Поиск:rhythm is rhythm

There's something intangible about Celeste, the Soundcarriers’ second album, originally released in 2010. It has a light, lucid quality, almost like driving exhausted through a strange city at night. Freeflowing yet tethered, dreamy yet attacking, the band continue the fight to reconcile competing impulses. Various threads just about keep the shimmering tapestry from tearing. Haunting folk melodies underpinned by rhythmic static and the physicality of the totally analogue recording and mixing, baroque keyboard counterpoints and sweeping arrangements. The opener “Last Broadcast” seems to encapsulate this but it's almost as if the album gets the angst out of its system with this track and is free to explore the quieter, less crowded back streets. After the smoke of “Last Broadcast” has cleared, the twisting road takes in the soft introspection of “Hideaway” and “Morning Haze”, both tracks morphing into heavy psyche grooves or the eastern tinged psyche funk of “Signals” and “Rise And Fall”. Or takes another turn with the tightly arranged opening segment of “Long Highway”. Somehow it still manages to fit in ‘60s pop gems like “There Only Once”. An album to really lose yourself in, yet more concise than the sprawling Harmonium and more relaxed and freeflowing than the nervy rush of Entropicalia, Celeste could be arguably their most indispensable album and not to damn it with faint praise, their most listenable.

Civilistjävel! returns to Copenhagen label FELT with a four track EP following on from 2022's Järnnätter album.

Equally well placed next to the Biosphere / early Fax +49-69/450464 camp as well as various decades of electro-acoustic drone practitioners, Fyra platser (Four Places) also includes a trip-hop leaning collaboration with Cucina Povera. Whilst Järnnätter drew influence from the cyclical, chasmic nature of dub techno, Fyra platser hones further in on the ‘between’ areas in a minimal, reductivist fashion. The rhythms are there to follow but are primarily beatless and more expansive, though skewing perceptions of time in the same trademark manner.

Three locations in the Nordingrå area of the Swedish high coast are exorcised and channelled through sound. ‘Kolugn’ is a deliberately grainy, sepia-tinged continuation of the likes of Robert Rutman’s work across the 70s American avant-garde. It sits in contrast to the more obviously synthesis-led direction of fellow longform piece ‘Valmsta’. The location slowly changes to Finland via Athens, scenes of cafe conversations and hazy polaroids informing the lyrics of ‘Louhivesi’. The result sounds like a 90s illbient record dropped around 30 bpm and the stylus has caught on a perennial 8-bar loop. The balance of Cucina Povera’s cold, reverb-heavy vocal inflections drive the track into another dimension. If Moral were the Scandi Joy Division, this pairing must be the Scandi Massive Attack.

Mammal Hands announce spell-binding new album 'Gift from the Trees', their fifth studio album, pointing to subtle shifts and exciting new departures for the unique trio
"We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance..."
Mammal Hands fifth album 'Gift from the Trees' offers a fresh perspective on the unique trio's singular music. The first to be recorded in a residential studio, the band enjoyed the opportunity to go late into the night searching for a deeper, more organic experience, closer to both their writing process but also their trance-like live performances. While some of the music was pre-composed and had even been performed live, the band also enjoyed the opportunity to improvise ideas in the studio. Drummer Jesse Barrett explains:
We wanted to have a more immersive experience that felt closer to our writing process. One thing that was really important to us was feeling free to jam out ideas as they came to us. We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance and just follow that thread where it wants to go. Sometimes it's something as simple as a rhythmic, textural flow, like in Sleeping Bear.
There was also a conscious decision to move away from the sound and ambiance of the recording studio, with the band opting to engineer the record with their go-to live engineer Benjamin Capp before mixing the sessions with Greg Freeman in Berlin. The idea was to try and capture more of the energy of the band's captivating shows, saxophonist Jordan Smart explains:
Considering the group of tracks we had, it made sense to try and capture this process as organically and honestly as possible, and so a change in studio environment felt like the right move to us. Some of the tracks have a raw joy and energy that came with being able to play together again after a long period of time of having been apart, and capture that feeling of just being happy to be in a room with our instruments altogether again.
Whereas for pianist Nick Smart there was also the chance to really go deep into the band's music:
The new studio environment really opened us up to different ways of working and thinking because we could record at any hour of the day or night. I think this allowed us much more freedom to try unusual ideas and push elements of the music to extremes because we had the time to really focus in on the detail and work on things without time pressure. With some tracks, we were trying to find the boundaries of our playing ability and push beyond that point. With others, it was just getting into the right mindset and putting as much energy and emotion into the take as possible.'
The Welsh environment outside the studio doors seeped into the music presented on Gift from the Trees, with two recording sessions (one in winter and one in the spring) bringing different moods: one bleak and wintery, the other more hopeful and bright – an energy that permeates through tracks such as Kernel and Dimu.
Gift from the Trees opens with wonderfully elevating The Spinner which grew from one of Nick's piano parts and was developed and arranged into a complete tune without losing the feeling of constant flow and motion. It is almost like a dance, with the interaction of different melody parts and the doubling of certain parts melding together and fitting into the overall energetic flow, while Jesse's drums are both floating and deeply melodic. Riser aims to capture the band's raw energy and intriguingly is influenced by both breaks and modern drum production but also minimalist classical composition. Nightingale features the band at their most delicate and lyrical – a band favourite it draws heavily on modern folk with a beautifully realised melody that came unforced to pianist Nick Smart before being jammed out together. It was recorded early one morning, bringing an extra light and brightness to this beautiful performance.
Another album highlight is Dimu which utilises one of drummer Jesse Barret's favourite rhythmic devices from the Tabla repertoire and draws inspiration from Indian, Greek and Arabic music as well as modern folk arrangements. Dimu starts with saxophone over a bed of drones and percussion and moves through many different sections that frame and present the melodies in unique ways. The beguiling, intimate Deep within Mountains aims to place you in the room with the band as they play; it was recorded late at night to capture a dreamlike, liminal ambiance. The piano solo really reflects this mood and energy while the tenor is some of the softest and closest on the recording. Elsewhere, the remarkable Labyrinth started with what Nick describes as "some weird recording on my phone from a soundcheck, where Jordan was playing some crazy sounding bass clarinet part and I quickly recorded him", giving birth to a captivating, complex slice of propulsive 'almost' contemporary classical that like so much of the music on Gift from the Trees really couldn't be any other band than Mammal Hands.
Finally, the album draws to a close with the glorious Sleeping Bear, a tune that was wholly improvised in the studio. Nick and Jesse entered a simple but 'weird' locked groove and Jordan improvises melodies over the top. The track came about without any planning or thought; it was one of those special things that came by surprise and the band felt offered the perfect ending to their latest gift to us all: a deeply enthralling album that captures so much of what makes Mammal Hands a special band while mapping out new routes and paths for their beautiful, beguiling music.

Hell Yeah heads to Brazil and the cultured sounds of Pedro Bertho for a hot new 12" that features Mariana Gehring and remixes from Romain FX and My Friend Dario. The digital version includes two bonus cuts while the vinyl is the first to have all-new artwork by FJD.

Now based in France, inclusive party promoter Pedro Bertho’s music is a melting pot of sound that draws on his own personal heritage and a life spent digging for records. That means that afro rhythms, Italo melodies, rolling reggae, deep house, and plenty more all get mixed up into something new.

They have come on the likes of Cracki Records and always search out innovative ways to bring euphoria to the dance floor.

For the first tune, he works with Mariana Gehring, a Sao Paulo-based singer and composer influenced by new MPB and other signature Brazilian sounds like Forro, Maracatu and Samba.

Their excellent 'Tornei' is a mix of full-fat bass and sensuous vocals. Fizzing synths, percussion and FX bring the energy while Gehring arrives in the breakdowns to bring the spine-tingling soul. Romain FX is a scene mainstay, label head at fauve, boiler room veteran and has released on the likes of Kalahari oyster cult and many more.

His version is a retro workout with lush cosmic melodies and slinky grown-up grooves sure to get the floor full.

Next is 'Elephants au 5eme', a busy mix of analogue drums and hits, wild elephant trumpets and fleshy synths that bring unusual tropical heat to any party. The same track is remixed by label regular and new school Balearic boss my Friend Dario.

He plays with the vocals, layers in shimmering chords, and keeps things dubby to make for another of his signature grooves.

Brilliantly remastered (picture) LP/CD with new stunning artwork!
Lo-Fi India Abuse was recorded in 1998, some tracks are “pure” Muslimgauze and some are re-mixs of tracks from Systemwide’s “Sirius” CD (see also Systemwide meets Muslimgauze “at the City of the Dead” 12″). Nearly all of the tracks have hand percussion in varying tempos and intensities and at least 1/2 make use of electronic noise surges. The sound is very crisp and clean, extremely well produced, recorded and nicely varied throughout the length of the disc. Some track by track comments: “Antalya” is obviously from the same sessions as “Fakir Sind” seeing as it shares the same hand percussion sound, whistles, vocal wailing, cut-ups and delays. “Valencia Flames” sounds like a Systemwide remix. A dub bass line, hi-hat and background vocal of some sort are all obliterated by numerous delays, starts, stops and re-starts with an unpredictable nature in these cut-up tracks. “Al Souk Dub” injects background voices, market sounds and drones into the cut-up mix of slow hand percussion playing. “Catacomb Dub” and the final two tracks make use of twinkling synth waves, presumably a Systemwide sound source. “Dust of Saqqara” has a heavy pulsating electronic sound wave over an old beat box rhythm. “Android Cleaver” is brutal (as is “Nommos’ Afterburn”) hand percussion, jabs of noise and an oft repeated, unintelligible vocal sample. Yes, Lo-Fi India Abuse is yet another great Muslimgauze release, grab it!
All tracks recorded by Muslimgauze 1998
Some tracks are re-mixes from Systemwide’s “Sirius” album
Re-mastered by Višeslav Laboš
Sleeve by Oleg Galay
Originally released in 1999 via BSI Records (BSI 1999-3).

Detroit house and techno fans with their ear to the ground are well tuned to the sounds of Brian Kage. He's shown his skills on the likes of Omar S' FXHE, Carl Craig's Planet-E and Rob Modell's Echospace. Now it is his own label Michigander where he appears with a new EP that kicks off with Taho and Kage combining forces once more. There is acid to start with next to uplifting piano notes underwritten by deep chords on the opener, 'Warehouse Vibes' then brings driving kicks and dubby techno bliss. Things step up again on 'JAX' which is a full-body workout with first pumping rhythms. This is another EP that adds to the rich heritage of Motor City musical magic.

Chloé Robinson & DJ ADHD still aren’t short on fuel. In fact, they seem to only be boosted further by their own supply. With such a weighty momentum driving forward their newly established identities, only one big question sits adjacent in the saddle: what’s next? It seems that Chloé and Alex already have the answer for today’s daily summon, and for the next Pretty Weird release, it’s a 4-track techno record reiterating the trusted adage of less being more. With an emphasis on space and silence placed intuitively, the first single from the ‘Steamin’ EP finally gets its much anticipated drop - including a killer remix from close friend Four Tet stamped on in classic, inimitable style.

‘Steamin’ is all serrated kicks, 909 drums and tenacious vocals that yell without inhibition, invoking the looseness of a party spiralling unphased into its collective apex.. ‘Redbull’ scales up on the pyrotechnics and rowdy behaviour, taking the sensation of several shots of caffeine and packaging it into a mean, raucous pick-me-up.

For ‘Pax’, Chloé and Alex continue on the stripped back disorder with white-hot conviction through rhythm and textures that find their power through no-frills, unpretentious simplicity. Kieran Hebden steps up for the remix, nodding back in appreciation to the past through the nestling of a sharply redefined ‘Pulse X’ sample alongside his addictive, punchy production all too suited to those can’t-go-home-just-yet stints.

Early support from artists including Four Tet, Peggy Gou, Jamie XX, Floating Points, Ben UFO, Caribou, Skrillex, Mary Anne Hobbs, Bradley Zero, Bonobo, Saoirse, Zenker Brothers, TSHA, HAAi, I. Jordan, Logic1000 and Pearson Sound.

Everything eventually turns to dust. Everyone knows this, but few want to acknowledge that our time on this mortal coil is fleeting, preferring to remain in stasis, in hopes that "the end" will pass them by. Chicago trio FACS (guitarist Brian Case, bassist Alianna Kalaba & drummer Noah Leger) have been perfecting their brand of intense, cathartic post-punk over the course of four ever-evolving albums, beginning with 2017's "Negative Houses" thru 2021's landmark "Present Tense', which saw the trio dig deep into the gaping maw of a black hole & pulling back whatever debris they could grasp onto. Their newest "Still Life In Decay" comes as an addendum to the last album - a "post-event review" if you will. "Still Life In Decay" starts with a squall of white noise before collapsing into the band already locked into "Constellation"s lumbering groove, with Case's guitar a ghostly presence, appearing & disappearing in washes of gauzy feedback throughout the track. FACS have never been more locked in as a unit, and "Still Life In Decay" is a decidedly more focused effort. The apocalyptic chaos that defined their previous album "Present Tense" is waved away in favor of an examination of events with cumbrous clarity. FACS are a heavy band, but they don't necessarily FEEL like one (see side two's "Still Life", where Case's fluttering, melodic guitar lines are buoyed by the insistent, underlying pulse of the bass & drums). As a rhythm section, Kalaba & Leger dance & twist around each other like a double helix, forming the DNA of what makes FACS special. Collectively they approach rhythm from outside the groove as opposed to inside it, creating a lattice where Case weaves guitar lines like creeping vines, which makes the moments on "Still Life In Decay" where the band DOES lock in even more powerful. When the guitar punctures the lock-step swing of "When You Say", it hits like a hammer. Case utilizes his lyrics like a person suffering from anterograde amnesia; repeating phrases & holding onto old memories in a desperate attempt to avoid the slide into oblivion. Freeform poetic missives touching on themes of resignation, cynicism, class warfare, and a search for identity & meaning in a crumbling society; A primal desire to hold onto anything in a post-pandemic barrage of sensory overload. The album is a decidedly local affair; recorded once again at Chicago's famed Electrical Audio by renowned engineer Sanford Parker & mixed at his Hypercube Studio in Chicago's Ravenswood neighborhood & mastered by Matthew Barnhart at Chicago Mastering Service.

Everything eventually turns to dust. Everyone knows this, but few want to acknowledge that our time on this mortal coil is fleeting, preferring to remain in stasis, in hopes that "the end" will pass them by. Chicago trio FACS (guitarist Brian Case, bassist Alianna Kalaba & drummer Noah Leger) have been perfecting their brand of intense, cathartic post-punk over the course of four ever-evolving albums, beginning with 2017's "Negative Houses" thru 2021's landmark "Present Tense', which saw the trio dig deep into the gaping maw of a black hole & pulling back whatever debris they could grasp onto. Their newest "Still Life In Decay" comes as an addendum to the last album - a "post-event review" if you will. "Still Life In Decay" starts with a squall of white noise before collapsing into the band already locked into "Constellation"s lumbering groove, with Case's guitar a ghostly presence, appearing & disappearing in washes of gauzy feedback throughout the track. FACS have never been more locked in as a unit, and "Still Life In Decay" is a decidedly more focused effort. The apocalyptic chaos that defined their previous album "Present Tense" is waved away in favor of an examination of events with cumbrous clarity. FACS are a heavy band, but they don't necessarily FEEL like one (see side two's "Still Life", where Case's fluttering, melodic guitar lines are buoyed by the insistent, underlying pulse of the bass & drums). As a rhythm section, Kalaba & Leger dance & twist around each other like a double helix, forming the DNA of what makes FACS special. Collectively they approach rhythm from outside the groove as opposed to inside it, creating a lattice where Case weaves guitar lines like creeping vines, which makes the moments on "Still Life In Decay" where the band DOES lock in even more powerful. When the guitar punctures the lock-step swing of "When You Say", it hits like a hammer. Case utilizes his lyrics like a person suffering from anterograde amnesia; repeating phrases & holding onto old memories in a desperate attempt to avoid the slide into oblivion. Freeform poetic missives touching on themes of resignation, cynicism, class warfare, and a search for identity & meaning in a crumbling society; A primal desire to hold onto anything in a post-pandemic barrage of sensory overload. The album is a decidedly local affair; recorded once again at Chicago's famed Electrical Audio by renowned engineer Sanford Parker & mixed at his Hypercube Studio in Chicago's Ravenswood neighborhood & mastered by Matthew Barnhart at Chicago Mastering Service.

Everything eventually turns to dust. Everyone knows this, but few want to acknowledge that our time on this mortal coil is fleeting, preferring to remain in stasis, in hopes that "the end" will pass them by. Chicago trio FACS (guitarist Brian Case, bassist Alianna Kalaba & drummer Noah Leger) have been perfecting their brand of intense, cathartic post-punk over the course of four ever-evolving albums, beginning with 2017's "Negative Houses" thru 2021's landmark "Present Tense', which saw the trio dig deep into the gaping maw of a black hole & pulling back whatever debris they could grasp onto. Their newest "Still Life In Decay" comes as an addendum to the last album - a "post-event review" if you will. "Still Life In Decay" starts with a squall of white noise before collapsing into the band already locked into "Constellation"s lumbering groove, with Case's guitar a ghostly presence, appearing & disappearing in washes of gauzy feedback throughout the track. FACS have never been more locked in as a unit, and "Still Life In Decay" is a decidedly more focused effort. The apocalyptic chaos that defined their previous album "Present Tense" is waved away in favor of an examination of events with cumbrous clarity. FACS are a heavy band, but they don't necessarily FEEL like one (see side two's "Still Life", where Case's fluttering, melodic guitar lines are buoyed by the insistent, underlying pulse of the bass & drums). As a rhythm section, Kalaba & Leger dance & twist around each other like a double helix, forming the DNA of what makes FACS special. Collectively they approach rhythm from outside the groove as opposed to inside it, creating a lattice where Case weaves guitar lines like creeping vines, which makes the moments on "Still Life In Decay" where the band DOES lock in even more powerful. When the guitar punctures the lock-step swing of "When You Say", it hits like a hammer. Case utilizes his lyrics like a person suffering from anterograde amnesia; repeating phrases & holding onto old memories in a desperate attempt to avoid the slide into oblivion. Freeform poetic missives touching on themes of resignation, cynicism, class warfare, and a search for identity & meaning in a crumbling society; A primal desire to hold onto anything in a post-pandemic barrage of sensory overload. The album is a decidedly local affair; recorded once again at Chicago's famed Electrical Audio by renowned engineer Sanford Parker & mixed at his Hypercube Studio in Chicago's Ravenswood neighborhood & mastered by Matthew Barnhart at Chicago Mastering Service.

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

If Es’ debut album for Upset the Rhythm explored the “tension between intent and interpretation”, the London group’s 2023 EP, ‘Fantasy’, constructs a coda for resistance against the distorted gaze. A four-track contact-high anxiety amid fact and facsimile, the new release attempts to define a sound that still resonates in an increasingly confused public theatre, where cerebral dreams manifest in corrupt fascination.
Echoing the legendary Pylon or the later, disco-inspired releases from PIL, tracks like ‘Emergency’ and ‘Unreal’ blend the band’s established disjunctive style of gothic restlessness with brighter, poppy, and danceable tones. These stylistically unwind in transition with the increasingly claustrophobic pieces like ‘Too Late’ and ‘Swallowed Whole’, syncopating a parallel design of the frantic and the fashionable.
Paired with a lyrical intricacy which emits a desire to break the fetish of false representation, ‘Fantasy’ reminds us that worthy punk records, like any manifesto of neurotic suspicion, balance testimonial, speculative-fiction, and social critique. Indebted to the past but pointed sharply to the future, Es deconstruct our modern wreckage of personhood and self-deceit, granting a sense of solidarity inside alienation. Inside ‘Fantasy’ we visualize our own estrangement, and it is only when this mirror fades that we find the tools to fight back.

A Rothko-esque color field set to music, The Window Is The Dream ventures even deeper into Horn's inner space than her stark, acclaimed debut Optimism, which earned her an 'artist to watch' tag from The Guardian upon its release last year. For her second record, Horn travelled to upstate New York to record with a few musical touchstones in mind: the electro-primitivism of the Silver Apples, austere rhythm kings This Heat and The Raincoats' time-bending Odyshape , however the resulting 10 songs are an entry into a world which is very much her own.

On Labyrinth, Heather Woods Broderick serves as our reflective host, subverting expectations of conventional songcraft with impressionistic language and quietly relentless explorations of the human experience that's at once light and dark, more circular and less linear. "Many of us yearn for stillness and peace, as an escape from the movement all around us," she explains when asked about the themes of the album. "Yet movement is perpetual, happening all the time on some level. It's as wild as the wind, yet eternally predictable in its inevitability. It is linear in part, but infinite in its circuitry. Our lives just punctuate it." Broderick began crafting Labyrinth in March 2020, when most forms of move- ment were brought to a screeching halt. The Maine-born, Los Angeles-based songwriter _ who, in addition to her work as a solo musician, built a life playing and touring with acts such as Sharon Van Etten, Beth Orton, Damien Jurado, and Efterklang _ was suddenly forced off the road for the first time in her career. She used this disruption as an opportunity to pare down her creation process and construct the scaffolding for Labyrinth in her apartment. Employing only the most crucial tools at her disposal, Broderick found herself opening different artistic doors as she focused on sharpening her recording skills, capturing the majority of the album on her own before finishing the remainder with co-producer D. James Goodwin. For all of Broderick's sage lyricism and vocal authority, Labyrinth never provides the listener with any easy answers. If the image of the labyrinth represents the enormity of modern life and the difficulty of navigating it, Heather Woods Broder- ick provides a guide to its endless kinetic wonders _ of being present, aware, and connected despite its disconnects. She describes the texture of its walls, its indifferent rhythms, and the inherent poeticism of feeling lost amid the dead-ends and unexpected turns. At this point in our history, perhaps that's all we need to keep moving.

Grey Vinyl

On Labyrinth, Heather Woods Broderick serves as our reflective host, subverting expectations of conventional songcraft with impressionistic language and quietly relentless explorations of the human experience that's at once light and dark, more circular and less linear. "Many of us yearn for stillness and peace, as an escape from the movement all around us," she explains when asked about the themes of the album. "Yet movement is perpetual, happening all the time on some level. It's as wild as the wind, yet eternally predictable in its inevitability. It is linear in part, but infinite in its circuitry. Our lives just punctuate it." Broderick began crafting Labyrinth in March 2020, when most forms of move- ment were brought to a screeching halt. The Maine-born, Los Angeles-based songwriter _ who, in addition to her work as a solo musician, built a life playing and touring with acts such as Sharon Van Etten, Beth Orton, Damien Jurado, and Efterklang _ was suddenly forced off the road for the first time in her career. She used this disruption as an opportunity to pare down her creation process and construct the scaffolding for Labyrinth in her apartment. Employing only the most crucial tools at her disposal, Broderick found herself opening different artistic doors as she focused on sharpening her recording skills, capturing the majority of the album on her own before finishing the remainder with co-producer D. James Goodwin. For all of Broderick's sage lyricism and vocal authority, Labyrinth never provides the listener with any easy answers. If the image of the labyrinth represents the enormity of modern life and the difficulty of navigating it, Heather Woods Broder- ick provides a guide to its endless kinetic wonders _ of being present, aware, and connected despite its disconnects. She describes the texture of its walls, its indifferent rhythms, and the inherent poeticism of feeling lost amid the dead-ends and unexpected turns. At this point in our history, perhaps that's all we need to keep moving.

A1 - French artist aka Dylan Dylan hits first on the record with energetic groove, breaks and deep synths - that's how we do it!

A2 - HATT.D is a Belgian music maker. A truly moving track with a soothing bass and both broken and straight rhythms. The tune may conjure up images of tropical flora and fauna.

A3 - Dawn Again, a faraway Australian artist, hits with the charming track “I’m Like a Bird" - a minimalistic style house tune with catchy rhythms.

B1 - Manhood is a collaboration of two Russian artists, Denis Kazakov and Lachetto.
The boys wrap us in delicate breaks with cosmic sounds, as if to remind us that we are not alone in this universe.

B2 - German musician Palmate continues the vibe with his dreamy and slightly lo-fi deep house "departure," which sounds like you're going home with happy recollections after a fantastic time with old friends.

B3 - The conclusion of this story will be presented to us by Dj Bigspin, a musician originally from France who now lives in Copenhagen.

He reminds us with his melancholic deep acid hous

Takeshi Fukushima, better known as Takecha, is an electronic music artist from Shiga, Japan. This producer with tons of experience has been creating music since the 1980s and running the label “Groove with Machine” since 1995. His expertly crafted sound is deep and thoughtfully layered, blending elements of electronic besides ambient music to create a unique and captivating story. From the pulsing rhythms and soaring synths to the immersive melodies and ambient soundscapes, makes it a must-discover to any fan of electronic music.

Sakskøbing is proud to celebrate its 20th release anniversary and welcome Takeshi’s latest offering, a collection of deep electronic music that is sure to captivate and entice. With his technical prowess and musical vision, Takecha has crafted a sonic journey that is both thought-provoking and mesmerizing.

We are very happy to welcome Richard Brook to our roster. This UK-based veteran, better known for the releases on Warp Records as part of the Wildplanet™️ duo in the 90s, opens the EP with “Caldera V” an emotional breaky workout with an acidic switch halfway through. The unpredictable rhythms and contrasting melodic elements are reminiscent of the golden Sheffield days. On the flip-side “Skaros” is a straight acidic workout with sinister overtones and a steady groove that will keep the dancer glued to the floor at all times of the night.

Platform 23 again explores to the dense voids, this time with a touch of the funk, with a reissue of Dutch experimentalists De Fabriek and two tracks from their "Music For" cassette series, this time calling all Hippies.

Featuring both original and reinterpretations from modern-day heads, Dunkeltier and Khidja, this double-pack is something of an oddity, showcasing the bands' expansive range, moving away from the noise, drone and industrial soundscape releases they had become known for and crafting here, free flowing, groovy longform jams.

Active since the late 70s to today, De Fabriek (The Factory) have never considered themselves a real band - being also a label too - with an evolving and irregular line up centred around Richard van Dellen, they present their music and output as a kind of work-union.

With literally four decades and dozens of releases across all formats, 1988's cassette release, 'Music For Hippies', has become something of a cult curio, with the long improvisational tracks, Lullabye and Coming Down eschewing the rougher, industrial experience for something completely different.

In opener Lullabye, we go full leftfield P-Funk meets Motorik undertones. An incessant beat is laid from the start and doesn't cease for over 10 minutes, while spoken vocals call closer to the Krautrock realms of Can and hark to Liebezeit's stylised grooving best.

Analog, echo washed, with touches of glam and wrapped in simple effects pedal work, the secrets are passed to Dresden / Berlin inhabitant Dunkeltier aka Sneaker DJ aka Thomas Smorek. His darker moniker, appearing on obscure edits for Macadam Mambo and the much-missed Bahnsteig 23, his 'Hey Robot' mix adds bass, percussion, strings and synth to remold Lullabye into a late night, red light, basement denzien. This is followed by an additional, bonus reimagining, creating an all-new time piece, an ear worm of the best kind with Tik Tok Goes The Clock.

The second slab presents in Come Down, a more resembling De Fabriek werk. Edited to fit, the darkness is entered as snapshot vocal quips, oscillations and synthesised mutations are laid over a lazy, relentless ostinato rhythm where cymbals crash on the bar. Inviting, calling, De Fabriek's aptly titled downer is in fact, a joyous journey.

To complete, label affiliates, Khidja take a break from finalising their debut album to unfold their 'Psychebabble Mix', a dozen plus minutes of warped, twisted, cassette machinations that suck the listener further along the trip. Added bass propels their edit suddenly to a new direction, a hook for mind and for the open willed, the body. De Fabriek's "coming down lullabye" arriving on vinyl for the first time, with a twist and shake, calling deeper to acceptance.