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Death Is Not The End present a further volume of Arja Kastinen's eerie amalgamations of 110 year old wax cylinders with her own meticulously transcribed takes, this time focussing in on Armas Otto Väisänen's field recordings of kantele player Iivana Mišukka (b. 1861 d.1919).

"Ivana Mišukka (1861–1919) was one of the Karelian kantele players recorded by the folk music researcher Armas Otto Väisänen on wax cylinders in 1916 and 1917. In the early 20th century, the remote areas of Border Karelia were undergoing the final phase of a transformation in musical culture, with the ancient runo song tradition giving way to newer forms of music. This transition is reflected in Mišukka's repertoire and choice of instrument. The ancient small kantele, hollowed out of a single piece of wood, was already rare at the turn of the century. Mišukka's kantele was a new type of instrument with 26 strings, constructed of several parts, but he played it using the traditional plucking technique. Like other Border Karelian kantele players, his repertoire consisted of music rooted in runosong culture, as well as newer dances and songs from the east and west. Most of the recorded material falls into the latter category.

Ivan Bogdanov Mišukka was born out of wedlock in Suursara village, Suistamo, on 1 May 1861. He began playing the kantele at the age of five or six, quickly mastering the instrument. In adulthood, he was considered one of the area's best master players. Mišukka was landless for most of his life and lived in different parts of the Suistamo parish. His first wife, Tekla Markintytär, died in 1897 at the age of 40, and his second wife, Jevdokia Filipintytär Jeminen, died in 1907 at the age of 50. Seven children were born from the first marriage, two of whom died young. The third wife, Maria Ignatintytär Gurnan (Kuurnanen), was a well-known master of lamentations. Together with Maria, Iivana Mišukka worked as a tenant farmer in the village of Suursara. Mišukka suffered from rheumatism, which prevented him from participating in physical work like Maria. This was apparently partly the reason why Iivana Mišukka went to earn extra money by playing the kantele on gig trips. He often had other traditional artists from Suistamo as his travelling companions, such as the runosingers Konstantin Kuokka and Iivana Onoila. Iivana Mišukka died in Leppäsyrjä village, Suistamo, on 18 May 1919 at the age of 58, and his kantele was donated to Teppana Jänis.

Mišukka only used 14 of the 26 strings on his kantele, playing the same tunes either a fourth higher or lower. He tuned his kantele to the major scale using fifths, except for a low seventh scale degree on the upper strings, but not below the fundamental. Since he did not use the seventh note of the scale on the upper strings at all, he could use the major scale both lower and a fourth higher with this tuning. According to Mišukka, the sound of higher, or 'finer', strings is 'more beautiful', while that of lower ones is 'greater'. Among runosingers, the size of the thirds varied, ranging from major to minor to neutral. A similar phenomenon can be observed in kantele tunings, where the third, sixth and seventh scale degrees vary in a comparable way.

During a meeting, Väisänen suggested that Mišukka play the smaller kantele belonging to Konstantin Kuokka. The idea was to bring it closer to the horn to improve the recording quality. However, the kantele was completely out of tune, and now Mišukka tuned it to the Lydian scale (track 18).

Using the old plucking technique, Mišukka placed his right middle finger on the fundamental tone, his right index finger on the second scale degree, his left middle finger on the third scale degree and his left index finger on the fourth scale degree, and his right thumb on the fifth. The thumb also played the notes above the fifth note of the scale. As Mišukka remarked to Väisänen: 'Peigaloll' tuloo enemb ruadoa' (the thumb has to do more work). However, he did not use the seventh note of the scale on the upper strings at all. Below the fundamental note, he played the seventh and sixth notes of the scale with his right middle finger of and the fifth note of the scale with his right ring finger. This fifth scale degree below the fundamental is almost always used as a drone. Sometimes, when the melody required it, Mišukka, like other players, also varied the fingering. He would also occasionally strike the same string with the side of his fingernail after plucking it.

The wax cylinder recordings of Karelian kantele players are kept in the archives of the Finnish Literature Society in Helsinki, Finland. Copies were made of them onto reel-to-reel tapes in both the 1960s and 1980s. The 1960s copies are mono and the 1980s copies are stereo. However, not all kantele recordings from these decades have survived.

The sound of the kantele is difficult to hear in wax cylinder recordings due to its low volume, and it occasionally becomes completely obscured by noise. During the copying process, the cylinder sometimes rotates unevenly, resulting in breaks or jumps in the music. Additionally, the rotation speed of the cylinder in the copies does not correspond to the performance speed of the original music, which alters the pitch. However, since Väisänen's precise notes are available in the archive, it is possible to deduce the melodies, their speed, and the tuning level of the kantele in the recordings. Of the copies of the original recordings from the 1960s and 1980s, I have selected the one that best met the requirements of this publication and adjusted the speed of the recording to align with Väisänen's notes. To enhance the listening experience, I have replayed the songs, which now partly overlap the old recordings on this release."

— Arja Kastinen

Western Lore presents the second part of an absolute jaw dropper of an LP from the enigmatic L own, the producer behind 2024’s much lauded Forgotten Paradise Bootlegs (which flew out so rapidly on Bandcamp, none of the ltd run of copies made it to retail).

Deep, musical, textural & blissed out jungle tekno wizardry across a range of tempos, Daybreak Survivors is a journey like no other. Emotive and dripping with nostalgia whilst sounding distinctly futuristic, L own effortlessly carves out a unique sound that shines like beacon in a sea of noise.

Repress of various praised tunes from JT Labo 14 !

Records are marbled
Gatefold sleeve, sealed.

Excellent EP, funky Acid banger !

Infotext ENG

After establishing himself as one of Europe's most distinctive voices in instrumental hip-hop, Mr. Käfer is ready to tell a different story. His third solo album, A Past Sense, arriving via Melting Pot Music on 11th November, shows a bold creative evolution from his signature lo-fi aesthetic into lush, collaborative territory that spans continents and genres.

His sixth project for Melting Pot Music marks a creative leap from the mood-driven, jazz-tinged instrumentals that built his reputation on releases like Lost Reflections (2019), Orientation (2020), and Now/Again I and II (2021, 2023). Now he's orchestrating a 14-track journey that weaves together hip-hop, soul, jazz, and North African rhythms through collaborations with carefully selected artists including Novine (GER), J-Tek (US), Kenji (US) and Cloudhead (AT).
Thematically, the album explores how memory reshapes identity, questioning the gap between who we were and who we've become. The visual side comes courtesy of acclaimed photographer and art director Robert Winter, capturing this nostalgic-yet-progressive spirit. A Past Sense will also be released on LP.
With A Past Sense, Mr. Käfer steps out from behind the boards and into the spotlight—trading lo-fi playlist comfort and algorithm-driven streams for something deeper. A past sense, maybe. But definitely a future sound.
Infotext DE
Europas instrumentaler Hip-Hop bekommt einen neuen Sound. Mit seinem dritten Soloalbum „A Past Sense“ verabschiedet sich Mr. Käfer von seiner lo-fi-geprägten Vergangenheit und erschafft ein Werk, das über Genres und Kontinente hinausgeht.
Wo frühere Veröffentlichungen wie „Orientation“ (2020) und die „Now/Again“-Serie (2021/2023) durch intime, jazzgetränkte Instrumentals bestachen, öffnet sich „A Past Sense" neuen Horizonten. Auf 14 Tracks verschmelzen Hip-Hop-Fundamentals mit Soul-Harmonien, Jazz-Improvisationen und nordafrikanischen Rhythmus-Patterns.
Die Kollaborationen mit Novine (Deutschland), J-Tek und Kenji (beide USA) sowie Cloudhead (Österreich) sind dabei keine Gastauftritte, sondern organische Begegnungen, die Mr. Käfers Musik in unerwartete Richtungen lenken. Er bricht bewusst aus der Blase algorithmusgetriebener Lo-Fi-Playlists aus und setzt auf echte musikalische wie menschliche Verbindungen.
Thematisch kreist „A Past Sense" um die Macht der Erinnerung und die Frage, wie Vergangenheit unsere Gegenwart formt. Diese konzeptionelle Tiefe spiegelt sich auch in der visuellen Umsetzung wider: Fotograf und Art Director Robert Winter entwickelte eine Bildsprache, die Nostalgie und Zukunftsvision in perfekter Balance hält.
Mit „A Past Sense" positioniert sich Mr. Käfer neu im internationalen Beat-Kosmos. Das Album erscheint am 11. November über Melting Pot Music – digital und auf Vinyl.

Die Rückkehr von DOZER - Drifting In The Endless Void, ein glühendes, dröhnendes und wummerndes Werk! Gegründet in der verschlafenen Stadt Borlänge, Schweden, führten DOZER die erste Welle des europäischen Stoner/Desert Rocks an, eine beeindruckende Fusion aus Proto-Metal, Riff-Rock und Punk, die als Antwort auf den sonnengetränkten Fuzz und die tektonische Wucht der amerikanischen Bands Kyuss und Fu Manchu entstand. Mehr als ein Jahrzehnt nach ihrem letzten Album sind Dozer wieder aufgewacht und melden sich mit einem leidenschaftlichen, wummernden Album zurück. Drifting in the Endless Void ist eine Gravitationsmasse, vollgepackt mit dichter Instrumentierung, arena-tauglichen Melodien und kontemplativer Zurückhaltung. Dozer bringen immer noch die stürmischen Grooves, die langjährige Fans erwarten, aber sie beziehen auch massiven Sludge, fuzzigen Doom, raumgreifende Grooves, Psychedelik mit geröteten Augen und alles, was sich sonst noch in den riesigen kosmischen Weiten findet mit ein. DOZERSs Rückkehr in die musikalische Landschaft, welche sie mitgestaltet haben, ist Grund genug zum Feiern, aber das explosive Spiel und die feurige Zielsetzung machen Drifting in the Endless Void zu einem wirklich unverzichtbaren Erlebnis.

A rising figure of the free scene, L'Art Cène releases his debut album on Jarring Effects after two intense years in the underground tekno circuit, marked by the release of around fifteen vinyl records and tracks reaching over 200K streams. With Dun & Sark, he steps away from the dancefloor to explore a more introspective form of techno, infused with oriental sounds. Born from a live performance in Tunisia in 2023, the album draws from traditional Arabic music and takes inspiration from Acid Arab as much as from Nils Frahm or Gesaffelstein. The project reaches a new dimension with the contribution of Oud player Atef Younsi, who brings an organic warmth and a dialogue between the electronic and the ancestral.Dun & Sark: a techno that travels, feels, and dares.

èMeL, the maestro of trance induced Tekno returns to Violent Cases delivering three long trips pumping like hell or high water.

Against The Grain riding the warp of space into the womb of night freedom at the speed of light from gravity’s planetary chain.

Symphony of Construction orchestrates a swarm of ant-like nanobots in space assembling the mothership of the raving tribe at warp pace.
Reverse termites moving in unison creaking and clanking away at the metal shell to escape this man made hell.

Darkness seduction is the siren’s hum pulling the mentalnaut to the fluffy bottom it feels good to let go, further than you can fathom, to the sound of a giant tardigrade nibbling at atoms.

This publication is illustrated by Darkam, designed by TDSiGNZ, and mastered by Stefan ZMK.

Each EP comes with 2 posters, a digital download code, and 2 artwork stickers.

Following up on a cracker split single in 2023, Overload Liverpool enterted into 2024 firing on all cylinders with a 5 shooter of freaked-out electro, warm house, deep dub cuts, and gorgeous ambient.

Firstly, Liverpool-based label boss Morrison highlights two of his distinct and dissociative styles. On the front end of the A-side, his The Motorist alias provides us with a freaked-out formant-filtered electro that’s bursting at the lips. On the back end, a deep yet bright house cut from his The Cyclist alias, with warm warbling synths layered over his Wurlitzer electric piano and suitably grooved and jaunty beats.

To kick off the deeper B-side of the 12”, Wax Tek, a founder of the Liverpool Soundsystem crew Polyone Audio, hits us right in the chest with his dubbed-out breakbeat wonder, Get Set, which diverges through Balearic, bass music, a delirious breakdown, and hard-hitting breakbeats.

Deeper still, the second B-side from Puncta, another Liverpool-based artist, who last year came to light with their release on Sputnik One’s N-Face, dives into the deep Arctic seas with Snow Crab, an exercise in dubbed-out electro-style bass music.

Finally, Belfast-based Aaron Thomas brings the 12” EP to a fitting closure with Concert², which, washing over the listener, dances like opulent drapes with its ethereal synths that crash to and fro.

Swiss shapeshifter Elsa surfaces on Punctuality for the first time, marking the label’s seventh release with a debut EP that dives deep and swims sideways through an eclectic milieu of club influences.

Across the five tracks on Web Glow, there are nods to turn-of-the-century tech house, liquid D&B, broken IDM, psy-laced trance, and modern tek mutations. Subtle wubs ripple under the surface, low-end pressure coils tight, and meticulous sound design binds the tracks into a fully realized vision of Elsa’s forward-thinking sound. Enter the unfolding.

Roza Terenzi steps up to remix “Web Glow,” reanimating the track as a skeletal early-morning stepper—the mood is giving sizzling dubbed-out vocal wisps, pulsing subs, and stripped-back drums. “Groupie” notches up the BPM but keeps things fluid with aquatic atmospherix, jittering FX, and drums that skid out and under rolling basslines.

“Fortune Cookie” flashes uk-tinged tech house with shimmering shards of SFX, resplendent with stuttering kicks, glassy pads, and sultry textures. The halftime jungle-IDM stylings of “No Ads” round off the EP in a haze of fractured breaks and dubbed-out atmospherics. A murky, magnetic debut on Punctuality—Elsa sketches out a soundworld all her own. Dive in and catch it.

A Tekko Kagi is characterized by four iron blades like bear claws attached to a metal ring covering the userÕs knuckles. Worn over the hands, the claws can be used as an offensive weapon for slashing, striking and scraping the opponent and also for defensive purposes as the wielder can disarm or sunder swords or other slender-bladed weapons with natural hand motions.

NZO goes sick on a standout debut album for Demdike Stare’s DDS, distilling 2-step UKG, R&B and computerised funk within whirring mechanisms adjacent to mutant jungle and footwork - the proper good stuff.

On ‘Come Alive’ SoYo’s NZO bruks wild but tight on nine tunes chiselled from a distinctive percussive palette cut into fidgety, soulful samples. She dances in and around the cracks of myriad styles with a canny grasp of limb-animating, rhythmic diffraction; all stop/start rhythms and stuttering diva-vocaloids arranged with a rudely shatterproof, grooving pliability. More simply put: it’s dance music for those who like to get super loose and freaky with it.

Chopped up and stitched together over six months in Sheffield, it’s not hard to hear a lineage of advanced Afro-American rhythm science that also feeds into SND’s jerky-but-sexy angularities, and subsequently Rian Treanor’s rugged pugilism, now morphing back to the source, but heavily skewed with it. Her judicious sampling of R&B gems is offset in obliquely funked-up structures in ways that knowingly mess with conditioned anticipations yet never lose sight of the ‘floor, and we’re here for it.

Jumping in with the writhing darkside tekkerz of ‘Rolling Around’ and clocking out with a standout downbeat pearl ‘Looking For’, we hear her displace amapiano closer to halfstep D&B in ‘AXMM’, and decimate 2-step like Akufen on ‘CFML’, while ‘K-space baum bap’ appears to dart in the spaces between UKG and singeli, and the sloshing congas, bass motifs and dub chords of ‘Deadweight’ settle to a sort of aqueous UKF.

A l’occasion des 20 ans de cet album devenu culte, Record Makers réédite une version spéciale anniversaire limitée (vinyles transparents – 500 exemplaires) qui ravivera la flamme des fans de la première heure, des nouveaux fans et des collectionneurs. "Vive la Vie" est aujourd’hui un album référent pour les amateurs de rap, reconnu par ses pairs lyricistes, c’est un de ses albums qui marquent à jamais une époque, celle des années 2000 et de son rap aux rimes fines et puissantes.



Le 15 novembre 2004 sortait "Vive la Vie" le premier album du Klub des Loosers.



On ne présente plus le Klub des Loosers et son unique membre Fuzati. Pourquoi ? parce qu'on en a un peu honte quand même. Imaginez un jeune versaillais que tout prédestinait à devenir écrivain maudit ou chanteur d'un groupe de pop répétant dans le garage parental le dimanche de 16h à 20h. Le genre de type qui passait ses samedis après-midi à la bibliothèque municipale, ses samedi soir à boire de la bière dans les squats de jeunes où on recense une fille pour dix mecs et où la phrase qui revient le plus souvent est "qui roule un joint ?"

Imaginez maintenant que ce type ait une illumination, au milieu de ces jeunes que tout prédestine à la réussite (HEC, science-po) et qui lorsqu'ils se retrouvent ensemble ne savent pas faire autre chose que de se défoncer. "Nous sommes un klub de loosers".



Comme il n'aime pas trop les gens, Fuzati fondera un klub dont il sera le seul membre. Comme il n'a pas de guitare que le hip hop est son seul ami il se dit qu'il fera ça comme musique. Bah oui c'est sympa le hip hop. Comme on lui a dit qu'il n'avait pas une tête de rappeur et que les casquettes à l'envers lui vont mal il ne montrera jamais son visage et portera un chapeau. S'en suivra un parcours classique de MC underground qui rappe pour la rue (mais aussi les avenues) et représente ses refrés illégalement enfermés derrière les murs des prépas t'as vu. Mixtapes, nombreux freestyles dans l'émission Greckfrite diffusée sur la chaine internet Canalweb, concert à la MJC de Versailles mais aussi dans un entrepôt désinfecté à Dunkerque.



En 2003 Il signe sur le label parisien Record Makers parce qu'on lui a appris qu'il ne fallait pas trop se mélanger avec les gens d'autres milieux. Sortiront deux EP, "Baise les Gens" et "La Femme de Fer" qui sont déjà des classiques pour au moins 32 personnes. La même année sort également l'album de l'atelier "Buffet des Anciens Elèves" auquel il participe avec Tékilatex du groupe TTC, James Delleck, Cyanure et deux producteurs de talent, Tacteel (Lex Records) et ParaOne (Institubes). En juillet 2004 sort le maxi du Klub des Loosers où collaborent MF DOOM, légende hip hop, et Jean-Benoit Dunckel, moitié du groupe AIR.

THE BIG ONE !

Goed nieuws voor punkfans en nostalgische herrieschoppers: BLPRecords brengt de eerste twee LP's van Belgian Asociality opnieuw uit! De legendarische albums 'Belgian Asociality' (1989) met nummers als Boederie, Miep Miep en Keerbergen en 'Astamblief' (1991, met klassiekers als Bompa Punk, Jupiler Reggae en Stagedive zijn opnieuw verkrijgbaar op vinyl, allebei in een beperkte oplage van 500 exemplaren op gekleurd vinyl.

Gewapend met snedige teksten, genadeloze riffs en een onmiskenbaar Belgisch gevoel voor absurdisme, groeide Belgian Asociality uit tot een van de meest iconische en eigenzinnige punkbands van het land. Met hun unieke mix van punk, hardcore en maatschappijkritische humor schopte de meest asociale punkband van Belgë vanaf eind jaren '80 keihard tegen de schenen van de muziekscene. De groep onstond in 1988 in Mechelen en Keerbergen en is tot op heden een band met een stevige live-reputatie. Belgian Asociality is nog steeds zien op de Belgische concert - en festivalpodia.

The debut album from CEM, 'FORMA' was developed as a soundtrack to Mauro Ventura’s series of "action painting performances" and uses various bell sounds (cowbells, doorbells, Shinto bells, singing bowls) to pick out anxious giallo sequences and heaving Dadaist formations.

CEM's best known for pneumatic DJ sets that have propped up Berlin's queer underground for a decade at this point, but don't expect to find any vaped darkroom tek on 'FORMA'. Each of the six compositions were commissioned for Ventura’s performative installation at Volksbühne in 2022, and CEM opted to represent the piece's themes of labor and repetition by sampling an arsenal of bells and metal objects that anchor his varying widescreen vignettes. 'The Calling' is a relatively subtle introduction, establishing the space with double bass drones and ratcheting digitally altered chimes - it's 'Bells Corrupt' that cements CEM's concept more righteously, harking back to Goblin's iconic 'Suspiria' score without pastiching any of its Italo-prog themes. Cycling ritualistic bell loops with squashed, industrial-strength thuds and granulised laptop belches, CEM silhouettes the tension and the vivid color of Argento's film, chrome plating the result.

'An Industrial Satire' is even more convincing; this one takes its cues from legendary German sound artist Limpe Fuchs, and the first part integrates scraped, alien resonances with CEM's loping industrial rhythms and squelchy EBM bassline. The real shift occurs in the second part, when CEM's choppy electroacoustic minimalism falls away to unlock his rolling hand drum performance, that he matches with a ghaita sample lifted from the Master Musicians of Joujouka's 1971 album with Brian Jones. With the future-facing deconstructions a memory, 'Statue Garden' beds reedy organ drones in eerie gallery ambiance, and closer 'The New Sincerity Test' finds Lithuanian performance artist Gertrūda Gilytė skewering the wellness industrial complex over nauseous subsonic oscillations and scratchy noise.

This is the 2nd installment of Diamond D's The Diam Piece 3 series: DUO. Vol. 3 is broken down into 3 separate parts with DUO being the 2nd of 3 parts.

With Diamond on the tracks, Duo boasts features from B-Real, Everlast, Camp Lo, Nems, Sadat X, Tek, Prayah, Saigon, Tons, Kid Capri, Doo Wop, Da Inphamus Amadeuz, Kardinal Offishall, Peedi Crakk, Chip Fu, Shortee Sha, Reef Hustle, Junk, 4-Ize, Focus..., Lady Luck, Camari & Boog Brown.

Fat banging Rave to Transtribe / Tekno acid jewel... Super rich structures and drops, with new talents and newskool sounds...
My fave here is B2 from Sethi One : a threatening dancefloor mid tempo Hardcore Transe tool !

RAVE stuff !!

Conrad Pack’s debut album Commandments. Mournful, murked-out dub-tekno and water-logged 〜150bpm steppers scraped from the floor of the Thames. A very UK response to the year-zero schrantz death-trips of DJ Valentime$, DJ Salazar et al. Simultaneously ultra-alienated and dialled into the dance, full of caustic/entropic industrial textures, drawing deep too on concussive reggae/soundystem dynamics and drill’s emotional-badboy yearning.

Listen to all the pearls of Electronic Music withe the releases dedicated to House, Techno & Drum"n"Bass, sélected by the REXCLUB in a doble vinyl collection ! DISCOVER THE NEW VOLUME OF THE REX CLUB COLLECTION : THE DOUBLE VINYL DRUM"N"BASS With : Roni Size * DJ Gilb"r * Phume * Goldie * Tek 9 * Special Request * Rockwall * Aquarian * LU2K * ...

*press Release From David Katz*

The Hardest Working Reggae Band In Southern England, Dubheart Is On A Mission To Spread Messages Of Peace, Love, Unity And Resistance Through A Heady Stew Of Contemporary Roots Reggae, Delivered On Live Instruments With A Hefty Dose Of Dub In The Mix. Cool Under Pressure, Their Latest Offering, Is The Band's Most Compelling Set To Date, A 'showcase'-style Album Where Every Vocal Track Is Followed By Its Dub Counterpart, And The Vital Contribution Of The Brassica Horns—from Rising London Ska Band Chainska Brassica—is Another Intriguing Element That Makes This Album Tougher Than The Rest.

Drawing On The Foundations Laid By Jamaican Stalwarts Such As Burning Spear, Dennis Brown And Culture, Dub Pioneers Like Scientist And Jah Shaka, Plus Newer Vanguards Such As Tarrus Riley, Grounation And Conscious Sounds, Dubheart Has Crafted A Distinctly Appealing Style That Is Very Much Their Own, Based On The Organic Presentation Of Their Musical Vision. Indeed, This Fully Self-contained Five-piece Is Firmly Engrained In The Neo-roots Movement Of The Present, With A Sound That Faces Ever Forwards.

The South Coast-based Band Was First Formed Back In 1999, And Slowly Built A Following Through Their Intense Live Performances, Which Always Harnessed A Live Dub Element. Their First Ep, the Solid Foundation Rhythm,' Issued On Their Own Karnatone Label In 2011 And Featuring Dub Mixes By Russ D Of The Disciples, Became A Regular Part Of Jah Shaka's Live Playlists. It Was Followed By The 7' 45, we Chant,' Featuring The Band's Charismatic Bristol-based Lead Singer, Tenja (who Originally Hails From France), The Track Becoming An Underground Anthem In Japan (via Rob Smith, Aka Rsd). Dubheart's First Album, Mental Slavery, Was Released In 2013, A Momentous Year That Also Saw The Band Win The European Reggae Contest Staged By Rototom Sunsplash, Leading To A European Tour With Festival Appearances At Summerjam (germany), Reggae Sun Ska (france), Overjam (slovenia), Sudoweste (portugal), United Islands (czech Republic) And The Sardinia Reggae Festival, As Well As Rototom In Spain. Then, In 2015, Karnatone Issued The Dub Companion To Mental Slavery, Mixed Down In A Heavy Dubwise Fashion By Drummer Gavin Sant, Otherwise Known As Fullness, The Band Was Then Invited To Participate In The Bbc Television Show, The Uk's Best Part-time Band, Leading To Their Ep Of Cover Tunes, 2016's full Time Pressure,' Again With Dub Versions From Fullness. part Of The Band's Appeal Lies In Its Tightness As A Recording And Performing Unit, When You See Them Live, You Understand That This Band Of Brothers Is On A Higher Mission, United In Their Wish To Use Music As A Means Of Upliftment. And That Sentiment Is Entirely Evident On Cool Under Pressure. The Melodic Bass Grooves Of Mark Shepherd Act As The Perfect Buffer To The Furious Rolls And Expressive Drum Patterns Of Fullness, David 'daddy U' Mountjoy Adds Scintillating Melodies On Keyboards, Including Some Delightful Wurlitzer Lines, And Richard Ramsey's Guitar Licks Tend Towards The Understated, Aside From The Occasional Solo Pyrotechnics, As Heard Here On rocky Road.' And On Songs Like can't Wait,' watcha Gonna Do' And The Title Track, The Brassica Horns Add Further Melodic Depth Through Fanfares Of Treble Brass Texture. with The Rhythms Laid Entirely Through Live Recording Sessions Cut At Fullness' Home Studio In Bournemouth (with Horn And Wurlitzer Overdubs Done Elsewhere), Cool Under Pressure Reveals Dubheart As A Band On The Rise, Heading For Unstoppable Heights.

The Dub Deconstructions On The Disc Allow The Listener To Hear The Exceptional Quality Of Their Playing, Emphasizing Each Member's Individual Talent, While The Lyrics Tackle Subjects We Can All Relate To, With watcha Gonna Do' Addressing Social Inequalities, can't Wait' Alluding To The Refugee Crisis, rocky Road' Imploring Everyone To Hold Strong In Trying Times, And rise Up' Calling For Direct Action Against The Unjust System That Rules Our Lands. Overall, The Outstanding Title Track cool Under Pressure' Really Sums Up The Band's Ethos: The System May Burden Us With The Stresses Of Censure And Control, But Our Obligation Is To Stay True To Ourselves And Resist. And The Music Can Help Us To Achieve This.

YEAH !! Arrived and ready to ship !

Wise Freetek sound, not too hard and in the modern Okupe newskool stymle.

Excellent !

"Because it's the passion for music that drives the person behind the decks, a dj's debut is bound to exude authenticity. It's often themselves they're recounting in music, posing on the slip mats their DNA and what makes them who they are.

When you're just starting out, you're faced with a multitude of routes to take and styles to play. When you know just how devastating it can be to step out of line and empty the dance floor even faster than it filled up, it often takes a lot of audacity to break the unity of a funk evening with a punk track.

Over time, to evolve is to find oneself facing only two roads.

On the first one, to satisfy the greatest number of people and not lose the credit for his fees, the dj adapts to the trend. Whether he likes what he's playing or not, the road has become a freeway and, indeed, a very comfortable one. The audience already knows everything there is to hear and doesn't come to hear anything else. Thirty seconds, or even a minute of each track, is more than enough. Everything has to flow quickly. Everything is marked out and secured. Those who respect the regulations will (normally) make the journey without accident. Several times a week, several times a month, several times a year. Curiosity disappears altogether.

And then there's the other road. Where nothing is expected nor sometimes even ever heard. The road of an unquenchable passion for diggin' and the desire to always know more and more. A passion billed at the price of hours of research-finding spent in the discomfort and possible disappointment of never coming across anything exciting, as well as nights exploring platforms and multiplying clicks resulting in a good old headache. Until that moment of grace happens when, after thousands of fruitless shakes, the nugget stands alone in the sieve, without the slightest doubt as to its quality.

Coming from places never mentioned for their music, sometimes classics of their genre, they are also rarities miraculously saved from total disappearance, as much as current marvels, but threatened to never leave the immensity of the web. Even if the possibility of a text with substance is never excluded, they can tell long stories or be destined solely to make you dance till you're dehydrated. Scintillating with spirituality, some can also vaporize energy and replace it with a pure emotion capable of touching hearts in the bareness of simple percussions.

This road is marked by sincerity, singularity and surprises, but always in a communion between the dj and the audience, who embark on it together, with mutual confidence in the promise of hours of sharing and discovering. "

A gem-diol is a type of organic compound in chemistry that contains two hydroxyl (–OH) groups attached to the same carbon atom. The term “geminal” refers to the fact that these hydroxyl groups are located on the same carbon, making the compound unique. Gem-diols can be formed through the hydration of aldehydes or ketones and are often unstable, readily converting back to their original carbonyl forms. They play significant roles in various chemical reactions and are intriguing due to their ability to influence the properties of molecules, making them important in organic synthesis.
In this EP by Abo Abo and Spekki Webu, the two DJs and sound artists draw inspiration from the properties of gem-diols, creating unstable and parallel dimensions. Each soundscape invites exploration, offering a dynamic experience that shifts and evolves over time.

This collaboration captures the essence of fast-paced techno, blending organic influences with expansive, textured soundscapes that evoke the vibrant rave culture of the ’90s. Each track features pulsating rhythms and immersive sonic environments, with nods to tekno and psytrance, making it perfectly suited for the dancefloor. The EP invites listeners to lose themselves in the interplay of frequencies and textures, creating an immersive and contemporary dance experience.

Tenderlonious follows up his essential 'Tek-88' EP with three deep, dream house tracks that nod to mid-90s Larry Heard and smudged, jazzy beatdown vibes in a Theo Parrish/Rick Wilhite/KDJ style - only 200 copies available on 12" vinyl, in a hand-stamped sleeve 'Underworld' kicks things off on side A with a ten-minute deep house journey filled with classic sounding synth leads and sweeping strings, held together by rolling 808 drums. This one is a sure-shot winner for the dancefloor. Side B starts with 'Wild Horses', with clapping 808s, a smooth bass line and lush analogue pads that clear the decks for a touching piano solo. Side B finishes up with 'Ur Love', influenced by the noughties London club scene. Rolling drums intertwine with an arpeggiated piano line, which builds to a slick lead solo.

For centuries, the drum and its practitioners have been stewards to the physical and ancestral planes.

Detroit afroteknologist Huey Mnemonic advances his sound into a tomorrow unheard with his latest Subsonic Ebonics record, Brainscraatch, a 4-tracker of his researched and highly developed Afriko Tekno.

A portal tears open with the speaker splitting ‘Ankhobi’, blurring the lines between ritual and rave. An opening ceremony of a drum circle in the year 3000, knocking on the door of a domain beyond our own.

Entering the gateway with ‘Brainscraatch’ , a peak time percussive calling where a high pitched whine of sacred electronics becomes the foundation for a slippery hypnotic rhythm. Warranting a double take for the heads in the back fully immersed into the moment.

The portal collapses onto the unknown with the dramatic closer ‘Slipping Into Madness’. Rushing you beyond the dance into a flow state where time and space behave a little differently.

Offering his own perspective, Sard shares a jacking ‘Rescratch’ of the title track, leaning into an acidic groove faithful to the timeless freak funk of the midwest.

With this release, Mnemonic forges ahead to the borderlands of techno, leaving us with an ancient-to-the-future message,

Bandkopf Wintherr hat auf dem dritten regulären PAYSAGE D'HIVER Album "Die Berge" die dunkle Seite seiner alpinen Heimat perfekt eingefangen. Abseits der kitschigen Postkartenlandschaften herrschen zerklüftete Gipfel, die unfassbare tektonische Kräfte aus der dünnen, kalten Kruste dieses Planeten herausgezwungen haben. Diese grauen Riesen erzeugen eine harsche, menschenfeindliche Umgebung, die im rauen Black Metal des Schweizers ein musikalisches Echo findet. Note für Note entfaltet sich die majestätische Kraft der Berge, die bedrohlich und gefährlich wirkt, aber zugleich auch eine wilde Schönheit ausstrahlt. Die gewaltigen Song-Brocken auf "Die Berge", die sich zu einer Spielzeit von über 100 Minuten auftürmen, erinnern allein schon durch ihre epische Länge an die gebirgigen Quellen ihrer Inspiration. Mit jeder Veröffentlichung erzählen PAYSAGE D'HIVER ein neues Kapitel ihrer fortlaufenden Geschichte über einen mysteriösen Protagonisten namens 'Der Wanderer'. "Die Berge" führen den Wanderer zu seinem 14. Kapitel, welches vielleicht auch sein letztes sein könnte. Denn das Hauptthema von "Die Berge" ist der Tod. Diese Reise des rätselhaften Wanderers lässt sich mit der eines Zen-Mönchs vergleichen, der sein Ende nahen fühlt und zum Sterben auf den Gipfel eines Berges steigt. PAYSAGE D'HIVER wurden im Jahr 1997 in der Schweizer Region Bern gegründet. Das Soloprojekt blieb zunächst ein reines Underground-Phänomen. Wintherr veröffentlichte 10 sogenannte "Demos" in Albumlänge sowie 4 Split-EPs, die seinem Projekt einen exzellenten Ruf verschafften. Derweil wuchs eine beeindruckende Fangemeinde vor allem durch Mundpropaganda heran. Als der Schweizer im Jahr 2020 mit "Im Wald" gewissermaßen "aus dem Versteck" kam, stieg das erste "reguläre" Album sogar in die deutschen Charts ein - obwohl PAYSAGE D'HIVER mit beiden Beinen weiterhin fest im Untergrund ihres Genres verwurzelt sind. Mit "Die Berge" erweitern PAYSAGE D'HIVER erneut den Horizont ihres nordisch geprägten Black Metal, ohne das schwarze Ziel aus den Augen zu verlieren.

To celebrate the 15-year anniversary of Dizzee’s Rascal’s most iconic and commercial album ‘Tongue N' Cheek’ comes a brand-new Zoetrope! The album that brought Bonkers, Dance Wiv Me and Holiday now has two incredible designs across side A and B plus a remix with rising star Buckley for the first time on vinyl.

Geteyes Einflüsse sind vielfältig und spiegeln seine Liebe zum melodischen Sampling wider. Zu seinen Hauptinspirationen gehören so berühmte Acts wie Madlib, J Dilla, Kankick, Hi-Tek, Mo Kolours, Afta1, KNLO und Iman Omari. In Frankreich haben Künstler wie Onra, Astronote und Barrio ebenfalls einen Einfluss auf Geteyes Schaffen gehabt. Das neue Album ,KID" ist der Höhepunkt eines lang erwarteten physischen Projekts mit dem Musiklabel Dooinit. Inspiriert von seiner kürzlichen Vaterschaft, erforscht Geteye eine eklektische Mischung aus Jazz, Soul, Funk und brasilianischer Musik, um einen einzigartigen Vibe zu schaffen. Das Projekt beinhaltet einige starke Kollaborationen mit Künstlern wie ETO und Guilty Simpson, aber es ist der Track ,Deep Fake" mit dem französischen Rapper Mr JL, der Geteye besonders gefällt. Diese Zusammenarbeit ist die Verwirklichung eines künstlerischen Traums und sein Gast wertet das Instrumental auf. Kurzum, ,KID" bietet eine persönliche und kreative musikalische Erfahrung, die die Authentizität und Unschuld der Kindheit einfängt.

First Word Records are very proud to present a brand new album from Kaidi Tatham!

'An Insight To All Minds' is Kaidi's 3rd solo album under his own name, following several EPs and two albums for First Word; 2018's acclaimed 'It's A World Before You' and the re-press of his seminal 2008 sophomore album 'In Search Of Hope' last year.

For those that don't know, Kaidi Tatham is a legendary multi-instrumentalist. Once dubbed "the UK's Herbie Hancock" by Benji B, he's a virtuoso on the keys and a true innovator in sound production as one of the original creators of the Broken Beat sound. Over the years his musical prowess has blessed numerous projects, initially with the likes of Bugz In The Attic and The Herbaliser, and more recently with DJ Jazzy Jeff (through the PLAYlist projects), Andrew Ashong (on the acclaimed 'Sankofa Season' EP last year) and with longtime accomplice, Dego. This in addition to session work for artists such as Mulatu Astatke, Slum Village, Amy Winehouse, Soul II Soul and Leroy Burgess, along with First Word label mates such as Eric Lau, Children of Zeus and Darkhouse Family. Kaidi is also a revered DJ known for rocking parties globally, whilst his solo catalogue spans tons of EPs and releases for labels such as 2000 Black, Eglo and Theo Parrish's Sound Signature.

On 'An Insight To All Minds', Kaidi says it's "not about a destination, but a process. It's about how you drive, not where you're going. Nothing in this world can torment you as much as your own thoughts… We are all going through it. We can all feel what the next person is feeling, believe it or not. It's learning how to tap into it".

The album is comprised of an assortment of Kaidi's unique flavours - uptempo jazz-funk bruk, laced with rhodes, flutes, live bass and delicious percussion. Using that blueprint he moves effortlessly through latin and samba, half-step, deep afro house and a sprinkle of curveballs, all presented in Kaidi's inimitable way.

'Intergalactic Relations' brings with it some 110bpm synthed-out spacey electro-breaks, 'Could It Be' sets off sounding like a Morricone film score, whilst 'Rodney' is some serious heads-down business; stark and punchy off-kilter broken beat and vocal stabs. There are a few guests too - 'Chungo' sees the return of Uhmeer (who previously appeared on 'Cupid' on the album 'It's A World Before You'); here the young Philly MC deftly rides a 9/4 time signature beat. Meanwhile 'Stro Kyat' invites in another supreme talent, Stro Elliot (The Roots), who provides a suitably crisp & crunchy riddim to accompany Kaidi's key play over a mind-bending 5/4 time signature.

With this new album, Kaidi Tatham adds further to his already impressive catalogue, a body of work that falls within the cracks of jazz and dance music, exemplifying modern British black brilliance once again; uncompromising, innovative, groundbreaking, intricately sophisticated and deeply funky. His fanbase expands on every release and it's no surprise that that fanbase includes peers such as Madlib ("ahead of his time"), Gilles Peterson ("a key part of an entire movement"), K15 ("a limitless source of inspiration"), Alexander Nut ("a true virtuoso") and Kyle Hall.

Bandai Namco Europe S.A.S. und Laced Records haben sich zusammengetan, um die Musik des brandneuen Teils des legendären 'TEKKEN 8'-Franchise auf Vinyl zu bringen.

Diese komplette OST-Box enthält 42 Tracks, die speziell für Vinyl gemastert wurden. Sie werden in einem Schuber aus festem Karton geliefert und sind in Spined Sleeves untergebracht. Das atemberaubende Cover-Artwork stammt von Bandai Namco Entertainment Inc. und Illustrator Samuel Donato und zeigt Jin und Jun Kazama, Kazuya Mishima sowie die Neuzugänge Azucena, Victor Chevalier und Reina.

Das 'TEKKEN 8'-Musikteam hat für den Soundtrack einen Knaller nach dem anderen abgefeuert und dabei den für die Serie typischen Sound aus knallharter Dance-Musik und Electronica beibehalten. Viele der Komponisten sind langjährige Mitarbeiter der Serie, das gesamte Team besteht aus mifumei, Hiroshi Okubo, AJURIKA, Yoshihito Yano, Go Shiina, sanodg, Rio Hamamoto, Sho Okada, Yuu Miyake, Shogo Nomura, Ayako Saso, Mitsuhiro Kitadani, Shinji Hosoe, Yoshinori Hirai und Qing Yan.

Dank des soliden und einzigartigen Gameplays und der epischen Geschichte verkaufte sich die TEKKEN-Reihe über 57 Millionen Mal und ist damit die meistverkaufte 3D-Kampfspielserie aller Zeiten.

Buzz" Ayaz stammt aus Zyperns geteilter Hauptstadt Nikosia und wird von Antonis Antoniou, dem Gründer von Monsieur Doumani und Trio Tekke angeführt. Buzz" Ayaz kreieren einen fesselnden ostmediterranen Psychedelischen Rock. Ihr selbstbetiteltes Debütalbum ist eine unscharfe urbane Klanglandschaft aus Dub-Elektronik, 70er-Psych-Orgel, knurrender Bassklarinette, verstärkten Volksinstrumenten, rituellen Beats und griechischer und anatolischer Melodik. Die Bandmitglieder kommen von beiden Seiten der Hauptstadt, und die Musik auf Buzz" Ayaz ist ein bewusster Versuch, der Stadt als Ganzes eine Stimme zu geben. Ein quecksilbriger Sound, der über die Betonmauern und Checkpoints hinweg widerhallt.

Warehouse Find!

Avision storms into 2020 in fine fashion with his first EP for Maceo Plex's Ellum Audio label.

Playing the decks since just 12 years of age, this American artist grew up in the musically rich New York City scene and is now at the sharp end of it with his own new school techno sound. He has released on key labels like Ben Sims’ Hardgroove, Mark Broom’s Beardman and Teksupport, and is someone that icons like Adam Beyer and Chris Liebing often reach for in their own sets.

He starts off his latest offering with 'Innocence', a bustling techno track with bulky drum programming that is brilliantly loose. It jostles you into action as dark vocals add intensity and makes for a perfectly physical dance floor workout.

Keeping up the pressure is 'Time Lapse', with big hi hats and a driving bassline all interwoven with thundering kick drums that will get the whole club up on its toes. A rising synth in the background adds an air of cosmic exploration and means this tasteful techno trip is enthralling from start to finish.

These are two superbly stylish and high powered techno cuts from this contemporary tastemaker.

South London producer/musician, Ben Hauke, is se tto release his highly anticipated debut album,"Club Cute," under forward-thinking London-based label Touching Bass, run by Errol and Alex Rita. The dynamic genre-blending artist known for his electrifying music production, has been forging a path of his own over the last decade, and now it"s time for him to unleash his debut full length project, "ClubCute". Hauke collaborates with acclaimed artists and local peers such as Goya Gumbani, Katy B, ShyOne, Brother Portrait, Jadadsea, and more, showcasing his remarkable ability to seamlessly blend diverse influences into a cohesive musical tapestry.

For the fourth time now Jaqee introduces herself to the World with her impressive voice and her unique attitude. Born in Kampala, the Capital of Uganda, she began her vagabond like life the moment she was born. During her childhood, she travelled the rural areas of her home country with her parents. This is where she collected her first impressions of the life as a nomad. From birth on, wandering the earth became a part of her destiny. In the early nineties she undertook a huge step and immigrated to Sweden. The City of Gothenburg would become her adopted home from where she was able to access all the different destinies and directions, which were on offer to her. Through all the borders Jaqee crossed, music has always been her steady companion whereas it never was a stereotype thing that let her get down with any special genre, than more like a special feeling. “To do what I want in a particular moment is my motivation. I like to express myself in all kind of sounds.” So above all, she became a true nomad in the world of music. After several successful co-operations with numerous artists, in 2005 Jaqee made an impact with her debut album “Blaqalixious”, which was mainly a Soul and R&B album. “That was my direct contact to the music that a rural community in the Diaspora plays” she explains. But it did not end up there because a nomad like Jaqee does not settle anywhere. After further creative and fruitful collaborations, Jaqee released her second long player “Nouvelle d´ amour” in 2007. This time, the sound was more of a rocking, bluesy vibe. It seemed to be the total opposite to her debut album but for Jaqee it was only the next step on her path in the circle of life. “Everything is possible as long as it is real. I never wonder about things like genre as long as the vibe fits.” One step further on, she encountered the songs of Billie Holiday, which lead to the album “A letter to Billie” recorded together with Bohuslänbigband, a lovely homage to the great American Jazz Singer. Both of her first two albums each received a Swedish Grammy nomination and several appearances in the Swedish national television increased her standing as a passionate and soulful Singer. So Teka, producer and creator of many successful riddims for his co-found German label, Rootdown Records considered her to be part of his new project “Koala Desperados“, which link Caribbean vibes like Cumbia to Reggae, and while working on it a totally new idea was born. Jaqee and Teka decided to combine both their talents into one album. The results of which you can now hear on “Kokoo Girl” a refreshing mix of Old School Reggae sounds from the seventies combined with up-to-date Beats, electronic twists and turns and of course the amazing voice of Jaqee. For her, this means that she has achieved some of her ambitions. “I grew up with African Gospel, in sad and turbulent environment, so for me, this means I grasp and totally understand the reggae and its non ending struggle for the common man.” No sooner said than done and “Kokoo Girl” will become Jaqee’s fourth and newest release. All the paths she followed, countries she crossed and influences she absorbed are a part of this album. She sings with the freedom of spirit of the travelling people. The word “Kokoo” is the only memory that remains everlasting. It is just a word but its impact is so huge that Jaqee does not really like to explain it. “It implies irony and seriousness as well as sarcasm and fun.” It is more than a gimmick. “Kokoo” is a very special feeling and a clear view of the world from an artist who has seen more of it than all the people that have settled down.