lead elements, remaining disjointed and resulting in increased energy and a darkened excitement.

As we move through the EP, we face ups and downs, both in tempo and mood. Leading on from the first, Rollback is destabilizing, energetic and mean in all the right ways. Wobbling low ends open into a mood of uncertainty, held in place only by the stability of the drums. Rollback suits a peak-time club atmosphere thanks to the gritty synth leads and fast-paced feel.

Ending with the two tracks on the B-side, Tomashevsky still seeks to surprise. Rejected seems to be a distant relative of the Incoherent, following the synthetic blip structure but allowing snares and other percussions to build more prominently. Finally, we arrive at the closing track which marks itself as more obscure. Leaning on kick drum patterns initially reminiscent of electro/breaks, the use of half-time tempo gives a change of pace and a platform for a slightly different song structure and mixing potential.

Mesmeric and entrancing, these songs give any DJ or listener to chance to turn mind chatter o and lock into a hypnotic groove. Drawing on classically techno foundations, Tomashevsky has tipped his hat to the founders of the genre whilst adding his own flavour and subtle techniques that make this EP shine.

2022 Repress
Dear Friends,

25 years of KOMPAKT is no reason to get hysterical. Then again, it's a nice occasion to have a laid back look at the situation in electronic music today. Minimal techno in all it's varieties is now established as the worlds best dance music, as you may know. So far, so good. What's next Nothing. Dance on!

I've gain two essential insights with the passage of time. First off, that music which over the years only knew 'faster, better, stronger' and 'forwards ever - backwards never' can constantly repeat, quote and loop itself without killing itself. A music that suspends the meaning of time and eventually can set a parallel, better universe of fantasy against the twisted grimaces of reality. Again and again.

And secondly, that getting older living in/with this music is a quite relative term to which ideally a serenity of age can ring a bell. This shows that 25 years after 1993 so many protagonists, enthusiasts, DJs, musicians, relentlessly rave fighters - with all personal advancement - are still there and still celebrate, play or produce this/theirs music; and compete themselves and their music just with that.

Two such heroes of the neat and tidy bass drum culture are with no doubt T.RAUMSCHMIERE aka MARCO HAAS and REINHARD VOIGT. From day one, those two figureheads have given live-techno the glam of stage-diving rock 'n' roll, long before vodka and beer prevailed as alternative lube for ecstatic dancefloors.

Even better they both now raise the glass at the longest techno-bar in the world named KOMPAKT EXTRA/SPEICHER. With DREI MILLIONEN KO¨LSCH, Reinhard Voigt continues to establish his savvy 'way into sound', which he's pursued for a few years now on his many releases. He's turning genre cliche´s into a very personal take with his defiant mix of the deepness of a lonesome cowboy and his implicit faith in the dancefloor and gives the music a very personal touch of ennnoblement of the faith in itself. Technos dignity shall be inviolable.

For me, AUGEN ZU by T.RAUMSCHMIERE is one of the most beautiful masterpieces of bass-heavy 'Umta Umta' techno. A few strikingly brilliant vocal lines from the master himself, put through the machines and combined with a relentlessly sequencer that says it all. This cheers my heart and we will always need such tracks to remind us of ourselves. And to forget about ourselves. Smash hits of unreason! Or the prettiest declaration of love to a music which gets its magical moments from what's happening between the bass drum-beats. But only by this when the bassdrum remains linear and will do so forever. Both Marco Haas and Reinhard Voigt know that. Because after techno comes always techno.

Wolfgang Voigt - May, 2018 Wolfgang Voigt - May, 2018

25 Jahre KOMPAKT sind kein Grund sich aufzuregen. Aber dennoch ein schöner Anlass, einen gelassenen Blick auf die Lage der elektronischen Musik zu werfen. Denn der globale Minimal-Techno, in seinen unterschiedlichen Spielarten, hat sich bekanntlich längst als beste Tanzmusik der Welt etabliert. Recht so. Was nun Gar nichts. Weitertanzen.

Zwei essentielle Erkenntnisse haben sich bei mir im Laufe der Zeit durchgesetzt: Erstens - dass eine Musik, die über Jahre nur ein »Höher, Schneller, Weiter« oder ein »Forwards Ever - Backwards Never« kannte, sich ständig wiederholen, selbst zitieren und loopen kann, ohne daran zu ersticken. Die Bedeutung von Zeit und Vergänglichkeit im besten Sinne außer Kraft setzen und der hässlichen Fratze der Realität eine parallele, bessere Welt der Fantasie entgegensetzen kann. Immer wieder.

Und zweitens: dass »Altern in/mit dieser Musik« ein sehr relativer Begriff ist, dem bestenfalls Altersgelassenheit etwas sagt, Alter. Das zeigt sich immer wieder im schönsten Sinne, wenn 25 Jahre nach 1993 so viele Akteure, Enthusiasten, DJs, Musikanten, unkaputtbare Kampfraver, bei aller persönlichen Weiterentwicklung, immer noch da sind und immer noch diese/ihre Musik abfeiern, auflegen oder eben produzieren und sich und ihr Tun auch nur daran messen lassen müssen.

Zwei solche Recken der gepflegten Bassdrumkultur sind zweifelsohne T.RAUMSCHMIERE aka MARCO HAAS und REINHARD VOIGT. Zwei Rampensäue der ersten Stunde, die Live-Techno den Glam des Rock'n'Roll Stagedivings gegeben haben, lange bevor Vodka und Bier sich als alternative Gleitmittel eines ektatischen Dancefloors in der Breite durchgesetzt hatten.

Umso schöner, dass sich eben diese Beiden mal wieder an der längsten Techno-Theke der Welt, genannt KOMPAKT EXTRA/SPEICHER über die beiden Seiten einer Schallplatte hinweg musikalisch zuprosten. Mit dem Track DREI MILLIONEN KÖLSCH setzt REINHARD VOIGT seinen smarten »way into sound« fort, den er schon seit ein paar Jahren auf diversen Veröffentlichungen konsequent verfolgt. Mit einer trotzigen Mischung aus lonesome cowboyhafter Deepness und dem unbedingten Bekenntnis zum Dancefloor schafft er es, den Klischees des Techno eine sehr persönliche Note der Veredelung des Glaubens an sich selbst zu geben. Die Würde des Techno ist unantastbar.

Der Track AUGEN ZU von T.RAUMSCHMIERE ist für mich eines der schönsten Meisterstücke in der Tradition des oktavbassgeschwängerten Umta-Umta Techno. Einige wenige markant brilliante Textzeilen, vom Meister selbst in deutscher Sprache durch die Maschinen geschickt, gepaart mit einem Sequenzer der keine Gefangenen macht, lassen keine Fragen offen. Da geht mir Herz und Rucksack auf. Solche Tracks werden wir immer brauchen, um uns an uns selbst zu erinnern. Um uns immer wieder selbst zu vergessen. Smash-Hits der Unvernunft! Oder die schönste Liebeserklärung an eine Musik, die ihre magischsten Momente immer aus dem gezogen hat, was zwischen den Bassdrumschlägen passiert. Das funktioniert aber nur, wenn die Bassdrum gerade ist und es für immer bleibt. Und Marco Haas und Reinhard Voigt wissen das. Denn nach Techno kommt immer noch Techno.

Wolfgang Voigt, Mai 2018

Repress!

In May 2018, Belgium's Amelie Lens launched LENSKE, the fruit of working on new music and collaborating with her peers. The aim was to create a platform to release her own and friend's music that they use to tear apart dance floors around the globe. Less than two years after, LENSKE is putting out their 10th release and it's evolved into something more than just a label, but a family.

During this relatively short time, the prolific crew formed by Amelie Lens, Farrago, Milo Spykers, AIROD and Ahl Iver have released a collection of contemporary anthems, storming techno cuts and acid weapons. The imprint's catalogue illustrates their exploration for a shade of techno particularly focused on the hi-NRG factor. You can usually catch them at the Exhale showcases worldwide - at the likes of fabric London, Off Sonar in Barcelona and Dour in Belgium- testing their new productions that the crowd highly anticipate for their release.

For this fresh record, each artist contributes a track for a mini VA compilation showcasing the label's sound. Belgian producer Milo Spykers opens up with 'Traversing', a heavy-hitting cut with a ravenous sound design. Hot on the heels of her recent compilation for the fabric presents series, Amelie Lens steps up with her brand new tune 'The Future' featuring energetic synth hooks with her signature vocals. AIROD goes ravey with 'Divine Power' introducing jungle elements, while on the other side, Farrago delivers a catchy vocal-led slammer with 'Step Up'. Ahl Iver, the newest addition to the label, brings the final touch with the intoxicating 'Night Creature'. The future is bright!

Mr. K takes on two different disco moods in the latest in his long-running series of edits on 45.

Danny Krivit’s edit of Tony Orlando’s “Don’t Let Go” was released in Japan in 2012 and immediately became a sought-after, impossible to find rarity. Orlando’s version of “Don’t Let Go” was released at the height of the disco era, but the song itself was already a well-worn pop standard, having been covered by numerous artists before the pop singer tried his hand at it, switching things up with a percolating disco groove. “I never expected to rave about a Tony Orlando record,” wrote Vince Aletti in his Record World column in June of 1978, “but this one’s really terrific… My pick for a summer refresher.” The Jimmy Simpson mix on the original 12-inch follows the vocals with a long instrumental section that teases the various elements provided by the Muscle Shoals band (guitar, vibes, strings, and above all a sinuous synth) back in over the relentless bass and drums. Danny’s edit, which he’s trimmed down for its debut on 7-inch, works with this instrumental break and more than lives up to Aletti’s description as an addictive warm weather jam.

From the moody instrumental sound of “Don’t Let Go” we move to the bright uptempo vocal track "I Fall In Love Everyday." In spite of the relative obscurity of this fabulous but lesser-known cut, it comes with a sparkling pedigree. “I Fall In Love Everyday” was written by Jay Graydon (whose credits also include “Turn Your Love Around” for George Benson and “Breakin’ Away” for Al Jarreau), produced by Motown ace Mickey Stevenson (who wrote “Dancing In the Street”) and arranged by David Foster, who was just making the transition from session keyboardist to the superstar songwriter/arranger he’d become. The backing track was first used for singer/TV personality Jaye P. Morgan’s version of the song a year earlier, but you certainly can’t blame the team for reusing the music when the band included studio heavyweights like Harvey Mason, Lee Ritenour, Ray Parker Jr., and Kenny Loggins. Danny’s creative edit fashions a clean, DJ-friendly instrumental intro where none existed on the original, and gives new life to a track that’s sure to bring some sunshine to dancefloors.

As always, these unique selections from Mr. K’s personal stash are cut on a loud, club-ready 7-inch pressing.

2022 Repress

"Cellular Automata" is the new album from Dopplereffekt (Rudolf Klorzeiger and To-Nhan), their first in ten years since 2007's Calabi Yau Space on Rephlex.

Cellular Automata approaches mathematical growth and decay as an iterative process, with each data input considered individually relative to the overall model. The result represents one of the group's boldest creative endeavors, defying expectations while remaining unmistakably Dopplereffekt.

Cellular Automata is the third Dopplereffekt release to come via Berlin's Leisure System label, following 2013's "Tetrahymena" and 2014's "Hypnagogia".

As much as, in modern days, it has become increasingly difficult to pin things down to a specific genre this release brings very defined genres but also a refreshing feature, a constant change of energy in one single track, and most importantly, it all comes with this modern feel to it which indicates it is the new generation rising making justice to what Ultrastretch stands for, surfacing fresh and new talents. Signed by Austrian duo Foehn & Jerome.
The A side is of the EP consists of the genius idea that it is a relatively simple track, however, with the feel that so much is happening, the type when you listen to a loop but one you can listen to forever and not get tired of it, always the best sign. A rolling and constant bassline makes it into a super fat and rounded dancefloor groover, while on top you have these fragments of chopped up vocal samples in and out creating a sense of confusion, a mind drilling element is then complemented by very loose and fine hihats floating around.
On the B side starts with quirky minimal track with a galloping kick throughout, when the open hihats slam in with a vocal it quickly develops into a very happy and playful housy vibe and just when you are riding, the clap slams in now on a tighter hat sequence followed by the break and rebuilding, when it comes back however it adds another element changing the energy yet again, through introducing a synthline. The quirky frog sounding noises throughout certainly makes it a super witty track overall.

Jess Sah Bi is well-known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country-Americana to the West African masses with their smash debut Our Garden Needs Its Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi - or Jesse, as he known to friends-became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped. One day he went down to an Evangelical Christian revival in his neighborhood. They prayed over him and he was delivered. He says, "Their prayers helped chase out whatever demons and unhealthy spirits were inside me. After that my illness went away. When I went to the United States a few months later on an exchange program I wanted to make music to thank God because I was saved." He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. The album Jesus-Christ Ne Deçoit Pas Jesus Christ Does Not Let Us Down came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, hence the relatively short album, 6 songs including two reprises for filler. A local pastor connected him with a studio and some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. But he had to find the rest of the studio expenses-$600 total-which he secured drawing cartoons for UNICEF. Jesse is Ivory Coast's first political cartoonist, a vocation for which he was widely celebrated at the time. It also made him a few enemies which lead to him leaving the country permanently a few years later. Jesus-Christ Ne Deçoit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message." In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. The album ultimately precipitated the demise of the duo, who were soon separated geographically as Peter One relocated to Nashville. He went on to become a nurse and release a successful solo album on Verve following the ATFA collaboration. Nowadays Jesse lives in the Bay Area and continues to record and perform music wherever and whenever he has the chance. He is publishing a new book of humorous cartoons in 2025 and his most recent album Never Give Up came out in 2020

This relatively new Stockholm duo have been making waves with their latest vinyl output. This EP conveys their love for the disco house sounds of Chicago, spearheaded by the likes of DJ Sneak. ‘Spoon Bait’ leads the way using an almost dreamlike vocal hook over a deep bass led groove with dub effects to boot. ‘Tuborg Translate’ picks up the tempo, chopping up a Philly style hook, underpinned by crisp beats and otherworldly space effects. Title track ‘Silja Line Superstar’ keeps the peak-time action going utilising warm emotive strings and brass whilst ‘Kenneth Knaster’ bounces along on a sublime disco ride bringing the EP to a close.

Cranes is a dream pop/shoegaze band formed by siblings Alison and Jim Shaw, who rose to stardom following a world tour with the Cure in 1992. After the influential Dedicated label folded in 1998 they went on a two-year hiatus after which they set up their own label Dadaphonic. On Dadaphonic, they released three studio albums between 2001 and 2008, of which Future Songs is their first.

Between 1986 and 1997 Cranes released a steady stream of records on Bite Back! and of course Dedicated, and when the latter folded, the Shaw siblings took a relatively long break from recording. Then, in 2001 they returned with a different bassist and drummer, their new Dadaphonic label and a fantastic new record to go along with it. A breathe of fresh air,

Future Songs acts as a bridge between their somewhat brusque approach to shoegaze from the 90s and electronica-infused sound from the zeroes. A remarkable effort, especially considering the Shaws recorded almost everything on their own.

Future Songs is available as a 25th anniversary edition of 1000 individually numbered copies on yellow marble vinyl, and includes an insert.