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Next up on Tofistock comes a MYKI release. tofistock home runner and producer energizing with 4 tracker dynamos programmed for a pure sense-floor bizz. Bringing up a rave thunderstorm A-side filled with rhythmic juggling work, crunchy stabs, and silky sneaky basslines. The elegantly rude B-side contains samples from the timeless UFO by ESG and his own reso master trademarks. This boutique toolpack is the essential firebone starter and the 1st in tofistock’s sense-floor new dance series.

Structured Records presents the continuation of their previous work, signed by The Wire Alliance, untitled "Mathspace."

The new EP consists of 4 solid and impactful Techno remixes, where the diversity within each track defines this 12-inch as the perfect tool to set the dancefloor on fire.

Silez, Swarm Intelligence, Rommek, and Irrational Language dive into a whirlwind of drones, aggressive rhythmic patterns, exquisite basslines, and other sonic elements that creatively and deeply dissect the original songs.

A compilation that at times sounds reminiscent of early 2000s Birmingham, while at other times injects a sound closer to IDM, all without straying from its own essence: precise Techno execution, without frills or pretensions but with a lot of personality and a clear direction—to provide timeless material for the most demanding DJs.

Structured Records' new release is here to stay in your record collections. And we're not just saying it, just hit play. We love what we do. Enjoy it.

Breezy headwinds, orange-tinged skies, hazy, serene bliss – just some of the profound feelings to be had on the latest release from Oath, a masterclass in melody and mood from one of the finest ever to do…..

Italian producer and DJ Jacy remains one of the stand-out musical characters from a dazzling ensemble of atmosphere builders who were so prevalent during the late 80s and early 90s. His craftsmanship is simply legendary, his music quite simply some of the finest to exude from this period of time, and of which is still making waves in the collective sands now. His dedication to the creation of emotive sweeps, gorgeous rippling tones and easy going, freeing atmospheres has remained a cornerstone of his sound, from the early days through to his excellent work on his imprint Home of House, along with sublime releases on Kalahari Oyster Cult and Hot Haus Recs. Jacy’s sound was broadcast to the world once again via Safe Trip’s ‘Welcome To Paradise’ compilations, where his inclusions were something that lingered long in the memory – an essential component of what is known as the ‘Dream House’ sound. It’s difficult to convey into words exactly how a Jacy record can take the listener, but perhaps it’s different for everyone – one thing can be agreed on though, it’s an experience like no other.

‘Night Fantasy’ is Jacy’s first EP in 4 years, and much like his other records, this one blesses us with warmth, delight and joy, in the softest and most subtle of manners. The title track, which opens up the record, greets the listener with a familiar drum pattern, one which then gives way to the rock-hard bass line, and then the pads arrive. Heavenly angelic in form, their presence is complimented by the arrival of the breathy vocal sample, which evolves to provide a wondrous narrative with the cascading synth line that comes soon after. As a combination its intoxicating, with the breakdown giving us time to get to know this mixture very well, indeed, before powering home with excellence. ‘Just Change’ comes on next, and this one opens up with that classic and explicitly dreamy chord sequence we all know and cherish, with Jacy allowing us to soak up this goodness before shifting the perspective to the rhythm. The interplay that occurs here between keys and drums is something different, before everything transitions into a sequence to close your eyes too. ‘Dat Tape’ shifts perspective to more of a swing in terms of the groove, with sweeping background pads doing much to tug at the heartstrings. The vocal sample is so very effective at crafting an audial narrative, inviting the listener to swim deeper into the goodness, with the subtle transitions doing much to keep things ticking over. Finally, we have ‘Come On’, and this one keeps a spacious feel between the keys and the drums, and it works ever so well. The bass line occupies the bottom ends superbly, with interchanges in chords and some ever-so-familiar vocal samples thrown into the mix – and its simply wonderful.

To convey deep set feelings is to have faith in musical dexterity, to understand the grooves in the record, to follow instinct and trust in the process and precedent. Jacy has always found the sweet spot in his music by following this approach, it seems, and this new record of his is an accumulation of a lifetime of dedication and passion to music and all of its many flavors. Soaring, effective melodic undulations and rapturous, fluctuating rhythms, coupled with atmospheres to drift into – what more could you wish for? Lets get lost within it once again….

Repress!

First ever reissue of "A la memoria del muerto" (1972), Fruko y sus Tesos' second album, featuring the soaring and soulful vocals of Cali native Edulfamid Molina Díaz, aka "Píper Pimienta". Produced by Fruko's uncle Mario "Pachanga" Rincón, the LP has an uncompromisingly stark, hard sound that is appealing to today's collectors of 'salsa brava' just as it was impactful on the Colombian scene when it was made. Unlike the first Tesos album, with a two-trumpet line-up and fairly simple arrangements, this more mature recording added another trumpet and two trombones for a more robust brass attack. Additionally, instead of basic salsa, there are many different rhythms - guaguancó, bomba, plena, oriza, bolero, cha-cha-chá, descarga and Latin soul. Includes the bonus track 'Tihuanaco' (a cover of Peruvian pianist Alfredito Linares), which appeared on the US edition of the LP. Presented in facsimile artwork and pressed on 180g vinyl.

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

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

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

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

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

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

Jake Muir's latest set of soft-focus, sensual electro-concrète, dissolves X-rated gay sleaze flick soundtracks into a shimmering suite of subdued orchestral flourishes and surreal cosmic psychedelia.

Back in 2020, Muir put together a 90-minute mix for Honey Soundsystem, blending tracks from Kelman Duran, DJ Olive, Daniel Lanois and Terre Thaemlitz with obliquely camp dialog samples from vintage gay porn. The idea was to represent queer sexuality in a looser, more experimental manner, grazing the super-sensory pleasure of the bathhouse experience and the illicit joy of cruising without getting too self-serious while doing it. The mix was so popular that Muir followed it up with a weightless sequel two years later, and began developing the concept into a proper album, using more samples of music and dialogue, eventually performing the piece at the esteemed GRM as part of their FOCUS #4 concerts alongside work by Eliane Radigue, Folke Rabe and Chris Watson.

Bathhouse Blues is split into two side-long pieces that wash and ripple with nervous tension and discreet salaciousness. Opening with a familiar theatre sting, there are echoes here of kosmische and experimental electronics on 'Cruisin’ 87', fashioned into puddles of syrupy, back-room ambience. Occasionally we hear lascivious words thru the fog, men mumbling to each other before sex. "That's beautiful," a voice mutters over a dusky cricket chirp on 'Pipe Dream'. "It is," another replies.

Muir's sonic treatment is suitably explicit, like a 1950s Hollywood jump-cut to a train going into a tunnel; he takes the whole-body, mutual release of queer sex and interprets it with heady gestures, peppering jazzy rhythmic frostings into basins of skewered drone and gurgling synths. His sound is coloured by the pleasure of physical touch, a mussy flux of high frequency scrapes and caresses juxtaposed with woozy, dubbed-out fondles and thrusts. Who said the GRM was buttoned up?

For fans of Brian May, Slash, Zack Wylde, Classic Rock and Guitar Heroes! The Guitar Zeus 25th Anniversary 4LP/3CD set is a massive collection featuring the greatest guitar players ever including Slash, Brian May, Ted Nugent, Yngwie Malmsteem, Neal Schon, Richie Sambora, Zakk Wylde and many, many more. With 2 never released tracks featuring Tommy Thayer of KISS and Derek Sherinian (ex Dream Theater). This is the ultimate collection for any guitar enthusiast, there is nowhere else you can find this many guitar greats on one release! Curated by drum legend Carmine Appice who set the grooves for the groundbreaking psychedelic debut by Vanilla Fudge in 1967. Post-Fudge, Bogert and Appice formed Cactus (seen as an influence on King‘s X and Van Halen). Post-Cactus, the rhythm section found Grammy winning Guitar Hero Jeff Beck to form the first supergroup: Beck, Bogert & Appice (BBA). One of the premier showmen in rock, Appice became known worldwide for his astonishing live performances, in addition to becoming a highly sought-after session drummer, recording with countless artists throughout his career. In ‘76, he joined the Rod Stewart Band, touring, recording and writing two of Stewart‘s biggest hits, “Do Ya Think I‘m Sexy” and “Young Turks”. He would go on to form King Kobra, tour with Ozzy Osbourne and Blue Murder with John Sykes (Whitesnake) and Tony Franklin (The Firm)

The visionary French musician stays true, in this third compendium too, to his path of planetary asceticism. A new treasure chest of secrets reveals to us the same spirituality of total experimentation, by balancing the universe and the inner soul. In Taste The Fullness Of Life Ariel builds his symphonic pillars toward the cosmos, eternal architectures that always smell of Indian fragrances. The music always communicates a state of full grace, spreading balms of bliss. An unprecedented whispered narrating voice, evident especially in Spiritual Chanson D'Esprit, is embellished with textures of harmonic bells, tropical flutes, spacey harmoniums and drones of mystical light. In the recordings of Going Inward, also made on the occasion of a Tantric workshop, Kalma oscillates between tribal electronic dances, metalic almost industrial rhythms, but then always falls back in a comfort zone made of desert carpets of synths and baths of sound (gong/bells). Harmonica Galactica crowns interestellar dreams with unscrupulous drum-machine gears and pulsing saxes, superb use of VCS3 with arabesque and Schulzian overtones, and suave touches of fingerpicking guitar with freak vibes typical of psych-folk.

Formed in 1999 by bassist Jim Barr and drummer Clive Deamer, best known as the rhythm section of seminal act Portishead, award-winning Bristolian jazz-rock disruptors Get The Blessing present their seventh studio album 'Pallet' Like most artists around the world, the pandemic forced the ensemble to rethink their creative processes. Born from a series of improvisations between Barr, Pete Judge on trumpet and Jake McMurchie on saxophone, the trio built up a rough portfolio of recordings which they then sent to Deamer, who added his drum parts at home in Oxfordshire. The result is nine minimalist compositions driven by groove, texture, electronics, and spontaneity. Built around the hypnotic loops that have become synonymous with their sound, 'Pallet' is an exploration of the nexus of improvisation and modern production. Grounded by thick, punchy bass lines and playful drum grooves, the record creates deep sonic spaces through the use of dizzying delays, squelching filtered loops and trails. The album's title owes much to the obtuse punning jazz musicians have enjoyed since the '50s; the song titles conjure up an imaginary colour chart with which the listener can fill in the paint-by-numbers image of a wooden pallet on the cover art

Echolocation is the astonishing debut album from Mendoza Hoff Revels,
an electric & formidable new unit led by Ava Mendoza (electric guitar,
compositions) &Devin Hoff (electric bass, compositions) and featuring
James Brandon Lewis(tenor sax) & Ches Smith (drums)
A super-group of our time, all profound creative artists in their own right, rocking
mightily together, in their prime. 21st Century progressive rock played by punk
rockers with serious improv skills & jazz feel. And non-stop wicked catchy tunes,
riffs & grooves.
Strong sonic references are The Stooges' Funhouse, rendered by a band readily
adept at rapidly swinging rhythmic & harmonic shifts, (plus tenor sax on every
track!) and also Minutemen, both their whole body of music & their fundamental
egalitarian punk ethos.

The Colombian band Frente Cumbiero from Bogota has been successfully mixing traditional cumbia rhythms with more contemporary music trends for a number of years, creating an unusual end product. At the Javeriana Universidad of Bogota, in 2010, there was a productive meeting between the four-piece band and some local musicians with Mad Professor. After three work-intensive days, the recordings were in the can.

Out on a limited sold out double Lp, and a sold out 7” inches box set, we're so honored to repress 2 songs from this masterpiece on a single 45 vinyl.


Made with Love and cut it loud for your ear pleasure.

Edition of 600 copies, coming in a black paper sleeve with sticker.

Pressed on high quality Black and Yellow vinyl wax (40 gr.).

Copenhagen's Terry Tester (Brownswood / BBE) merges his love for Midwest house and cosmic funk butter on four-tracker 'Space Million' for Creak Inc., journeying through dream state deep house, gritty MPC workouts and low-end boogie territory for an undeniably original take on four-to-the-floor rhythms.

Within Terry Tester's two-decade long career as a turntablist and beatmaker his eminent take on house, hiphop and soul has been commissioned by Gilles Petterson for his 'Bubblers' compilation series on Brownswood Recordings, Jahi featuring american neo-soul singer Dwele, and Marc Mac (4Hero, Visioneers, Nu Era) on BBE remixing alongside DJ Jazzy Jeff, as well as releasing two full-length solo albums 'Horses and Diamonds' and 'Short Suite'.

Unnion takes off with its first EP featuring a compilation of four spanish artists with different styles and a unique common thread, living up to the platform's name.
The album kicks off with Tadeo's offering, titled "The Second Part", where we can immediately hear the artist's personal touch: a lot of funk, solid sounds, and attention-grabbing elements that go straight to the dance floor.
The second track comes from Unkle Fon, titled "Eltzegor." It's a soaring journey towards a climax filled with synthetic sounds and hypnotic developments that create a unique sense of motion.
Moving on to the third track, we have the contribution of Not A Headliner, titled "Cricket Circus." It features an atonal sensation accompanied by a groovy rhythm in which the interplay of sounds transcends the norm.
Closing the album is Irazu's proposal, titled "Quietly," which presents itself as a singular, monolithic, and raw option, overwhelming like a locomotive and ready to crush any obstacle that dares to stand in its way."

Repress! We at Now-Again unearthed so much information about the bands that recorded the definitive disco and modern soul contained in our recently launched Soul Cal anthology that we decided we had no choice but to release an album and a book at the same time. Well, following that line, the music contained on Loving On The Flip Side music is too damn good to be anonymously relaunched, decades after musical visionaries blended the best of heavy funk and sweet soul into a unified whole. And simply telling the stories of these vocalists and bands without allowing their lovelorn pleas to be heard again wasn’t an option. Thus, Loving On The Flip Side again offers the enthused a chance to listen to, read about and reflect on another great burst of black American creativity: the creation of the sublime
genre we like to call “sweet funk.”
It seems laughable to skip past Thomas East’s “Slipping Around” 7” for the cheesy funk of ‘Just A Trip,” or to listen obsessively to Lou Ragland’s instrumental funk on the Hot Chocolate LP and ignore his indolent-yet-stirring “We Had True Love.” Yet we did just that, until we first heard the Darling Dears and Funky Heavy’s beautiful
two-sider nearly ten years back. This was the record that set Loving On The Flip Side in motion, as the Darling Dears and Funky Heavy’s two songs precipitated the sweet funk genre: the dichotomy of Funky Heavy’s skull snapping rhythm section and the teenage Dears’ angelic harmonies didn’t sound like anything we’d heard before. That discovery set off a decade long search for the band and culminated in their discovery, the documenting of their stories, the emergence of their master tapes and the inclusion of their songs on Loving On The Flip Side.
The excitement we felt while listening to the Darling Dears and Funky Heavy’s masterworks forced us back into the field, in search of other sweet funk swooners and beat-heavy ballads to round out this anthology. The opportunity to present anew such wondrous soul music made the exhaustive process that produced Loving On The
Flip Side worthwhile, and allowed us to collect one-offs that escaped prior investigations into the deep funk and sweet soul genres.

There's a new band in town! comforter2 is the new baby of Meetsysteem, Tammo Hesselink & Marianne Noordzij. Born from a residency space in Arnhem as they we're being snowed in over the pandemic, comforter2 is a band for club heads and a club act for band heads. Sometimes two worlds meet - and through this conversation love is found - that's a quote from the album > there's a lyric sheet included with the cassette so you can read along. If you're familiar with their solo projects you won't be surprised by the size of this debut; 16 fresh, club-leaning, indie pop/rock tunes that we'll release on cassette as well as digital. The tracks are formed by all members: Tammo's knack for bass and rhythms, Meetsysteem's song- writing skills (the album is sung in English) and together by Marianne's designs and voice, adding a touch of blissful psychedelia. It's an honest, upfront album about the highs and lows of modern life, seen through the eyes of a raver at their peak. It lends their sound a sense of alluring melancholy, a beautifully bittersweet sense of mood that stays with you long after the rhythms have finished. Like lullabies, for the dancefloor.

Following up on their highly acclaimed debut release from 2020, raster presents Il Quadro di Troisi’s “Remixes” album, an eclectic collection of reinterpretations of eight of the duo’s tracks. By inviting fellow label artists as well as friends and long-term collaborators to contribute to this, “Remixes” shows a broad spectrum of diversity, ranging from colorful, loop-based renditions by Toulouse Low Trax and Tropicantesimo, to (Italo) disco-inspired versions by Daniele Baldelli & Marco Dionigi and Chloé, to more rhythmical and functional tracks by AtomTM, Dasha Rush and Front de Cadeaux. The album also includes a dub-infused reinterpretation of “Il giudizio” by the artists themselves. “Remixes” will be out on raster on August 18, 2023 as 2xLP and digitally. The record’s artwork was contributed by Spanish graphic designer Alicia Carrera.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 2 contains a wealth of notable tracks and slept-on gems. These include Q’s ‘From Within (Body Mix)’, a lesser-known cut from the trio better-known as Quazar (Gert van Veen, R.o.X.Y co-founder Eddy De Clercq and Eric Cycle), Eric Nouhan’s melodic masterpiece ‘Technobility’, which is appearing on vinyl for the first time since 1994, and a rare collaboration between regular production partners Maarten van der Vleuten and Mike Kivits (better known as Aardvarck), which was initially released on a special R&S Records’ offshoot set up by the label’s co-founder, Renaat Renaat Vandepapeliere (Integrity II’s ‘Living In Fantasy’).

Other highlights include Exposure’s ‘Love Quest’, a highly sought-after 1991 track by The Hague-based DJ/producer Maurits Paardekooper, and an ambient-infused Andrew Weatherall favourite originally released by Stealth Records in 1993, Hole In One’s ‘Spiritual Ideas For Virtual Reality’.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 1 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 3 is packed with in-demand tracks and hard-to-find gems, including a previously CD-only cut from Dutch techno originator Orlando Voorn (1999’s ‘Still’), a genuine rave classic from The Hague by hardcore DJ Charly Lownoise as Fluxland, and a killer cut from prolific producer – and genuinely influential pioneer – Aad De Mooy AKA D-Shake. He’s represented on this volume by Paradise 3001 cut ‘Surfin The Cuban Waves’, which first appeared on ESP Records in 1993.

Other highlights include Direct Movement’s ‘Natural Chemistry’, a sought-after slow house cut produced by Dennis Buné, who had an enormous impact on the Dutch house scene as Jaimy, and ‘Delphi (Rewaxed)’ by NYX, a highly regarded and hard to find single from former new wave and synth-pop producer Bart Barten, and occasional studio partner Hanz Meyer.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 3 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

Garçon Voyage is the first single in French from Courrier Sud's upcoming EP on Délicieuse Records. The song paints a fresco of that special and unsettling moment at the beginning of a relationship when one of the two falls in love, but isn't sure if they'll be loved in return. Its rhythm is heady like a beating heart, set to a mix of minimalist synths, somewhere between Metronomy and Flavien Berger.

Jeder, der genau hinschaut, kann erkennen, dass Cincinnati, OH, derzeit eine wahre Brutstätte musikalischer Kreativität ist, und die drei Mitglieder von The Serfs - Dylan McCartney (Gesang, Perkussion, Gitarre, Bass, Elektronik), Dakota Carlyle (Elektronik, Bass, Gitarre, Gesang) & Andie Luman (Gesang, Synthesizer) - und ihre jeweiligen Nebenprojekte (The Drin, Crime of Passing, Motorbike) sind unbestreitbar im Zentrum der New-Underground-Szene von Cincinnati. Nach der Veröffentlichung von Alben auf dem Berliner Minimal-Synth-Label Detriti und dem in Seattle ansässigen DREAM Records im Jahr 2018 bzw. 2022 macht die Band für ihr drittes und bisher bestes Album den Schritt zu Trouble In Mind. "Half Eaten By Dogs" gibt dem modernistischen Twitch von Future-Forward-Bands wie Total Control oder Cold Beat sowie dem post-industriellen Dancefloor-Grime von Skinny Puppy, Dark Day, This Heat oder Factrix einen entschiedenen Midwestern-Spin. "Half Eaten by Dogs" ist ein Blick durch ein Fernrohr in eine dystopische Vision, in der eisverkrustete Synthie-Harmonien triefende chemische Rhythmen und aufgebohrte elementare Rockformationen beherrschen. Die Musik ist eine Mischung aus düsterem Drum- und Synthesizer-Industrial und stygischen Gitarreninstrumenten, mal mit vorsichtiger Paranoia, mal mit melodischem Trotz und Ausgelassenheit (und in manchen Momenten mit Mundharmonika, Saxophon oder Flöte). "Half Eaten By Dogs" fasst erfolgreich alles zusammen, was The Serfs bisher erreicht haben, aber mit weitaus größerer Absicht und Zielsetzung als ihre vorherigen Alben. Es gibt Songs zum Tanzen und Songs, die man während eines Sturms oder beim Fahren durch die Straßen der Welt in sich aufnehmen kann. Es mag für die Band ein weiterer Schritt hinunter in die Katakomben sein, dabei aber auf dem Weg zu etwas Höherem.