Suche:rhythm

Released only eight months after his exhilarating debut, Bruce Springsteen's The Wild, the Innocent & the E Street Shuffle contains rousing dispatches from the boardwalk, the street, the beach, and the bedroom. It explodes with energy, dares to dream, teases with humour, crackles with tragedy, clings to hope, and overflows with discovery, youthfulness, and personality. It features an unforgettable cast of characters — corner boys, teenage hustlers, doomed lovers, jazz men, junk men, factory girls, fortune tellers, alley cats, pimps, escorts, and more — illuminated by vivid colour, breathtaking detail, and poetic action.

Musically, the heartfelt 1973 record is inhabited by sympathetic vignettes and cinematic arrangements steeped in rock 'n' roll, soul, jazz, and R&B. It finds the New Jersey native looking beyond the parameters of his preceding record and seeking to move on from environments he knows well (and chronicles here) by rushing headlong toward unknown territories, adventures, and people. Underpinned by the singer-guitarist's ambitious poetic enterprise and will to succeed, The Wild, the Innocent & the E Street Shuffle is the album on which Springsteen becomes the Boss.

Mastered on Mobile Fidelity's renowned mastering system, pressed at RTI on MoFi SuperVinyl, and strictly limited to 7,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP set is the definitive-sounding version of Springsteen's sophomore record. Benefitting from SuperVinyl’s nearly non-existent noise floor, superb groove definition, and dead-quiet surfaces, The Wild, the Innocent & the E Street Shuffle plays with a clarity, energy, presence, and openness that complement the expressiveness, dynamics, and scope of the seven restless songs that comprise a work Rolling Stone ranked the 345th Greatest Album of All Time.

Beyond the audiophile sonics that practically place you behind the console at 914 Sound Studios — listen to the separation between the instruments, natural decay of the notes, interplay within the widescreen soundstaging, and nothing-to-lose youthfulness of Springsteen’s voice — this reissue takes seriously this record’s influential merit by presenting it in packaging that underlines its status. Tucked in a beautiful slipcase, the LP is housed in a special foil-stamped jacket with faithful-to-the-original graphics. This reissue is made for listeners who prize sound quality and who want to engage themselves in everything involved with the invigorating set that busted Springsteen loose from the club circuit and landed him on the radio

Determined to liberate anyone within earshot and unafraid to come on strong, The Wild, the Innocent & the E Street Shuffle serves as the debut of the E Street Band — not only heard but seen for the first time by most of the public courtesy of the back-cover photograph. This is where saxophonist Clarence Clemons, organist-accordionist Danny Federici, and pianist David Sancious step out of the shadows — and drummer Vini Lopez and bassist Garry Tallent again stoke a fiery rhythmic engine that helps drive the untamed, reimagined big-band swing of “Kitty’s Back,” breathless R&B thrust of “Rosalita (Come Out Tonight),” and carefree dance steps of the funky “The E Street Shuffle.”

Of course, the main attraction remains a then-24-year-old visionary on the precipice of becoming a sensation and turning a then-bloated rock scene on its head. Recorded over three months while Springsteen and company were busy touring his debut LP, The Wild, the Innocent & the E Street Shuffle reflects the high-octane approach the vocalist embraced onstage and drifts away from the label-dictated acoustic-based frameworks of his debut. The set also witnesses Springsteen deepening his observational skills, with narratives such as the romantically tinged “4th of July, Asbury Park (Sandy)” and redemptive epic “Incident on 57th Street” mirroring changes taking place in the singer’s own life, small towns, and America at large.

A thrilling collision of memories, reflections, and composites — Sandy, Rosalita, and the latter’s parents are all based on actual people Springsteen knew, as is the community depicted in the opening track — the aptly titled The Wild, the Innocent & the E Street Shuffle resonates decades on due to its truths, authenticity, and spirit. Those characteristics — as well as the fact that many of its lengthy songs come on as the equivalent of sweaty, feverish soul revue that won’t stop until you’ve been exhausted — also explain how this now-iconic album triumphed over the reservations of industry “experts” that both demanded Springsteen re-record it and instructed deejays not to play it.



Yet there’d be no stopping a record that saw the past, present, and future, a band whose will would not be denied, and a phenomenon who was born to run. A never-ending invitation to act real cool and stay up all night, The Wild, the Innocent & the E Street Shuffle always feels alright.

Sydney Northern Beaches' very own hard-biting rockers C.O.F.F.I.N are proud to announce their fifth full-length studio album entitled 'Australia Stops', the highly-anticipated follow-up to their monumental 'Children In Finland Fighting In Norway' album from 2020. Due for release on September 15th 2023 via Bad Vibrations in Europe, the new album comes off the back of the band's world tour with Amyl and the Sniffers in 2022, and their recent UK headline dates this May where C.O.F.F.I.N stunned audiences with the high-intensity rock action they are renowned for. 'Australia Stops' was recorded in January 2023 at The Pet Food Factory studio with producer Jason Whalley (Frenzal Rhomb) behind the desk. A record that showcases a collection of diverse and gripping new works that highlight the band's evolution into more melodious, 1970's Australiana and boogie rock and roll. Frenzied, high-voltage guitars, thumping rhythms, flowing melody and clever, captivating lyrics exhibit an undeniable progression in composition and songwriting, while still unmistakably the C.O.F.F.I.N that fans world-wide have come to worship over their 18-year lifespan. 180g green vinyl, printed inner-sleeve, download card included

Patterns / Threshold, a collaborative split offering from Mesure Divide and Esse Ran, plunges the listener into a disquieting expanse of undulating rhythms and transmuted textures. Here, melodies and harmonies dissolve, fracturing into a heavy, systolic throb that whispers of superposition and entanglement.

Lush synthesizers shimmer with a noetic luminescence, their tones arching and bowing alongside relentless cyclical beats and sloshing electronics. Refractions of rave culture thrumming in stillness, their ecstatic energy dissipating into a radiant hum - a melancholic undercurrent born from the tension between fleeting exuberance and enduring inanition. This is a realm of heady paradox, where rigid structure and fluid intuition converge.

The artists navigate this liminal space with masterful precision, guiding the listener through a landscape of aural oscillations. Perception teeters on the edge of the concrete and the ephemeral; perception dissolves; reality grows soft at the edges.

Patterns / Threshold will be released on physical vinyl records and bandcamp only. No streaming, no bullshit.

Introducing "Show of Force", the latest creation from label head Kessell. Set against
Granulart's careful work, this vinyl release is a fusion of raw energy and refined precision, featuring tracks that pulse with rhythms and intricate layers, showing off Kessell's signature style.

Crafted with care, the vinyl itself is a work of art. A blend of crystal clear transparency, solid yellow warmth, and bold black accents, adding a visual dimension to the auditory experience.

Lock on for a legit excursion into 140 realness as Sneaker Social Club welcomes Silas into the fold. The breakthrough Oxford beatsmith has been on the bubble-up for a minute, facing off with the likes of Trends and Boylan on Mean Streets, remixing PRAGA and throwing down for repeat appearances on Rinse and elsewhere.

The sound Silas pushes on the ‘Wot’ EP - his debut solo 12” no less - is steeped in the original dank pressure of OG grime and dubstep, where moodiness and minimalism create the perfect storm for all-consuming soundsystem immersion. There’s a wavey swing to ‘Know Yourself’ which contrasts with the strict, claustrophobic drive of ‘Wot’. ‘Ubuntu’ on the flip teases an evocative sound world just past the edge of the mix, but manages to hold down the stripped back approach on a skippy 4/4 rhythm which nudges garage into a kind of tech-house-funky amalgamation. ‘Make It Happen’ offers yet another subtle slant on Silas’ style, crooked and gritty but still executed with
an unrelenting, austere focus.

Consider this an essential pin dropped on forward-leaning bassweight sounds which carry the torch for grime and dubstep’s ice-cold origins, maintaining maximum presence without even a whiff of derivative wobble.

Co-founded by Detroit natives Rahill Jamalifard and Lenny Lynch, Habibi got its start in Brooklyn in 2011, earning early raves every- where from Pitchfork and NME to All Things Considered and The New Yorker, who praised the band for infusing “the Colgate-white glisten of sixties-girl-group pop with an uncensored edge.” Dreamachine, Habibi’s mesmerizing new record releasing on Kill Rock Stars, marks a major sonic evolution for the band, rising beyond the critically acclaimed five-piece’s garage rock roots to arrive at a singular swirl of analog and digital elements that underpin their search for spiritual and physical transcendence. Produced by Tyler Love and longtime collaborator Jay Heiselmann and featuring MGMT multi-instrumentalist James Richard-son, the collection draws on a mix of post-punk, experimental pop, and vintage disco, calling to mind Tom Verlaine, Diana Ross, Kate Bush, and Kim Deal, all filtered through the band’s shared love of Middle Eastern psych music. The songs here are their own distinct worlds, each an immersive quest in pursuit of something greater, and the band’s performances are relentless and hypnotic to match, driven by lush synthesizers, sinewy guitars, and a muscular rhythm section. The result is a record as fearless as it is enthralling, an alternatingly fierce and joyous work that ascends to new heights as it reckons with desire and escape, love and surrender, rebellion and reality.

The Gothenburg, Sweden based psychedelic rock combo Hollow Ship returns with Animated Music, a new EP and the follow-up to their acclaimed 2020 debut LP Future Remains which was praised by ex Prog Magazine, Shindig! and Raven Sings the Blues. With the band’s unique rhythm-driven blend of psychedelic rock and prog, with traces of jazz and hard rock as well as a myriad of other influences, at he forefront Animated Music pushes the band further into the instrumental realm than before. A cinematic journey over the space of 20 minutes, the music was originally written as an aural companion to the band’s Space Motion show visuals before being reworked into the shape of the Animated Music EP. With the band’s upcoming second full-length due in the winter, Animated Music showcases the band’s instrumental storytelling at great effect, further establishing the band at the orefront of the Swedish psychedelic scene alongside luminaries such as Dungen and Goat. Animated Music is due out on May 31 via Swedish indie label PNKSLM Recordings (7ebra, Chemtrails, ShitKid etc) on limited edition splatter vinyl (limited to 500 units worldwide) and digitally.

"Like Water" is the new album from Jasper Høiby, a luminary in the realm of contemporary jazz and the mastermind behind the celebrated piano trio Phronesis, renowned for its electrifying live performances and critical acclaim across Europe. Høiby, with his latest project, introduces "3 Elements," featuring the gifted Chaerin Im on piano and the versatile Jamie Peet on drums. This new assembly not only draws inspiration from the foundational strengths of Phronesis but elevates the ensemble's synergy to new heights, showcasing a more refined and cohesive sound that distinctly echoes Høiby's bold and charismatic sonic identity. While Phronesis has been celebrated for its dynamic interplay and innovative compositions, "3 Elements" presents a more singular vision of Høiby’s artistry, melding the complexity and depth of his musical influences with a fresh, unmistakable vigour. The lineup brings together an exceptional blend of talent and creativity, with Im's evocative piano lines and Peet's dynamic rhythms perfectly complementing Høiby’s profound bass undertones. Together, they create a sound that is not just an extension of Phronesis's legacy but a distinct declaration of Høiby's evolving narrative in jazz. "Like Water" stands as a pivotal work in Jasper Høiby’s illustrious career. The album skilfully bridges the realms of innovation and tradition, marking a significant chapter in his journey as one of Europe’s most charismatic contemporary composers, bandleaders, and bassists. With "3 Elements," Høiby not only cements his legacy but also redefines the essence of the piano trio format for the modern era, making this album an essential milestone and a testament to his visionary approach to music.

Es fühlt sich an wie eine Infusion: die Kochsalzlösung strömt durch die Kanüle in dich hinein, ist aber etwas kühler als deine Körpertemperatur, deshalb breitet sich diese angenehme Kälte in dir aus. Klar, diese Infusion ist die 7"-EP von MANTAROCHEN, dieser lichtscheuen Kreatur aus den Untiefen der Leipziger Unter(wasser)welt. Die verhuschte Gitarre, grobkörnig verpixelt wie eine VHS-Kassette aus den 80ern, flangert sich durch ein Labyrinth aus melodisch-organischen Bassläufen. Die Rhythmusmaschine treibt die sechs Songs gnadenlos und nonchalant an den Abgrund. Seltsamerweise hauchen die Synths keine zusätzliche Kälte ein, viel mehr hüllen sie den Coldwave in eine wärmende Decke. Keine Kuscheldecke, eher eine dieser gold-silbernen Folien-Rettungsdecken. Über all dem schwebt eine distanziert, unterkühlte Stimme. "Alles wird gut, es ist bald vorbei" scheint sie dir zuzuraunen. Doch es werden tiefe Wunden besungen und die Sehnsucht, den Ballast und die ganzen Banalitäten hinter sich zu lassen. Das jedoch völlig unverkrampft. Die Tragik lauert zwischen den Zeilen, während sich dein Verstand schon im Bann der Hooklines verabschiedet hat. MANTAROCHEN, das sind Diana, Sebi und Tom. Alles ist selbst aufgenommen und gemixt. Das Mastering übernahm Jean-Baptiste Meyrieux (u.a. in Broncho Libre & Laxisme aktiv). Die 7"-EP erscheint am 31.05 auf It's Eleven Records.

The Slovak band Shallov releases their new track "Refrain" on the experimental label Weltschmerzen just one year after the release of "Coexist". Two tracks that both span more than 10 minutes in length, work together as one coherent audiovisual art piece and are out as an EP on 10" vinyl. Music videos do not only visually supplement both tracks but they are equally autonomous art pieces.

The visual feature of the music pieces is highlighted by the vinyl's cover painted by Slovak artist Michal Fízik. The previous back cover carries a photograph which served as an inspiration for the painting while the current back has been created via AI reinterpretation.

The musical component of Refrain is based on a repetition building into a hypnotic trance, gradually disintegrating so it eventually ends in a monumental climax. It contrasts the band's previous work as well as the track Coexist which uses rather neverending rhythmic variations, and a changeable vibe and atmosphere.

The concept of the visuals in Coexist is a result of a collective fusion between the theatre director Adam Dragun, Viktor Ori and dozens of other participating non-actors. The video depicts individualistic egoist actions shaping a contradicting and incomprehensible totality of the world which ultimately seems to be alienated to everybody.

Refrain is an introspective journey leading to the dissolution of the individualistic experience of human existence. The video's concept, direction and production was conducted by the visual artist and performer Jak Užovič who also tends to inter-media art and object installations.

As Shallov and Jak Užovič explain the track's conceptual background: "The idea of owning one's own body and mind is an unnatural way of looking at ourselves imposed by the dominant paradigm. It's a blind ideology - the view of a body as a machine or a commodity is incomplete and represents a materialistic utopia which is being systematically internalized. We're not a community that acts right or wrong, our intentions are determined by an ideology which pretends not to exist - our relations are relations of masters and slaves, of domination and exploitation. We are a society bound by these features and even though we refuse to admit it, the world presented to us is only a legend we're striving to keep alive at all costs, while believing that there is no alternative. Our quality doesn't stem magically from the inside, on the contrary, it's determined by the conditions within which we interpret it through collectively shared fictions. We don't get to know our consciousness through ourselves, but we recognize it through others as they create and form us."

"Listen to This." As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered music history, and, more than five decades after its original release, still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant outlet among the 100 greatest albums ever made in any genre. Sewn together with vibrant colours, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail on Mobile Fidelity's definitive 180g 33RPM 2LP set.

Sourced from the original master tapes and pressed on 180g vinyl at RTI, this numbered-edition version of Bitches Brew joins the audiophile ranks of other essential Miles Davis sets reissued by Mobile Fidelity. Having established new possibilities for studio-recording techniques, the record can now be experienced to maximum degree by way of a pressing that widens and deepens the soundstage, opens up separation between instruments, and broadens the dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.

Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves later spliced together by producer Ted Macero. On this reissue, these creations take shape with utmost realism. Compositions stretch across black backgrounds and paint abstract canvasses on par with those of Axis: Bold As Love and Abraxas. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.

And "verve" defines Bitches Brew. Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard." Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that thrusts rhythms into central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures with quixotic rock, funk, and R&B elements.

Conceptually, Davis described Bitches Brew as "a novel without words" and "an incredible journey of pain, joy, sorrow, hate, passion, and love." The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of this watershed effort lies in how it resists definitive interpretation and encourages free thought — the very principles with which Davis conceived the everlasting beauty and fascination that remain Bitches Brew.

A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.

Pressed at RTI, this 180g 45RPM 2LP set of E.S.P. renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.

For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' line-up. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here – notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time – and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.

As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.

Interlocking lines drive "Little One," alternating rhythms pulse through the funky "Eighty-One," melodies soar on the balladic "Iris," the aptly titled "Mood" broods over minor-key structures, and "Agitation" – goosed by a two-minute percussive introduction by Williams – delivers on its promise. No record – and no group of musicians – have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.

Available on “Green Tea” colored vinyl, limited to 300. Remixed by Chris Teti & remastered by Kris Crummet for 10th Anniversary. Recommend If You Like: Prince Daddy & the Hyena, Into It. Over It., Blink-182. Maybe it always had to be this way. Posture & the Grizzly formed in Connecticut, in '08, and churned out a couple of demo tapes before dropping their debut LP in early 2014. Busch Hymns was scrappy and raw, all weed smoke and pent-up fury. Songs like "Egg Nog Drunk Off Hilary Duff's Piss" (yeah) and "You Know I Know What You Did Last Summer" exemplify the band's charm perfectly crystalline, wobbly leads ready to burst under bouncy hooks equal parts snarl and singalong. Just a glance at the tracklist lets you know what Posture & the Grizzly's all about: eight goofily titled songs in and out in eighteen minutes. Just in time for the LP's tenth anniversary, it's been given a remix by The World Is…'s Chris Teti, who originally produced and engineered the album back in 2013, along with remastering from Kris Crummett (Knuckle Puck, Dance Gavin Dance). Sometimes when an album like this is remastered, it loses some of its charm; the gloss crowds out the grit, the whole thing is recolored a bit too bright. But not so on Busch Hymns—these songs are crisper, but that doesn't mean they're cleaner. J. Nasty's throaty howls are as ragged as ever, but this time around they stand out against Piss Malone and Cabbage Pile's rhythm section, no longer straining for spotlight but basking in it. Their sound would get streamlined a bit over the course of their next two albums, I Am Satan and Posture & the Grizzly, replacing some of Busch Hymns's bite with a clearer-eyed sparkle and a newfound melodicism. Busch Hymns stands now as a document of the cult punks' early days, a transitional period from their throat-shredding demo days to their all-too-brief time as a pop-punk juggernaut. It's clearer than ever with the Busch Hymns remaster that Posture & the Grizzly was meant to sound like this, was meant for more than basement shows and beer-soaked floors. In this light, Busch Hymns is more than a transitional period; it's a glimpse into the greatness to come. So if you're sick of listening to modern punk too, then quit it. Listen to Busch Hymns instead

"Trails" is a 7-track EP by Guitarist and composer Robbie Belchamber, which draws upon elements of jazz, brazilian, west african and folk music. The compositions are centered around the soft timbre of fingerstyle nylon-string guitar, with subtle arrangements incorporating voice, flute, percussion, mandolin, accordion and electric guitar filling out the texture.

"During lockdown I spent a lot of time exploring Melbourne's northern waterways, riding my bike along the Birrarung, Darebin creek and Merri creek. These opportunities to slow down, reflect, observe and spend time in nature formed the genesis of many of the compositions. "Trails" sonifies these experiences, the bubbling rhythms of water, melodic inventions of currawongs and magpie-larks, pervasive scents of the bush, all changing with the seasons."

"Trails" is the first release under Robbie Belchamber, and features collaborations Melbourne musicians such as Lucky Pereira (Glass Beams, 30/70), Hannah McKittrick, Grace Robinson (Empress), Moses Carr, Aidan Ryan (NoLess) and Erica Tuccerri.

Eszaid imagines the sonic paranoia of discovery with Brumes, a 9 part movement for FELT that coalesces industrialised murmurs from the currents of cavernous creep.

An electronic complexion shaded dusk haunts Eszaid’s output. Previous releases on L.I.E.S., Worship and his own Collapsing Market label exemplified a shutters-closed style of rhythmic and melodic variance that teetered on techno-related realities with the lights kept firmly off. The Avignon-based artist lands at Fergus Jones's FELT stable to further the imprint’s unpredictability, coaxing some of his most perturbed oddities yet with Brumes.

The mythologized voyage of Pytheas to the island of Thule provides the abstracted blueprint for Brumes’ 9 parts. Each movement is born of soundscapes inspired by envisaged scenes of his trip to the North, an aural construction of interpretation. Eszaid unwinds tense metronomic rhythms within sparse sound environments, sprung with globular textures of motorik warbles and darkside atmospherics. Its minimalist beat complexions are buoyant by an abstracted fear of the unknown, tracks defined by bobbling industriale, Gregorian dub and atonal menace. It’s an alternative experience to the often faux-jubilance of expeditious revelation, and something that will resonate long after Nord’s beatless modulation fade out.

Some songs are so ingrained in our consciousness that they are immediately identifiable upon hearing one or two notes. Featuring one of the most indelible riffs ever played, Foghat's air-guitar anthem "Slow Ride" is such a tune. The hit single turned the British band into stars and catapulted 1975's Fool for the City up the charts. And what a ride it is.

We hear a lot of yearning today about the good-old, glory days of rock and roll, the simple kind that just locked into a good beat, turned out a raunchy groove, and simply kicked you in the butt. The no-pretense type meant for kicking back, letting loose, and surrendering to the melody. Bare-bones music that doesn't need image or looks as a crutch.

Well, this is it, friends, classic meat-and-potatoes 70s rock that comes with killer slide-guitar solos, crunchy leads, driving rhythms, and soaring vocals. No need for any further instructions or explanations. The pact between artist and audience is understood. Here, the band trusts that you know what to do and is ready to rock out with anyone in earshot.

Pressed at Fidelity Record Pressing, Mobile Fidelity's remaster of this Foghat gem bring to the surface the band's marble-solid sturdiness and bluesy structures like never before. Bass notes are thicker and richer, the dual guitars bite and snap, and Lonesome Dave Peverett's singing comes across with realistic grit. This LP invites you to hear and feel the energy Foghat brings to the boogie-infused title track, great cover of the Righteous Brothers' "My Babe," and, of course, the everlasting "Slow Ride."

Almost a year on since his Blueprint Records debut, the London-based Brazilian, Vinicius Honorio delivers the follow-up to "Sem Rumo".

With a storied history in DJing and producing, starting in Rio de Janeiro as a D&B selector before settling into London's techno sphere, the Brazilian producer pens dark and dubby textures. Delivering releases on his own label, Liberta Records as well as the likes of Modularz, Mord, Token and of course, Blueprint he has displayed his penchant for trippy and foreboding techno whilst encapsulating the energy and passion that have come to be synonymous with his style. A style that also permeates his DJ sets which he's taken around the globe.

"Ominous Music" features four hard-hitting Techno tracks characteristic of his style.

(Jam El Mar Remix) DJ Ghost and Robert Armani resurrect their hugely popular turn-of-the-millennium collaboration with the superb ‘Hit Hard Baby (WTF)



DJ Ghost and Robert Armani resurrect their hugely popular turn-of-the-millennium collaboration with the superb ‘Hit Hard Baby (WTF)’. A formidable duo when it comes to churning out mind bending techno and hard-edged grooves, these guys first got together in 2001 delivering the bouncy vibes of ‘Hard One’ followed by ‘Airport’ and ‘Funk That’, all of which got included on a raft of compilations and enjoyed by many around the world. Individually they are accomplished in their own right. Ghost is an iconic figure in Belgium and a stalwart within the Bonzai family. Robert Armani needs no introduction, ‘Circus Bells’, ‘Ambulance’, ‘Hit Hard’ anyone? Since the mid-eighties he’s been right up there with DJ greats, and in 1992 he started releasing his own brand of house, acid house and techno. Legend is an understatement when it comes to both these guys and we’re delighted to see them back at it in the studio once again.



The release opens with ‘Hit Hard Baby (WTF)’, introing with dark kick drums and raspy hi hats. Classic techno percussions weave intricate patterns as tension mounts, taking us to the break where hypnotic notes build alongside a snare roll to the drop and back to full-on dark mode for the duration. ‘The Underground’ is up next, combining sick techno grooves with massive rave stabs and murky acid lines. Powered by a solid drum arrangement that packs a punch, this one is destined for peak time greatness. The first of two versions of ‘H.O.H’ begins with the Original Mix. Keeping with darker tones of the release, this one goes straight for the jugular as chunky kicks and pulsating, mesmeric basses combine along with clangy percussions and a classic vocal hook that will destroy the dancefloor. Another legend joins us to round out the release with Jam El Mar stepping up for remix duties on ‘H.O.H’. Hailed as a pioneer of trance alongside the late great Mark Spoon, Jam El Mar remains a much-revered name on the scene and we know amazing things happen when he’s let loose in the studio. Ramping up the energy on this one Jame El Mar whips up a frenzy to get the crowd moving. Heavy hitting kicks with layers of rhythmic percussions get the toes tapping while gnarly techno basses and electrifying synths combine alongside that instantly recognisable vocal. A monster tune that is not to be missed.

avigating vibrant influences of Latin-jazz, Tropicália and joyful grooves; multi-instrumentalist, songwriter, singer and producer Inês Loubet presents her utterly gorgeous debut album ‘Senga’. The album covers Inês’ experiences over the past five years, originating in Portugal, travelling through Brazil, before finding home in London.

Previously, Inês co-wrote and performed on Caravela’s album 'Orla' on None More Records, which was praised by the likes of Gilles Peterson and The Line of Best Fit. Her music has been played on Jazz FM, BBC 6 Music, BBC Radio 3, NTS and Soho Radio. A relentless live performer, she’s played alongside Brazilian legends Gilberto Gil & João Bosco, graced the stage of The Royal Albert Hall, Union Chapel, and O2 Shepherds Bush, around UK and international tours.

The album explores a range of profound themes including nature, travel, grief, unconditional love, separation, family dynamics, and the nuanced experience of womanhood in contemporary society. Dedications to the music, philosophy and revolutionary history of samba (‘Sambo Mesmo Sem’), everyday observations of joy (‘Guri’), and motivating generational change for the better (‘Sab Sabim’); glide across romantic harmonies and the Brazilian rhythms at the melodic heart of the album.

“I started writing whilst living in Salvador da Bahia, Brazil, in February 2020”, says Inês. “I was shy and hadn't written fully composed tracks before then. During lockdown I received support from The Arts Council’s DYCP, started making demos, gained confidence and started playing them live”. In October 2022 Inês was presented with the Drake YoLanda award and went to Giant Wafer studio in Wales for three days, before recording the final vocals at her home studio and mixing and mastering in Porto, Portugal.

Inês is joined on the album by a band of close friends. Percussionist and long-time collaborator Jansen Santana from Salvador da Bahia brings the soul of the drums, the tambor. “I always have the Bahia drums present in my mind when I write a new composition. I studied Latin percussion at University and then lived in Salvador absorbing all that heritage and knowledge”. Playing four different stringed instruments on the album, Greg Sanders is a long-time friend and collaborator from London “I met him in a samba band in 2015 and he was the first person I ever showed my songs to and played with”. The band is completed by Ruta Sipola on flute, Jake Burgess on tenor sax, Peu Meurray who recorded a lot of the percussion and lead vocals, and bassist Julio de Castro from Sao Paulo. “I was blown away by his bass playing, his swing and creativity, his ton of experience and professionalism but also his voice - he's an amazing singer and I believe that adds a lot to the magic”.

Inês concludes, “Last year, I had a show in London and I asked everyone in the audience to write down what they felt when they listened to the music. These are some of the things they wrote: wholesome, refreshing, lifted, moving, joyful, happy, nostalgic, warmth, force, goosebumps, emotional, togetherness, transported, rooted”. ‘Senga’ captures all of these feelings and more in a memorable first impression from a highly talented musician.

DJ Support: Gilles Peterson, Sean Johnston, Jaye Ward, Max Essa and Francois K

Limited to 300 copies

Having been long-time admirers of one another from afar, Hell Yeah and Michele Mininni finally come together for Pop Archetypes. It is a multifaceted debut album that collides broken beats, worldly rhythms, jazz, eastern melodies, live drums and much more into one thrilling 15-track opus that arrives on May 31st.

Italian artist Mininni has always had a leftfield take on electronic music and imbued it with rhythms, melodies and instruments from around the globe. He has released it on cult labels like R&S, Optimo Trax, Internasjonal and Curle Recordings but has saved his magnificent debut album for Hell Yeah. It is much more than a collection of sounds he has already explored and instead finds him heading off into all new territory without losing his signature sense of inventive and beguiling rhythm and melody. It is a multicultural journey that takes in heterogeneous styles and diverse influences but distills them all into one cohesive album with its own unique storyline.

Says Mininni of the record, 'I wanted each track to be like pieces of a unique, multifaceted picture, like walking through train cars or progressing through the levels of a video game, all filtered through my own vision and concentrated into 36 minutes. I wanted a pop album rooted in the extraordinary richness of popular music and projected into the future, a continuum where pieces communicate with each other and are received by the ears in symbiotic balance.'

Despite that concept, the album is a spontaneous listen full of surprises, left turns and original ideas that all hold together in thrilling fashion. It kicks off with the tumbling jazz drums and swirling synths of 'Spinning Around Cotton Candy', takes in mellifluous melodic layers and broken beats on 'Golden Room' and 'Slipped Air' casts you adrift amongst gorgeous piano keys and refracted vocals on the suspensory 'Vertigo'. There are jungle interludes with Eastern string melodies like 'Bangkok Tempo', lavish fusions of organic and synthetic sounds on 'Kundalini' and more charming Far Eastern rhythms on 'Muting Cat'. 'Congoflash' brings electrifying cosmic rays to busy hand drum patterns, 'The Magic Of Synesthesia' combines dark amen breaks and bright and uplifting flutes while 'Carousel Of Tears' douses you in watery melodies and celestial pads that awaken the soul.

Pop Archetypes is an adventurous work packed with meticulous and infinite details but all with an overarching narrative that makes it far more than the sum of its parts.

In a flurry of madcap sampling pitched towards the heat of the night, Pedro Zopelar builds on the premise of his 2022 electro- funk love letter Charme, shifting his approach towards a particular

90s flair and a method with a specific end result. Ritmo Freak took root in studio experiments for a momentous — and rare — live set at São Paulo festival Não Existe in 2023, where Zopelar was caught up in one of those right-place, right- time moments we carry with us through life. As he explains himself: “This album is dedicated to freaky club culture. While I was playing at the festival there was a crazy tropical storm outside and the room was packed with the freakiest crowd. I’ve tried hard to immortalize that feeling on this record.” With the intended energy in mind, Zopelar focused on a particular mode of production centred around 12-bit sampling from his ample record collection. Considering his background as a trained pianist, here his musical instincts are forced to work within the limitations of short, snappy cuts from dusty 12”s. The lo-fi sound sources and the resourceful ways Zopelar works them gives the record an unmistakable old-skool flavour which he applies to forthright house, techno and electro funk rhythms, always taking care to draw out the soul of the music.

The stylistic touchstones flow past thick and fast on Ritmo Freak. From the amped up fierceness of the title track with its gaudy, cut n’ paste, vintage techno flavour to the effervescent electro funk of ‘Gabriellinha’s Boogie’ on to the surreal Balearic inversion of ‘Distraction’, this is a high-velocity, endlessly charming record bursting with the musicality Zopelar has made his name on. As the driving force behind many warehouse parties in São Paulo,

Zopelar has been immersed in club culture for a long time, and his distinctive catalogue of jazz, funk, acid and techno has graced highly respected labels like Apron, Selva Discos and Mother Tongue. Throughout, he’s displayed an affinity for the tangled roots of the groove with an open-eared, big-hearted sound. That’s what comes through on Ritmo Freak

At its best, Bristol's scene has been marked out by the artists with an independent spirit. Not just the self-reliant DIY approach to getting the music out there, but a unique, inventive slant on emergent sounds which feed into the city's storied reputation. Flynn & Flora embody that idea, having come up in the nascent Bristol jungle scene while offering something wholly different to their peers in fabled crews like Full Cycle and More Rockers.

The duo were absolutely connected to the wider community, but they followed their own path, and the records reflect that. They're not as widely name checked as the likes of Roni Size, Krust, or Smith & Mighty, but their legacy is just as rich with personality and flair, offering that indefinable twist which sets West Country rhythms apart from the sounds in London or elsewhere. City Road wanted to recognise that fact with a modest 12" which cherry picks four crucial early cuts from Flynn & Flora's archives, before they went on to produce three LPs and a series of 12"s up to the mid 00s.

"We knew as much as anyone else at that particular time," recalls Flynn. "Samples, hip-hop breaks, bass lines. You've got your synth, your drum machine. It's all you needed. So that's what we did."

We've been overdue to let off a modern gem from the Wackie's vaults, so here we go. Another of our favorite 12 Tribes related artists, the late great Judah Eskender Tafari, on a hard and moody but uplifting digital stepper straight from the Bronx. B-side features a great ghostly raw rhythm version from Bullwackie.

For accomplices, Kinsey chose his ace rhythm section from WSL - bassist Hadrien Feraud and drummer Gergo Borlai - and a bold newcomer named Patrick Bartley Jr. on alto saxophone. Kinsey speaks of his group: "Gergo and Hadrien are one of the finest, most indemand rhythm sections playing today. They also have a deep understanding of this music since they both grew up with it - Gergo since he was just five! Patrick is a brilliant improviser who has a deep knowledge and love of straight-ahead jazz but is just as into Japanese video game music. He's what it means to be a musician in 2023 - taking everything you like and allowing it all to unabashedly flow out."

If you love groove, irresistible basslines, and a sonic universe that dances between Italo house, Balearic, and funk, consider it as a new hit for your playlists:

“Euro Nettuno – Après Le Paradise” on POLYAMORE Records.

The first single is titled “Si Fua,” exotic rhythms blend with tropical sounds to produce Calypso vibes, yet charged with positive energy. Absolutely not to be missed is the remix by the well-established DJ and producer ELADO, who offers listeners a total immersion in drum solos that transform the dancefloor into a tribal dance.

The second single, on the other hand, is titled “Il Diavolo” (“The Devil”). Magic cults, esoteric sects, and dance floor devotees all come together for an unrestrained dance. The perfect fusion of house and Italo disco creates a true anthem for those who never stop when it’s time to dance. To close this fantastic EP, the remix of “Il Diavolo” by Marvin & Guy will teleport you on a mystical journey where dark yet colorful sounds alternate with a combination of astral rhythms that will lend sensuality and vigour to the powerful basslines of this remix.

Die neue LP des kalifornischen Art-Rock-Musikers John Rossiter (Young Jesus) entstand in Zusammenarbeit mit dem New Yorker Rock/Jazz-Bassisten Shahzad Ismaily (Feist, Lou Reed, Arooj Aftab) und unterscheidet sich in seiner spontanen Entstehung fundamental von den ausgetüftelten Vorgängern. Der gemeinsame Nenner bei den Aufnahmen in Shazads Brooklyner Figure 8-Studio waren Improvisation, Rhythmus und Herz. Die Ausstattung erforderte Präsenz und Mut. Es kann düster und seltsam werden, je tiefer man in den Dschungel vordringt. Aber aus den Tiefen dieser inneren Landschaft erwächst die wahrste Musik.

Black Uhuru wurde Mitte der 70er Jahre gegründet und stürmte in den frühen 80er Jahren wirklich in die Reggae-Szene, als Sly & Robbie die künstlerische Leitung übernahmen und wichtige Alben wie Showcase, Sinsemilla, Red, Chill Out und Anthem produzierten (beachten Sie, dass es sich um eine großartige Sammlung ihrer Alben handelt). Singles für Sly & Robbies TAXI-Label sind auf TAXI TRAXX erhältlich und wurden letztes Jahr von TABOU1 veröffentlicht.

Die Alben waren nicht nur künstlerisch bahnbrechend, auch die Live-Shows waren großartig. Eine Lawine aus kraftvollem Drum and Bass, ergänzt durch grenzwertige Metal-Rock-Gitarren des verstorbenen Darryl Thompson, lieferte ein Fundament aus Rhythmus und Energie für Michael Roses Lead-Gesang und Duckie Simpsons und Puma Jones‘ Backing-Gesang.

Die erste US-Tournee von Black Uhuru fand 1982 statt. Damals steckte Reggae in den USA noch in den Kinderschuhen und es gab nur drei Reggae-Radiosendungen in Kalifornien: Doug Wendt in San Francisco, Roger Steffens in LA und Lance Linares in Santa Cruz. Lance leitete nicht nur seine Radiosendung bei KUSP, sondern buchte auch Künstler in Santa Cruz und arbeitete mit dem Soledad-Gefängnis zusammen, um Insassen dabei zu helfen, berufliche Fähigkeiten zu erwerben, die sie nach ihrer Entlassung aus dem Gefängnis nutzen könnten. Lance kontaktierte die Organisation Black Uhuru und bot an, ein Konzert im Gefängnis selbst zu organisieren. Zu seiner Überraschung wurde seine Idee begeistert angenommen und die Gruppe trat vor vollem Haus im Soledad-Gefängnis auf.

Was wir auf dieser Doppel-LP hören, ist das gesamte Konzert, das live auf KUSP übertragen wurde. Seine historische Bedeutung ist enorm und kann mit dem Reggae-Äquivalent der legendären Live-Aufnahme der amerikanischen Legende Johnny Cash in Folsom verglichen werden. Außerdem wurde das Konzert per Video aufgezeichnet. Wir haben das Video mit modernster Technologie restauriert und Schlüsselmomente des Konzerts kuratiert. Jedes dieser Videos kann mit der Artivive-Anwendung auf ein Smartphone gestreamt werden. Sobald die App installiert ist, können Benutzer die Videos ansehen, indem sie ihr Telefon auf die Fotos auf dem Plattencover (von Bruno Tilley) richten, die mit dem Artivive-Logo gekennzeichnet sind. TABOU1 ist stolz darauf, das erste Plattenlabel zu sein, das diese Augmented Reality-Funktion anbietet.

Svart Records are proud to release the long-awaited full length album "SÁLA" by Kati Rán in May 2024

If the most profound treasures are often the most deeply buried, the journey to uncover them is vital process of discovery. Five years after the 15-minute single “Blodbylgje” signaled the birth of a new, more primordial, and immersive vision after the dissolution of her band L.E.A.F., Nordic dark folk artist Kati Rán has expanded on its oceanic theme for her long-awaited full-length album, “SÁLA”. Embarking on a far-reaching musical and personal travelogue, it’s a reawakening of both the feminine narratives submerged and fragmented within Norse mythology, and the enduring, healing powers held within.

Named after the Old Norse word for ‘soul’ and ‘sea’, “SÁLA” is an act of ‘soul retrieval’, the shamanic art of trauma recovery, be it illness, death, heartbreak or loss, and the reintegration of a splintered self. Across its 13, wide-ranging, elegantly unfolding tracks, the album is an embodiment of different feminine voices and perspectives – from the Norse nine daughters of the sea, or ‘billow maidens’, through various historical and fictional figures to the late-night voices we hear in our most liminal states – all with tales to tell, riddles to solve, challenges to be accepted and guidance to offer. It’s a multiplicity that, like the ocean itself, belongs to a vast, restless dynamic: a matrix of mysteries, unfathomable depths and ever-shifting currents, accumulating into an elemental, regenerative source of power.

Recorded in a barn in Húsafell, Iceland – home to glacier ice caves and a rare lava stone marimba rediscovered for the track “Stone Pillars” – as well as Finland, Norway and at home in Kati’s native Netherlands, “SÁLA” is as much chronicle of Kati’s own perspective-shifting recording process as it as a pilgrimage through different viewpoints and internal states. That itinerate urge is also reflected in the use of different languages, ranging across Norwegian, Old Norse, Icelandic, and, for the first time, English, her combination of ancient texts, historical reimagining’s and unguarded personal reflection backed up by deep research into the most resonant recesses of Nordic lore.

Spun throughout every thread of “SÁLA” is a sense of communion - with the power of stories to offer moral guidance and the thrill of the unknown; with the element of water, recreated across the album both in field recordings and the agelessly organic nature of the music itself; with the archetypes whose qualities we are called upon to embody at our most critical moments; and with the internal hidden realms forever whispering at us from the far edges of our consciousness.

Appropriately, it’s a collaborative venture too. As well as working closely together with Finnish producer Jaani Peuhu, there are contributions from across the musical spectrum, including extreme metal vocalist extraordinaire Gaahl, the Icelandic female choir Umbra Ensemble, renowned Norwegian jazz musician Karl Seglem, Björk and Brian Eno contrabassist Borgar Magnason, members of pagan folk acts Völuspá, Gealdýr, Heilung and Theodor Bastard and even Napalm Death’s Mitch Harris on vocals.

For all the many sources “SÁLA” draws from, the result is a singular, intimately transformative rite of passage, and a retuning of the heart to the reverent continuity of the sacred. It will take you from the opening title track’s chest-pounding rhythmic pulse emerging from a traditional Norwegian bukkehorn (recorded by Karl Seglem), a galloping horse-rider and Kati’s glacial, velveteen chant, through “Kólga’s” recounting of female persecution through the ages borne on the most gossamer-light yet unbreakable of timbres and “Stone Pillar’s” gently percolating, deep wells of abandonment and incantations to recovery. “SÁLA” closes with the track “Sátta” - Old Norse for ‘peace’ and ‘reconciliation’ – ending the album as it began with the bukkehorn, as it weaves rich drones and experience-stamped poems and prayers, Kati’s vocals the most sensitively tuned of emotional barometers. An album made in dedication, and in thrall to, its own sense of destiny, “SÁLA” is, as all quests must ultimately be, a homecoming.

Album introduction written by Jonathan Selzer.

Svart Records are proud to release the long-awaited full length album "SÁLA" by Kati Rán in May 2024

If the most profound treasures are often the most deeply buried, the journey to uncover them is vital process of discovery. Five years after the 15-minute single “Blodbylgje” signaled the birth of a new, more primordial, and immersive vision after the dissolution of her band L.E.A.F., Nordic dark folk artist Kati Rán has expanded on its oceanic theme for her long-awaited full-length album, “SÁLA”. Embarking on a far-reaching musical and personal travelogue, it’s a reawakening of both the feminine narratives submerged and fragmented within Norse mythology, and the enduring, healing powers held within.

Named after the Old Norse word for ‘soul’ and ‘sea’, “SÁLA” is an act of ‘soul retrieval’, the shamanic art of trauma recovery, be it illness, death, heartbreak or loss, and the reintegration of a splintered self. Across its 13, wide-ranging, elegantly unfolding tracks, the album is an embodiment of different feminine voices and perspectives – from the Norse nine daughters of the sea, or ‘billow maidens’, through various historical and fictional figures to the late-night voices we hear in our most liminal states – all with tales to tell, riddles to solve, challenges to be accepted and guidance to offer. It’s a multiplicity that, like the ocean itself, belongs to a vast, restless dynamic: a matrix of mysteries, unfathomable depths and ever-shifting currents, accumulating into an elemental, regenerative source of power.

Recorded in a barn in Húsafell, Iceland – home to glacier ice caves and a rare lava stone marimba rediscovered for the track “Stone Pillars” – as well as Finland, Norway and at home in Kati’s native Netherlands, “SÁLA” is as much chronicle of Kati’s own perspective-shifting recording process as it as a pilgrimage through different viewpoints and internal states. That itinerate urge is also reflected in the use of different languages, ranging across Norwegian, Old Norse, Icelandic, and, for the first time, English, her combination of ancient texts, historical reimagining’s and unguarded personal reflection backed up by deep research into the most resonant recesses of Nordic lore.

Spun throughout every thread of “SÁLA” is a sense of communion - with the power of stories to offer moral guidance and the thrill of the unknown; with the element of water, recreated across the album both in field recordings and the agelessly organic nature of the music itself; with the archetypes whose qualities we are called upon to embody at our most critical moments; and with the internal hidden realms forever whispering at us from the far edges of our consciousness.

Appropriately, it’s a collaborative venture too. As well as working closely together with Finnish producer Jaani Peuhu, there are contributions from across the musical spectrum, including extreme metal vocalist extraordinaire Gaahl, the Icelandic female choir Umbra Ensemble, renowned Norwegian jazz musician Karl Seglem, Björk and Brian Eno contrabassist Borgar Magnason, members of pagan folk acts Völuspá, Gealdýr, Heilung and Theodor Bastard and even Napalm Death’s Mitch Harris on vocals.

For all the many sources “SÁLA” draws from, the result is a singular, intimately transformative rite of passage, and a retuning of the heart to the reverent continuity of the sacred. It will take you from the opening title track’s chest-pounding rhythmic pulse emerging from a traditional Norwegian bukkehorn (recorded by Karl Seglem), a galloping horse-rider and Kati’s glacial, velveteen chant, through “Kólga’s” recounting of female persecution through the ages borne on the most gossamer-light yet unbreakable of timbres and “Stone Pillar’s” gently percolating, deep wells of abandonment and incantations to recovery. “SÁLA” closes with the track “Sátta” - Old Norse for ‘peace’ and ‘reconciliation’ – ending the album as it began with the bukkehorn, as it weaves rich drones and experience-stamped poems and prayers, Kati’s vocals the most sensitively tuned of emotional barometers. An album made in dedication, and in thrall to, its own sense of destiny, “SÁLA” is, as all quests must ultimately be, a homecoming.

Album introduction written by Jonathan Selzer.

Info: On her debut album Suave Bruta, across eleven tracks blending traditional Afro Colombian rhythms with electronic experimentation, Ëda Diaz manages to reconcile different parts of her identity, two rich and complementary aspects that she has long viewed as opposites. Wonky Colombian salsa, electrified currulao and an eccentric Colombian-made dembow all sparkle with real-world samples from the buzz of a hairdressing salon to birdsong, and samples cut from classic Latin American tunes, all underpinned by the production of Anthony Winzenrieth evoking Björk, James Blake or Juana Molina.

“Depas strikes a fine balance between raw energy and subtle melodic hooks.” (DMY) “Throughout the pounding track Midnight Ride, the Italian beat smith expertly blends lush synths with intricate rhythmic components and gritty bass.” (EDM com)

“Depas' approach to techno is a veritable melting pot of influences, blending sounds from the 80s and 90s with contemporary symphonic and cinematic elements.” (Magnetic Mag)

Following his recent ‘Rave The Planet’ EP at the end of February, Milanese hard techno producer Maike Depas is back with a brand-new release on well-renowned label The Innovation Studio. His newest EP is named ‘The Age Of Chaos’ and features a five-track banger arsenal – including a special remix by Italo-American producer Matasism, which was also included in his recent BPtich Control mixtape.

“This EP is the result my own experience throughout an inner dystopic reality, where energy-ridden sounds and epics all collide into a very personal version of the hard techno legacy I’m devoted to.”

‘No Redemption’ is a proper big-room belter, with explosive drop divided by a big break and a statuesque vocal that feels like a claim: “Techno is my only drug”. Same goes for ‘Tesseract’ and it’s rave-like atmosphere and hypnotic hook. ‘Dystopia’ is pure groove and makes the listener dive into a distorted and futuristic metaverse, while ‘Cyber Attack’ and its remix include synthetic vocals tha aim to symbolize an artificial imposition: man against machine, fiction against reality.

‘The Age Of Chaos’ will be available from April 19th via The Innovation Studio.

Pressed on dark green BioVinyl housed in a gatefold cover.Cover and gatefold artwork by Scottish artist Paul Scott Canavan (Dungeons & Dragons, Magic: The Gathering). Includes 12" art card of original artwork. Uncover the secrets of the Scottish Highlands with this beautiful vinyl release of "A Highland Song", brought to you by Lost In Cult in collaboration with Black Screen Records and Inkle Studios. Moira McKinnon has never seen the sea. Tired of her life of seclusion, she runs away from home in search of adventure. A lighthouse can be seen in the distance, but to reach it she must overcome a beautiful yet perilous journey across the Scottish Highlands. This authentic Scottish score is comprised of a suite of hauntingly beautiful original tracks by Laurence Chapman (Heaven's Vault, Total War) complemented by iconic hits from Scottish folk industry legends TALISK and Fourth Moon that provide a rapturous, virtuosic sense of rhythm to Moira's great journey through a wilderness of paths, peaks, dangers and song. This record comes in luscious dark green eco-friendly BioVinyl and features beautiful artwork from Scottish artist Paul Scott Canavan, known for his work on Magic: The Gathering and Dungeons & Dragons. Paul has developed a beautiful piece of cover art showing Moira gazing out at the game's iconic lighthouse, as well as a breathtaking gatefold view of an authentic interpretation of Scottish scenery. Take in the view in your own time with a 12" art print to frame on your wall.

James Devane returns with another adept investigation into minimal techno’s spaces in between. “Searching” serves as both companion to “Beauty is Useless” and the next logical step in James’ exploration of process as guiding compositional tool. Conceptually simple, technically robust, the end result elicits both an undeniable groove and a trove of detail for listeners willing to go deep. In his own words: “These recordings are the result of chance. Using hours of source material, everything was “chosen”, manipulated, and assembled at random via custom software without concern for key, tempo, measures, or rhythm. A search button and a save button.”

Since 2011, the Berlin born and raised producer and DJ Mørbeck has been delivering numerous acclaimed Techno releases via Vault Series and his own Code Is Law imprint as well as making his mark on the global club scene as a DJ. Fast forward to 2023 and we see Mørbeck inaugurate his house guise, Midnight In A Toyshop, aimed to showcase his passion for House productions in a lighter shade, whilst still retaining his signature rawness.

Setting the tone to open the EP is ‘100’s & 1000’s’, laying down warbling pad sequences and crunchy saturated drums in combination with a bouncy bass line and hypnotic vocal hooks throughout. The aptly titled ‘90’s Memento’ follows, encapsulating a classic House sound with bright, mesmeric chords, rumbling subs, processed vocal lines and a bumpy drum machine workout.

On the flip-side title-track ‘Dreams For Sale’ shifts focus to Trance tinged staccato melodies, cinematic atmospherics, acid licks and a heavily swung rhythm before ‘Every Night’ rounds out the EP on a classic Deep House tip via ethereal pads, robust percussion, circling synth lines and a vacillating low-end drive.

GER Als Night Beats erschafft der in Texas geborene und in LA lebende Künstler Danny Lee Blackwell Musik, wie man ein Puzzle zusammensetzen könnte. Der psychedelische Autorenfilmer aus dem Westen baut sein Werk aus einem Moment, einer Initialzündung, auf, die bestimmte Kriterien erfüllen muss: Sie muss ihm Gänsehaut bereiten. Wenn dieses Gefühl eintritt, verfolgt Blackwell die Idee unermüdlich, bis er einen neuen Song hat; wenn nicht, geht er zum nächsten Moment über, immer auf der Suche nach dem perfekten Molekül eines Songs. Auf seinem sechsten Night Beats-Album "Rajan" zeigt sich der Songwriter von seiner besten Seite und erschafft Werke, die mit fesselnden Melodien und hypnotischen Rhythmen glänzen, aber auch durch subtile handwerkliche Entscheidungen unterstrichen werden, die nur nach unzähligen Stunden im Studio erreicht werden können. Blackwell erschafft ein Werk, das irgendwo zwischen Spaghetti-Western-Filmmusik und Psych-Pop-Opus angesiedelt ist, ein karrierebestimmendes Album, das viel über Danny Lee Blackwells künstlerische Philosophie verrät und gleichzeitig den so wichtigen Hauch des Geheimnisvollen bewahrt. Exklusiv für den Indie-Handel, todesrote LP, handnummeriert mit Poster und DLC.


ENG As Night Beats, Texas-born, LA-based artist Danny Lee Blackwell creates music like one might assemble a puzzle. The Western psychedelic auteur builds his work from one moment, an initial spark, that must fit a certain criteria: it must give him goosebumps. If that sensation arrives, Blackwell will pursue the idea relentlessly until he has a new song; if not, he moves onto the next moment, constantly looking for the perfect molecule of a song. On his sixth Night Beats album, 'Rajan', the songwriter is at his strongest, creating works that shine with captivating melodies and hypnotic rhythms, but are underscored by subtle choices of craftsmanship that can only be achieved after countless hours in the studio. Blackwell creates a work that lands somewhere between Spaghetti Western film score and psych-pop opus, a career-defining album that reveals much about Danny Lee Blackwell's artistic philosophy while keeping that ever crucial air of mystery intact. Indies only LP on 180g 'Dying Red Giant' coloured vinyl, limited to 350 hand-numbered copies, fold-out art poster, download card included.

Barro Music Label reaches its tenth reference with a tremendous EP in which the protagonist (even of the cover) is Nöle, the label's boss. In Electro Bloody Music, the popular DJ and producer from Pamplona delivers four original tracks accompanied by a fantastic remix by Delectro. The renowned Colombian producer, active since 2006, has released on some of the best international labels and with his 80s EBM, electro and techno influences, he is the ideal person to accompany the label boss on such an important release. As for Nöle, after the success of Mendekua, his previous work released in 2022, he does what he is the best at: dark and frenetic techno with EBM flavor, like the one he played during his long residency at Stardust and does now at Lasociación.

On the A-side of Electro Blood Music we find three originals, the first two could be included in the category of Techno Body Music while the third is more purely techno. The EP starts with BuruHilketa, a dark track with a certain experimental atmosphere endowed with an incisive synth line and disturbing vocal samples that accompany us during most of the composition. Shaktale, shares some of the atmosphere of the first track, as it also includes vocal samples and a eerie synthesizer melody quite catchy. It has quite a complex rhythm and an extremely careful production that we recommend listening with headphones to appreciate in detail. Cementerio caliente is powerufl techno track, with hypnotic synths and an acid touch and tremendously forceful. With this kick drum, you could definitely demolish a house!

On the B-side we find another original track titled Noisebuilder and the remix by Delectro. Noisebuilder, with its fat and aquatic basses starts off more techno but, little by little, it also includes EBM details. The track lives up to its name and the noise builds, little by little, layer by layer while the intensity keeps growing. With a hard-hitting beat, spiced in the background by synthesizers that help to create an atmosphere, it is one of the clearest bangers of the EP. Delectro delivers a remix a little more forceful and darker, a bombshell of pure Techno Body Music that closes this magnificent EP.

Release note: El Garaje de Frank

"Driving By Numbers" ist bereits das achte Album der Hamburger Band HALMA. Schon beim ersten Stück des wieder instrumentalen Longplayers kommen die vier Musiker*innen Fiona McKenzie (Schlagzeug), Andreas Voss (Bariton-Gitarre), Gundi Voigt(Bass) und Thorsten Carstens (Gitarre) gleich zur Sache: Das Soundgefüge schmirgelt und fliegt - unmöglich, sich in dieser durchwogten Fülle des Hörbaren und Denkbaren sofort zurechtzufinden: Man muss erneut ansetzen, nochmal beginnen, um die komplexe Konstruktion und den artistischen Witz, der in dieser Musik steckt, zu erfassen. Sounds und Rhythmus spielen mit sich selbst Hase und Igel: Katapultstarts, Beschleunigungen, Verzögerungen, Auf- und Abblenden. Die Vielfalt macht klar, dass der Fokus der Band im Ungewissen liegt: Was zu hören ist, funktioniert wie die Brotkrümel im Hänsel-und-Gretel-Wald - die assoziativ montierten Improvisationen führen durch Höhen und Tiefen und Schluchten und Täler letztlich doch zum Ziel: und zwar zurück zum Anfang - wie die Nadeln, mit denen Insekten im Schaukasten fixiert sind - der Zeit entflogen.

Die besten Songs aus den kultigsten Woddy Allen Filmen.

Auf Blue City von ABRAMS treffen genresprengende Härte und melodisch-perfektioniertes Songwriting aufeinander. ABRAMS verschmelzen Melodie und Dissonanz zu einer kathartischen Mischung aus eingängigen, treibenden Rhythmen, hochfliegenden Vocals und ätherischer Atmosphäre. Mit Elementen aus Heavy Rock, Shoegaze, Grunge und Post-Metal schaffen sie mit Leichtigkeit eine kristalline Schwere, die bittersüß und nostalgisch ist, aber auch nach vorne blickt. Die Band aus Denver bewegt sich mit ihrem fesselnden Sound auf dem Terrain von Bands wie Torche und Cave-In, während ihre Vorliebe für knackige, unwiderstehlich süchtig machende Riffs an die Alt-Rock-Ikonen Hum und Quicksand erinnert. Dennoch ist die wirbelnde Verschmelzung von Einflüssen nicht die Gesamtheit von ABRAMS. Blue City" ist der Ort, an dem eine tiefe Härte und Kompositionskunst zusammentreffen, ein Streifzug durch üppige, cineastische Passagen und kontemplative Psychedelik. Die Texte beschreiben ein metaphorisches Gefängnis, einen kalten, aber vertrauten Ort, an dem die Angst vor Veränderungen und die Unmöglichkeit zu handeln zu paradoxem, erdrückendem Komfort führen. Für Fans von Torche, Converge, Cave-In, Failure, Quicksand und Hum Limitierte Catharsis Edition in zweifarbigen orange-weißem Vinyl!

Auf Blue City von ABRAMS treffen genresprengende Härte und melodisch-perfektioniertes Songwriting aufeinander. ABRAMS verschmelzen Melodie und Dissonanz zu einer kathartischen Mischung aus eingängigen, treibenden Rhythmen, hochfliegenden Vocals und ätherischer Atmosphäre. Mit Elementen aus Heavy Rock, Shoegaze, Grunge und Post-Metal schaffen sie mit Leichtigkeit eine kristalline Schwere, die bittersüß und nostalgisch ist, aber auch nach vorne blickt. Die Band aus Denver bewegt sich mit ihrem fesselnden Sound auf dem Terrain von Bands wie Torche und Cave-In, während ihre Vorliebe für knackige, unwiderstehlich süchtig machende Riffs an die Alt-Rock-Ikonen Hum und Quicksand erinnert. Dennoch ist die wirbelnde Verschmelzung von Einflüssen nicht die Gesamtheit von ABRAMS. Blue City" ist der Ort, an dem eine tiefe Härte und Kompositionskunst zusammentreffen, ein Streifzug durch üppige, cineastische Passagen und kontemplative Psychedelik. Die Texte beschreiben ein metaphorisches Gefängnis, einen kalten, aber vertrauten Ort, an dem die Angst vor Veränderungen und die Unmöglichkeit zu handeln zu paradoxem, erdrückendem Komfort führen. Für Fans von Torche, Converge, Cave-In, Failure, Quicksand und Hum Limitierte Catharsis Edition in zweifarbigen orange-weißem Vinyl!