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2023 Repress

HYS004 is a deep dive into the Hayes sound. The rhythmic commonality and density of these tracks are joined by a plethora of stab-rich elements that enhance and define much of the label output.

Clear Vinyl

For polymath artist Wesley Joseph, writing a song is like shooting a film. He sees in terms of scenes and colors, lighting the proper mood, drawing the right emotional arc_far beyond just getting a catchy melody down on tape. Music and filmmaking are Joseph's two great loves. Film came first_he started making DIY videos at age 12 to entertain himself and his friends growing up in a small UK community_but when he moved to London to study it, the energy he discovered in the city demanded to be captured in song, resulting in his 2021 debut ULTRAMARINE, a distinctly cinematic collection of avant-R&B and soulful future-pop shot through with moments of surprising aggression and an intriguingly complex postmillennial aura. Since collaborating with the likes of Jorja Smith and Loyle Carner, he returns with GLOW, eight more songs of love, loss, anxiety, and joy about coming of age at a time of unprecedented change. Showcasing his range across songwriting, performing, and production_not to mention his flawless transitions between singing and rapping, between character studies and raw emotional honesty_it's a stunningly beautiful work that makes it clear Joseph's on the path to becoming a worldchanging talent. As on previous projects, Joseph is providing his own visual accompaniments for GLOW, creative directing its artwork and directing its first video. "COLD SUMMER" finds Joseph singing from a supervillain's perspective over woozy film-score strings, and the concept bleeds over into its video accompaniment, a cryptic post-post-Tarantino gangster comedy shot in Kazakhstan. It's usually hyperbole to call an artist as young and new as Joseph "visionary," but it's undeniable that he has a vision, one that transcends old ideas of genre and medium, one that seems to get bigger and richer every time he steps into a studio or behind a camera. GLOW is one of the deepest and most satisfyingly cinematic listening experiences of the year_and Wesley Joseph is just getting started.

Lloyd Cole & The Commotions – Cole, Blair Cowan, Lawrence Donegan, Neil Clark and Stephen Irvine – were formed in Glasgow in 1982, where Buxton-born singer-songwriter Cole was studying Philosophy and English at the University of Glasgow -Their sound swam against the tide of shiny 80s synthesisers, offering intense, melodic, guitar-based pop, topped with droll words packed with literary references.

Given just how loved debut album Rattlesnakes was, it would have been hard for whatever followed to be received as warmly – yet Easy Pieces made a good first of it. It was to sell twice as many copies in its first two weeks as Rattlesnakes had to date, giving the group a Top 5 chart placing on its release in November 1985. Recorded with 80s super-producers Clive Langer and Alan Winstanley, its first two singles, the brooding, gospel influenced Brand New Friend and the forever-jaunty Lost Weekend reached the UK Top 20.

This re-issue faithfully replicates the original 1985 Polydor Records UK release with printed inner sleeve and is pressed onto high quality 180g vinyl.

Tape

The music of Melati ESP aka Melati Malay is a euphoric vision of megacity rhythm and rainforest escape, club breaks and weightless pop, mapping new dreams from the sound of futures passed: hipernatural.

Drawing on the music era of her teenage years growing up in Jakarta – Javanese radio Dangdut, gamelan cassettes, Moving Shadow-era liquid jungle, Japanese chill-out, etc. – as well as her current work in progressive percussion trio Asa Tone, Malay’s solo debut is boldly borderless, bridging worlds and wavelengths into a richly imagined hybrid synthetic utopia.

hipernatural is momentous linguistically, too, as Malay’s first foray into singing in Indonesian, the language of her youth. She characterizes her lyrical mode as “abstract, and a bit broken,” an intuitive collage of diaristic emotion and oblique poetry (“plant me in fleeting twilight / missing home, where is home? / I am another you”). Her voice serves as its own versatile instrument, alternately intimate and alien, sensual and sacred, shaded with the haze of hidden heavens.

Co-produced with long-time collaborator Kaazi (100% Silk, Asa Tone), the album’s 12 tracks are cohesive but eclectic, threading through temple bass music, cyber siren techno, Stereolab drum n bass, new age downtempo, and dial-up rave reveries, flecked with tactile fragments of offworld dialogue, computer hum, bubbling water, and beyond.

Malay’s technique of sampling and processing her voice into an electronic palette which she then performs on generative instruments gives the songs a bewitching artificial intelligence elegance, exquisite but uncanny. Hers is a hybridity both organic and hypermodern, deeply personal yet globally sourced – YouTube rips, nature tapes, cheap sample packs, club bootlegs. hipernatural champions a dynamic new language at the axis of then and now, of east and west

Auf Tour mit Bands wie At The Gates, Obituary und Municipal Waste sowie auf europäischen Festivals wie dem britischen Bloodstock haben ENFORCED aus Richmond, Virginia, mit 'War Remains' ihren Platz als Fackelträger des Crossover-Thrash eingenommen. Abgemischt von Arthur Rizk (Power Trip, Kreator) ist 'War Remains' ein absoluter Klassiker mit Riffs, die es mit Slayer in ihren wütendsten Momenten aufnehmen können, und Thrash-Hymnen wie 'Nation In Fear', die ENFORCEDs Platz in den Annalen der metallischen Hardcore-Geschichte festigen werden.'War Remains' ist als Standard CD Jewelcase, schwarze 180g LP und digitales Album erhältlich.

DJ/Producer Kingdom (Kelela, SZA, Tinashe, Fade To Mind Records) und Songwriter/Producer Rush Davis (Duke Dumont, Dawn Richard, Scarface) widmen ihr Kollabo-Album 'Transmission' auf TOKiMONSTAs Label der legendären Queer-Party 'Mustache Mondays' in L.A. Mit technischer Weisheit und experimenteller Freiheit sprengen sie Dance- und R&B-Grenzen links der Mitte und verbinden klassische Kenny Dope House-Hymnen (oft in der Ballroom-Kultur gesampelt) und Janet Jackson-inspirierte Produktion mit Kingdoms komplex-synkopierten Rhythmen und Streuseln von Melancholie und Sex.

Inspired by the original Industrial Records release of William S. Burroughs’s Nothing Here Now but the Recordings, Belgian record label Sub Rosa worked with Burroughs to release another album: Break Through In Grey Room. Originally compiled in 1986 by producer Bill Rich, the album features Burroughs's experimental recordings from 1961 to 1976, featuring field recordings by Burroughs of the Master Musicians of Jajouka, experimental collaborations with mathematician Ian Sommerville and painter/cut-up originator Brion Gysin.
Break Through In Grey Room documents William S. Burroughs during his time in Europe and England, working with Ian Sommerville on recording with the 'cut-up' technique. Sommerville's technical background enabled him to contribute to the early development of sound-and-light shows in London, leading to work with gear provided by Paul McCartney in an apartment owned by Ringo Starr. Experimental in nature, the record is as much an exhibition of studio and composition technique as it is a document of underground culture at that time.



For the 2023 reissue, Dais Records has collaborated with the Estate of William S. Burroughs on reissuing the album on vinyl and compact disc, fully remastered by mastering engineer Josh Bonati.

Mynth beenden ihre Irrfahrt
So ähnlich haben sich die letzten Jahre wohl angefühlt - surreal und nicht enden wollend. Irgendwie das Gefühl eine Kreuzung übersehen zu haben und seither in die falsche Richtung zu fahren. Innerhalb von vier Wochen entstand das Album "FOUR". Akustischen Elemente wurden bewusst in den Vordergrund gestellt, um sie sogleich mit charakteristischen Mynth Sounds verschmelzen zu lassen. Für knapp 32 Minuten - eine wohlverdiente Ablenkung, die langersehnte Verschnaufpause.

Inspired by the original Industrial Records release of William S. Burroughs's Nothing Here Now but the Recordings Belgian record label Sub Rosa worked with Burroughs to release another album: Break Through In Grey Room. Originally compiled in 1986 by producer Bill Rich, the album features Burroughs's experimental recordings from 1961 to 1976, featuring field recordings by Burroughs of the Master Musicians of Jajouka, experimental collaborations with mathematician Ian Sommerville and painter/cut-up originator Brion Gysin. Break Through In Grey Room documents William S. Burroughs during his time in Europe and England, working with Ian Sommerville on recording with the 'cut -up' technique. Sommerville's technical background enabled him to contribute to the early development of sound - and - light shows in London, leading to work with gear provided by Paul McCartney in an apartment owned by Ringo Starr. Experimental in nature, the record is as much an exhibition of studio and composition technique as it is a document of underground culture at that time. For the 2023 reissue, Dais Records has collaborated with the Estate of William S. Burroughs on reissuing the album on vinyl and compact disc, fully remastered by mastering engineer Josh Bonati.

Woo York - supreme electronic music duo make their debut on Watergate Records.
The Ukrainian duo have a watertight reputation for crafting stunning dancefloor compositions, having released music on Life And Death, Soma, Dystopian, Drumcode and Afterlife, the latter home to their
critically acclaimed 2018 album ‘Chasing the Dream’. Their appearances at Watergate have been numerous over the years, making them an obvious choice to join the label family.
Their Watergate Records debut maiden offering is sparkling. The title track begins as a chugging key-laden cut before a stirring folky melody rises to the fore with beautiful intent. With its unique sonic signature,
‘Samum’ will stand out in any set. Woo York show a new side of their outstanding musical talent “For this release we wanted to push boundaries of the melodic techno sound. For Samum we have worked with a bag pipe, one of the oldest instruments to give the track an almost „housy" note.”
The accompanier is ‘Prophet’, an emotional slice of dance music, hopeful and melancholic in equal doses, this is custom made for big dancefloor moments.
Accompanying the package are remixes of ‘Samum’ by fellow Ukrainian producer and live act 8Kays, who turns in a dark and shimmering re-rub, not losing any of the original’s power. Meanwhile Greek artist Echonomist crafts a rich and multi-faceted reinterpretation that fits for the club and home listening alike.

Das Rush-Album ”Signals” feiert 40-jähriges Jubiläum! Zu diesem Anlass lässt eine limitierte Neuveröffentlichung Sammlerherzen schneller schlagen: Am 28. April erscheint eine umfangreiche Super Deluxe Box mit einem brandneuen Hugh Syme-Cover und dem Remaster von 2015 erstmals auf CD. Das Vinyl des Albums wurde zum ersten Mal mit halber Geschwindigkeit über DMM geschnitten und auf 180g schwarzes Vinyl gepresst. Die Blu-ray-Audio-Disc enthält brandneue Dolby Atmos- und 5.1-Surround-Mixe von Richard Chycki, das 48kHz-24-Bit-Stereo-Remaster von 2015, neue animierte Visualizer für jeden Song und zwei Bonus-Musikvideos für ”Subdivisions” und ”Countdown”. Zum Bonusmaterial gehört ein 40-seitiges Hardcover-Buch mit zahlreichen Illustrationen, Original-Bandfotos und mehr. Das volle Paket aus 1LP, 1CD, BluRay, vier 7” Vinyl in der Super Deluxe Box ist limitiert - das absolute Fan-Item!

An ultra-pitch non skip DJ scratch tool with new content on vinyl by Ritchie Ruftone, with one side at 100bpm and the flip side at 133bpm.

Weighing in at 140 gms.

kevin macht was er will. Das war schon immer so. Musikalisch oder im Leben, völlig egal. Er geht immer in die Richtung in die es ihn zieht.
Es ist mehr ein Reflex als eine bewusste Entscheidung. Seine Art Texte zu schreiben hat sich durch die verschiedensten Einflüsse entwickelt. Egal ob Rap, Punk, oder Indie.

Der Charakter bleibt jedoch konsistent.

First up on side A we have that man again Stefano De Santis with Broken Fusion, a typically wonderful track pushing all the right buttons, a much darker affair than his previous three tracks for us. Following on from there we have Melchior Sultana who rounds off side A in style, where Malta meets Detroit, a peak time track for the dancefloor.

This is Melchiors third appearance on one of our Best Of Various compilations and all three are superb pieces of music. Onto side AA and Jose Rico with two tracks both superb deep journies into Detroit musical territory. Jose is joined on both by Ruben Valero, both Silence Sentences and Minimalism are must have tracks for anyone who is a fan and follows Jose’s music. Finally Caruso serve up some Latin inspired music and beats for a heavy workout.

Beautiful Zambian Jazz/Rock LP. Huge Tip!
Sharp-Flat Records presents the long-awaited restoration of The Broadway Quintet's cult classic Amalume – a hypnotic concoction of traditional Zambian sounds and jazz-rock grooves with a twist of 1970s African psychedelia.

Emerging to serve the entertainment needs of Zambia's United National Independence Party (UNIP) in the early 1960s, The Broadway Quintet gathered seasoned talent from Lusaka's best hotel bands to fashion its esteemed lineup. Starting as a quartet and later evolving into a quintet, the group's career spanned over twenty years as favourites on the cabaret circuit and boasted a myriad of prestigious collaborations.

The Broadway Quintet's jazz sensibilities set them apart from the rock sound that dominated the music landscape of the 1970s. Yet the formula behind Zamrock, fusing indigenous Zambian sounds with Western pop, shaped their one and only 1976 long-player. Featuring modern arrangements of traditional songs, Amalume blended congas with sax sounds, folk lyrics with electric keyboard shenanigans and show business staples with jazz guitar noodling. With its psychedelic fever dream illustrated cover, it was an explosive package of "originality and electrifying beauty" as the album's liner notes rightly attested.

Released on the Zambezi label, Amalume joined an exceptional run of mid-1970s offerings alongside WITCH, Ricky Banda and Crossbones. Officially licensed, carefully restored and beautifully reproduced, Zambia's most requested reissue has finally returned for everybody to enjoy.

Ray Mono steps up for the fourth release on Birmingham-based imprint TRMNL, with Meander boss DeWalta accompanying on remix duties.

With an increasing number of global shows across Europe, Australia, and North and South America, UK-based DJ/producer Ray Mono is crafting his warm and rich sound in one that is steadily becoming his own. Fresh from music on MOXY MUZIK, Politics Of Dancing, LOCUS, and hedZup Records, he makes his first appearance on TRMNL Records with a trio of slick groove-led cuts spanning minimal and house spheres, backed by a hazy and warping late-hours roller provided by DeWalta to close the show.

DJ Support:

Jamie Jones
Archie Hamilton
Raresh
Joseph Capriati
Franky Rizardo
IULY.B
Jean Pierre
Sakro
Ben Jones

With Cruisin', their second album for Telephone Explosion, Toronto's Bernice distils their playful sense of composition resulting in the most affecting collection of their young career. Across fifteen tracks, a special kind of contemporary, jazz-inflected pop unfolds, miraculous for being both fun and musically adventurous, all in the name of emotional resonance. Each groove in the bassbin is matched by a little scratch at the listener's heartstrings. The album was recorded at home with Phil Melanson (Sam Gendel, Andy Shauf) and Thom Gill (Beverly Glenn-Copeland, Joseph Shabason), led by songwriter and vocalist Robin Dann (Martha Wainwright) and producer Matthew Pencer, with additional contributions from longtime members Dan Fortin and Felicity Williams (Bahamas) being captured remotely.

Throughout their eleven years as a group, working at the intersections of several scenes and spotlights (many of which begin and end at Toronto's beloved Tranzac Club), Bernice have developed an idiosyncratic musical language that feels immediately inviting and wonderfully refreshing. The group's two previous releases, Eau De Bonjourno (2021) and Puff: In The Air Without A Shape (2018) received generous nods from both Stereogum and Pitchfork, who described the music as "unusually mesmerizing". With the songcraft a little more crystalline and the vulnerability notched up, Cruisin' feels like the right record to open Bernice up to a much wider audience.

Development of the album began in Spring, 2021 during a writing retreat at the family farm in Bond Head, Ontario. Members of the band luxuriated in slow time, tinkering with lyrics and melodies, sharing meals, knitting. From this communal gathering, the concept of 'dedication' emerged as a guiding theme. Specifically, developing songs in an almost epistolary form; as love letters or check-ins for friends, community members, pets and other more elusive acquaintances (a longtime working title for the project was 'Songs For People').

Lead single 'Underneath My Toe', one of the first pieces developed under this theme, finds the group at their most graceful and direct. Beginning with songwriter/vocalist Robin Dann singing simply 'Hi / I miss you all the time', the composition proceeds to shift subtly between soft jazz balladry and low-bit funk, revelling in the intimate beauty of a long-time-no-see letter to a dear old friend.

Though being a band that so deeply values the art of fartin' around, Bernice couldn't settle on such a straightforward approach. During the creative process, a clarifying question arose: 'Can you cruise to it?'. This somewhat ambiguous aesthetic criteria became a guiding light for the album. 'Sure, it's a beautiful song about building trust with a new nonagenarian friend... but can you cruise to it?'.

Case in point, both follow up singles, 'No Effort To Exist' and 'Second Judy', fall into a more nebulous, bewildering category of song. Undoubtedly affecting, emotionally charged, existentially searching, yet also undeniably juicy. Drum patterns skitter into place while synth tones shift on a dime to meet thematic twists. There's errant whistling and curious overdubs. Then in come elegant backing vocals, elevating the narrative while an unlikely, left-field groove is established. Miraculously, the listener is not just moved, but Cruisin'.

Therein lies the marvel of Bernice: they remind us that the rec room funk of Mario Kart 64 need not exist in mutual exclusivity to a rich tapestry of human emotions. Even as we live through this most cursed timeline, we can look into the heart of things, dwell on the challenges we're called to witness, and find a little levity to carry us through; grab a lil' mushroom and cruise the existential soup.

Bei vorliegendem Album haben wir es wohl mit einem der beliebtesten und stärkste Death-Metal-Alben aller Zeiten zu tun. Bis auf Chuck Schuldiner besteht MASSACRE aus den selben Mitgliedern wie die Metal-Götter: DEATH. An Bord sind Rick Rozz (Gitarre), Terry Butler (Bass), Bill Andrews (Drums) und Kam Lee (Vocals), sie predigen den Old School Death Metal in Reinkultur und hauen auf ihrem Debüt „From Beyond“ einen Hammer-Song nach dem anderen raus. Diese farbige Vinyl erscheint exklusiv zum RSD 2023, mehr als 30 Jahren nach Entstehung (März 1991) auf Gift-grünem Vinyl.

Blue Room: The 1979 VARA Studio Sessions in Holland features two recordings of trumpet/vocal icon Chet Baker captured in glorious stereo at the legendary VARA studio 2 in Hilversum, the Netherlands for the KRO radio program Nine O’Clock Jazz. The April 10, 1979 session features pianist Phil Markowitz, bassist Jean-Louis Rassinfosse, and drummer Charles Rice; and the November 9th session features pianist Frans Elsen, bassist Victor Kaihatu, and drummer Eric Ineke. Both sessions were originally produced by Edwin Rutten, and are produced for release officially for the first time by “jazz detective” Zev Feldman and Frank Jochemsen. The limited-edition 2-LP set (and deluxe 2-CD edition) includes an elaborate booklet with photos by Veryl Oakland, Jean-Pierre Leloir, Christian Rose and others; liner notes by Dutch journalist Jeroen de Valk, plus essays by Feldman, Jochemsen, and Rutten; and interviews with Baker bandmates Phil Markowtiz, Jean-Louis Rassinfosse and Eric Ineke, as well as trumpeters Randy Brecker and Enrico Rava, and pianist Enrico Pieranunzi. Transferred from the original KRO radio tape reels and mastered for vinyl by legendary mastering engineer Bernie Grundman

First ofcial release of previously-unissued Eric Dolphy studio recordings
in over 30 years, including 85-minutes never before released. The
goundbreaking alto saxophonist, bass clarinetst and autst brought us
iconic LPs such as 'Out to Lunch!' and 'Outward Bound'.
The LP package is beautfully designed and includes an exhaustve 96-page
booklet replete with rare and never-before-published photos by Chuck
Stewart, Jean-Pierre Leloir, Val Wilmer, Hans Harzheim, Lennart Steen, Roger
Marshutz and many others, plus reproductons of the original album covers for
Conversatons and Iron Man.
Includes fve essays that cover dierent aspects of Eric Dolphy and this music
by jazz author/scholar Robin D.G. Kelley, Douglas label manager Michael
Lemesre, Japanese Dolphy scholar Masakazu Sato, and co-producers Zev
Feldman and James Newton, plus words by John Coltrane, McCoy Tyner,
Ornete Coleman and Charles Mingus.
Captured afer leaving Prestge/New Jazz Records, and just before recording
the tmeless classic 'Out to Lunch!' album, 'Musical Prophet' is a 3LP set that
contains the under-appreciated masterpieces 'Conversatons' and 'Iron Man'
recorded in New York City on July 1 and 3, 1963. Originally produced by Alan
Douglas- most well-known for his associaton with Jimi Hendrix, but who also
produced classic jazz albums such as 'Money Jungle' with Duke Ellington,
Charles Mingus and Max Roach- the tapes had been stored in a suitcase with
Dolphy's personal belongings and given to Dolphy's close friends Hale and
Juanita Smith just before he embarked on his fateful European trip in 1964.
Deluxe Limited-Editon, 180-gram 3LP gatefold set released exclusively for
Record Store Day's Black Friday Event on November 23, 2018

DAFNE VICENTE-SANDOVAL - MINOS CIRCUIT (2021)

Minos Circuit is the resonance of a double exploration, that of an instrument, the bassoon - an instrument dear to Dafne Vicente-Sandoval - and that of a listening, of a gaze, almost. The first exploration deconstructs the instrument, tearing it apart, reducing it to an archipelago of sound bodies stimulated by an electro-acoustic device that generates feedback and infiltrates each part of the bassoon, in order to carry out a methodical, systematic examination. The second exploration is the inner one of attention and listening, the one that measures, at each moment, the necessity or not of an intervention in the very act of the musical work, of this subtle balance that is established between composition and observation, between action and contemplation.

(fr) Minos Circuit est la mise en résonance d’une exploration double, celle d’un instrument, le basson — instrument cher à Dafne Vicente-Sandoval — et celle d’une écoute, d’un regard, presque. La première exploration déconstruit l’instrument, le met en pièce, le réduisant en un archipel de corps sonores stimulés par un dispositif électroacoustique générateurs de larsens qui vont s’infiltrer dans chacune des parties du basson, pour en faire l’examen méthodique, systématique. La seconde exploration, c’est celle, intérieure, de l’attention et de l’écoute, celle qui mesure, à chaque instant, la nécessité ou non d’une intervention dans l’agir même de l’œuvre, de cette bascule subtile qui s’établit entre composition et observation, entre action et contemplation.

LARS PETTER HAGEN - TRANSFIGURATION 4 (2018)

Both a “meditation on musical ruins” and “a study of the material of Richard Strauss’s Metamorphoses”, Transfiguration 4 works on the musical fragment as an expressive and poetic possibility that can be deployed below or beyond simple musical syntax, a syntax that is still too often equated with music itself. What Lars Petter Hagen highlights in this remarkable work is that the power of music lies at its fringes, that is, at the edge of its own disappearance. Transfiguration 4 floats in a particularly moving way in these troubled lands, where nothing is ever resolved, and where everything, however, is suspended, like a stream of blurred memories that memory would summon to form an intuition. A musical intuition.

(fr) A la fois « méditation sur les ruines musicales » et « étude du matériau de Metamorfosen de Richard Strauss », Transfiguration 4 travaille le fragment musical comme possibilité expressive, poétique, pouvant se déployer en-deçà ou au-delà de la simple syntaxe musicale, syntaxe encore trop souvent assimilée à la musique même. Ce que met en lumière Lars Petter Hagen dans cette œuvre remarquable, c’est que la puissance de la musique se situe à ses franges, c’est-à-dire aux lisières de sa propre disparition. Transfiguration 4 flotte de manière particulièrement émouvante dans ces contrées troubles, où rien jamais ne se résout, et où tout, pourtant, se suspend, comme un flux de souvenirs flous que la mémoire convoquerait pour former une intuition. Une intuition musicale.

Through the 24 pieces, rare and unpublished, carefully selected for this double LP, BEATITUDE agnès b. MUSIQUE and Kwaidan Records offer a retro-futuristic sound journey through this musical period so rich, so diverse and so innovative. And, in order to properly celebrate the launch of this long-awaited volume 3, the 1st DES YOUNG GENS MÖDERNES festival will be organized in November 2020 at La Station - Gare des mines, with an intergenerational line up highlighting the musical lineage and the influence that this cold wave scene continues to exert on many emerging artists.

The inaugural 2023 vinyl release Neapolitan Soul Records comes with a new EP produced by Neapolitan Soul.
On side A "JUST BREATHE ON ME" an elegantly deep track, with an energetic afro disco groove, rich percussion and an "underground" atmosphere with an old school Moog melody.

On side B, the Neapolitan producer in collaboration with the London dj/producer Ace Shyllon remixes the track "SEE MY LOVE", which, as the title suggests, voice, groove, synth and pads merge into a sensual and incisive groove suitable for the "underground" dancefloor more demanding.

An essential and perfect EP to create a warm and deep trip for a unique atmosphere on the dancefloor for all deep house lovers.

OHL ist zurück! Schnell, Hart, Laut und unnachgiebig legt Sänger Deutscher W. auch 43 Jahre nach der Gründung der Leverkusener Legende erneut den Finger in die Wunde und läßt sich gegen jeglichen Zeitgeist und gesellschaftlichem Befinden nicht den Mund verbieten. 10 neue Brandstifter-Songs, aufgenommen, produziert und gemastert im altehrwürdigen Whiteline-Studio. 10 wütend-aggressive Hardcore-Punk Wahrheiten gegen alle "Mörder der Freiheit" egal welcher Religion, politischer Extreme oder Weltanschauung. Friß oder Stirb….diese Platte zu ignorieren wird schwerfallen...

OHL ist zurück! Schnell, Hart, Laut und unnachgiebig legt Sänger Deutscher W. auch 43 Jahre nach der Gründung der Leverkusener Legende erneut den Finger in die Wunde und läßt sich gegen jeglichen Zeitgeist und gesellschaftlichem Befinden nicht den Mund verbieten. 10 neue Brandstifter-Songs, aufgenommen, produziert und gemastert im altehrwürdigen Whiteline-Studio. 10 wütend-aggressive Hardcore-Punk Wahrheiten gegen alle "Mörder der Freiheit" egal welcher Religion, politischer Extreme oder Weltanschauung. Friß oder Stirb….diese Platte zu ignorieren wird schwerfallen...

Als Pioniere des Goth 'n' Roll suchen THE 69 EYES seit mittlerweile 33 Jahren die Bühnen dieser Welt heim und wurden somit zu einem wahrlich unsterblichen Teil der Dark Rock/Metal-Szene.

Allgemein auch bekannt als die Helsinki Vampires hat das Quintett mit Kultalben wie "Blessed Be" und "Paris Kills" mehrmals Platin erreicht und in ihrem Heimatland Finnland nicht nur die Spitze der Single- und Albumcharts dominiert, sondern auch allgemein die Welt in einen
sündigen Kosmos aus Liebe, Tod und Melancholie gestürzt, und dabei mehr Langlebigkeit als jeder andere Act bewiesen, der damals aus dem Goth Hype der frühen 2000er entstand.

Mit der Weiterentwicklung ihres Sounds in Richtung Sleaze Rock auf "Devils"(2004) und "Angels"(2007), der majestätisch-dunklen Stimme und den Elvis-Moves von Sänger Jyrki 69, hat sich die Band mit ihren 12 Alben weltweit eine große Fanbasis aufgebaut und durch
unablässige Touren in Europa, Amerika, Asien und Australien weiter gefestigt. Mit dem neuen "Death Of Darkness" eröffnen sie ein neues Hard Rock Kapitel ihrer langen Karriere und bleiben ihrem Sound weiter treu.

Als Pioniere des Goth 'n' Roll suchen THE 69 EYES seit mittlerweile 33 Jahren die Bühnen dieser Welt heim und wurden somit zu einem wahrlich unsterblichen Teil der Dark Rock/Metal-Szene.

Allgemein auch bekannt als die Helsinki Vampires hat das Quintett mit Kultalben wie "Blessed Be" und "Paris Kills" mehrmals Platin erreicht und in ihrem Heimatland Finnland nicht nur die Spitze der Single- und Albumcharts dominiert, sondern auch allgemein die Welt in einen
sündigen Kosmos aus Liebe, Tod und Melancholie gestürzt, und dabei mehr Langlebigkeit als jeder andere Act bewiesen, der damals aus dem Goth Hype der frühen 2000er entstand.

Mit der Weiterentwicklung ihres Sounds in Richtung Sleaze Rock auf "Devils"(2004) und "Angels"(2007), der majestätisch-dunklen Stimme und den Elvis-Moves von Sänger Jyrki 69, hat sich die Band mit ihren 12 Alben weltweit eine große Fanbasis aufgebaut und durch
unablässige Touren in Europa, Amerika, Asien und Australien weiter gefestigt. Mit dem neuen "Death Of Darkness" eröffnen sie ein neues Hard Rock Kapitel ihrer langen Karriere und bleiben ihrem Sound weiter treu.

For polymath artist Wesley Joseph, writing a song is like shooting a film - he sees in terms of scenes and colors, lighting the proper mood, drawing the right emotional arc. Music and filmmaking are Joseph’s two great loves. Film came first—he started making DIY videos at age 12 to entertain himself and his friends growing up in a small town in the UK. “There wasn’t really much happening,” he remembers, “and from a young age it created this mindset that doing everything myself was the only way to do it.”

But when he moved to London to study as a filmmaker, he discovered something in the freedom and independence of city life that demanded to be captured in song, and found a crew of collaborators—including A.K. Paul, Dave Okumu, Joy Orbison, Leon Vynehall, Lexxx, Loyle Carner and his childhood friend Jorja Smith—to help him do it. The result was his breakthrough single ‘Ghostin’’ and the 2021 debut ULTRAMARINE - released on his own imprint EEVILTWINN - a deeply textured collection of avant-R&B and soulful future-pop that stretched from psychedelic ballads to hard hip-hop bars (often in the span of a single track) and crystallized the mood of a young cohort trying to find love and live their dreams while the world is falling apart. Whilst his collaboration with Loyle Carner on single ‘Blood On My Nikes’ lead to him featuring on the artist’s critically acclaimed - and #3 charting album - earlier this year.

Now the nascent auteur returns with his Secretly Canadian debut GLOW, eight more songs of love, loss, anxiety, and joy about coming of age at a time of unprecedented change. Showcasing his range across songwriting, performing, and production—not to mention his flawless transitions between singing and rapping, between character studies and raw emotional honesty—it’s a stunningly beautiful work that makes it clear Joseph’s on the path to becoming a world-changing talent.

GLOW opens with the title track’s warm analog synths and cascading vocals that channel the harmonious Northern soul Joseph’s dad raised him on, a shimmering bed of clouds for the project’s opening credits. But like any good director, he quickly deepens the mood, drawing together disparate influences and emotions to build a unique sonic world spilling over with synchronicities and juxtapositions. “MONSOON” conjures nocturnal hedonism at the same time as it contemplates grief.

As on previous projects, Joseph is providing his own visual accompaniments for GLOW, creative directing its artwork and adding to his growing filmography as a director—he’s repped by the renowned production company Stink—with its first video. “COLD SUMMER” finds Joseph singing from a supervillain’s perspective over woozy film-score strings, and the concept bleeds over into its video accompaniment, a cryptic post-post-Tarantino film shot in Kazakhstan.

“I've never really seen them separately,” Joseph says of music and film. “They kind of just constantly drift into each other. And when they come together, it's like it was meant to be in my head the whole time.
It’s usually hyperbole to call an artist as young and new as Joseph “visionary,” but it’s undeniable that he has a vision, one that transcends old ideas of genre and medium, one that seems to get bigger and richer every time he steps into a studio or behind a camera. GLOW is one of the deepest and most satisfyingly cinematic listening experiences of the year—and Wesley Joseph is just getting started.

Received a 7.5 rating from Pitchfork. The debut full length from Melbourne, Australia’s Romero is a burst of hard hitting, punk-laced powerpop. Well informed by the classics and every bit as relevant-as-it-is timeless, Turn It On! is a memorable party. An album that captures the vitality of a young band hitting their stride and doing it on their own terms without a single note of indecision. Much in the way that The Undertones, Blondie, and even Big Star debuted with a sense of purpose, Romero invite us to eleven tracks of soulful powerpop gold. Sharp production across Turn It On! catapults the impressive guitar work of both Adam Johnstone and Fergus Sinclair to the front of the mix alongside Alanna Oliver’s heart-pounding energy and show-stealing vocal prowess. Anchored by the smooth rhythm pocket of Justin “Murry” Tawil and Dave Johnstone, Romero waste no time in showing their hand on the quick-paced album opener ‘Talk About It’—recalling '80s powerpop rhapsodies. The title track beckons bodies to the dancefloor with a rich Runaways-like temper that naturally explodes into a fiery guitar solo. Meanwhile ‘Halfway Out The Door’ and ’White Dress’ show off the band’s adept ballad-writing, boasting truly emotional highs, lows and soaring choruses. Those hip to the incredible debut Romero single—‘Honey’ b/w ‘Neapolitan’ (Cool Death, 2020) will be overjoyed to see these relatable anthems recast in the album’s tracklisting. Turn It On! reveals stories of personal striving, restarting, mulling-over the unsaid, resisting control, deteriorating relationships, the emotional throes of uncertainty and celebrating growth through all such experiences. The rollercoaster of life is mirrored by the sonic and lyrical turns Romero have crafted into their debut album—a hopeful tonic for whatever you’re going through, and a dose of excitement for what’s to come. Includes lyric insert and 11"x17" poster.

It is no longer a secret that Lady Linn has a very rich and unique voice with a versatility that is second to none, ensuring that she is right at home in a myriad of styles.

She proved exactly that in her new 'trilogy', a series of three E.P.'s - 'I'm Fine', 'Sea of Trees' & 'Nocturne'- each one telling its own unique story, and now bundled on the album 'Trilogy'.

The common thread throughout the album is her affinity with jazz, soul and dance, but also lyrically, various themes return: the tenderness within family life, melancholy, nature, and the magic of the dance floor.

There is also a clear evolution with the arrangements going from a sober, stripped-down quasi-electronic sound of the JX-03 on 'I'm fine' (with contributions from Gustaph, Gregory Frateur and producer Frederik Segers) to dreamy and warm analog synths by producer Joris Caluwaerts on 'Sea of Trees', to an organic, energetic sixties sound on 'Nocturne' with starring role for her partner and bass player Filip Vandebril and partners in crime: The Magnificent Seven, arranger Frederik Heirman and producer Jan Chantrain.

In addition to a selection of the three EPs, 'Trilogy' also includes the extra song 'Hurricane', one of Linn's personal favorites, recorded at Daft Studios with The Magnificent Seven:

'I had just watched a documentary on Laurel Canyon (on the topic of Los Angeles - the epicentre of the 'counter culture' or better 'hippie culture' - in the late 60's and early 70's and the habitat of The Mamas and the Papas, Frank Zappa, Jim Morrison, etc.) which fed my fascination for the 60's that I already had thanks to my parents. The way in which music was created and recorded in that era is a dream for every musician, me included. With the surplus in time due to the lack of gigs during the pandemic the time was right to follow my dream and record in the Daft Studios with my own band. I felt a bit like Carol King behind my piano, but I was also inspired by Joni Mitchell.'

A quote from the lyrics of 'Hurricane': 'I wanna feel the wind like the birds outside/Dive like a seagull, enter the water from flight/Into the deep I slide'.

'A very personal song about losing yourself and the longing for freedom. I composed this one specifically with 60's songs in mind, with loads of modulations and pretty complex chords.'

Lady Linn wrote a versatile trilogy, inspired by a diverse set of influences that had her digging in music history in a very original and contemporary way. She also made her mark on the sound of the productions. On both 'I'm Fine' and 'Nocturne' she was co-producer.

The album is an atmospheric exploration into bereavement and nostalgia,
covering subjects such as worker's rights, adversity and hope. Upbeat, downbeat,
with swelling synths, jagged guitars and atmospheric percussion, it is unafraid to
be stark and bare, yet vivid and uplifting.Deborah is also known for her
enchanting vocals and musicianship in well-loved and critically-acclaimed band
Blueflint. This album is a collaboration with multi- instrumentalist Pat McGarvey
and leading percussionist Rich Kass. Deborah received funding from Creative
Scotland to create the album with renowned producer Paul Savage.
The album will be launched at Leith Depot in Edinburgh on 27th April. Deborah
will also perform at The Glad Cafe in Glasgow alongside LNFG label-mates Gates
of Lights (Louise Quinn) and Xan Tyler. So far Air In The Lungs has received a
great response and the recent singles have been played on BBC Radio 6 Music,
BBC Radio Scotland, BBC London, BBC Radio Ulster and more.

In a career laden with highlights and hallmarks in the annals of soul history, 'Just As I Am' is rather overlooked as one of the best soul debuts ever issued. Beautifully remastered, 'Just as I Am' is presented to a new generation of listeners who may have missed out the first time. With this remastering comes an intimacy, warmth, and immediacy to the recordings that was only hinted at with previous versions; it's almost as if Withers is in a living room singing to a small group of people, rather than making a record. Of course, the instantly recognizable anthem "Ain't No Sunshine" gets all of the acclaim it so richly deserves, but also in tracks like "Harlem", 'Grandma's Hands' and "Better Off Dead" you can hear the intensity and maturity of Bill's performances. Even when he's doing covers, Withers makes them sound as if they are his own compositions.
Give this classic record a spin, and get ready to be submersed in the Soul of one of the true masters of the genre!

Repress!

Using an old door, 17 strings, chopsticks and combining them with phasers, echo units and amplification, the new device was to become his signature sound, mixing Irish folk influences with Asian and North African sounds in a mesmerising and soulful new way that brought him to the attention of the leading improvisers of his day - Alice Coltrane, Ravi Shankar, Don Cherry and more.

A logical follow up to AllChival's recent reissue of Stano's debut LP, Michael O'Shea's self titled LP was originally released on Wire's Dome Imprint in 1982.

The background to the album is as interesting and inspiring as the artist who created it - born in Northern Ireland but raised in the Republic, O'Shea was keen to travel and escape the troubles of his home.

Wandering throughout Europe and the Middle East, O'Shea found himself living and working as a relief aid in Bangladesh in the mid Seventies where he learned to play sitar while recovering from a bout of hepatitis. A later period spent busking in France accompanied on zelochord by Algerian musician Kris Hosylan Harp led to O'Shea's idea of combining both instruments as a homebuilt instrument - Mo Chara (Irish for "My Friend").

He later described the process on the back of the LP himself saying:

"Having sold my sitar in Germany and being desperate for money to travel to Turkey, I conceived of the idea of combining both sitar and zelochord. The first Mo Cara was born, taken from the middle of a door, which was rescued from a skip in Munchen"

A combination of dulcimer, zelochord and sitar, O Shea would play it with a pair of chopsticks, striking the strings softly using Irish folk rhythms mixed with the rich, nostalgic sounds of of the many Asian artists he'd encountered on his travels.

It was a pan cultural sound standing at an unusual crossroads of folk, traditional, rock, progressive, jazz, electronic and post-punk worlds without hesitation.

Perfecting the instrument on the streets, there were further spells spent busking in the underground stations and cafes of London's West End and Covent Garden during the heady days of the 1970s when they were full of eccentric street entertainers, jazz improvisers and musical pioneers.

His work with Rick Wakeman never saw the light of day but O'Shea's contact with the world of post-punk London ensured his name would live on.

Introduced to Wire's Bruce Gilbert and Graham Lewis via cartoonist Tom Johnston, O'Shea eventually acquiesced to an open invite to record at their studio. Turning up unannounced in the summer of 1981 the LP was recorded in a day in the legendary Blackwing Studios and released on Dome the year after.

The first side features the fifteen minute masterpiece "No Journeys End" with the B side featuring more input from Wire in processing the Mo Chara sound.

Lewis himself said years later of the forgotten masterpiece: 'I always said it was the best job we ever did.'

After an aborted LP with The The's Matt Johnson the following year, O'Shea quietly disappeared from the formal recording world and his brief but unique contribution to the music world came to a sad end in 1991 when O'Shea was struck by a post van and died a few days later in hospital in London.

This repress on All City's AllChival imprint has been remastered and reissued with the approval of both Dome and his surviving siblings.

lack Marble Vinyl! High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before.

Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me.

It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

Artist Hannu Karjalainen and his new LP Railo is the third album to be released on the Signature Dark label, first digitally and later on vinyl. The album features seven electroacoustic ambient soundscapes.

The tracks were composed during the winter months in Helsinki, Finland in 2019-2021. Railo (finnish for "a crack in the ice" or "crevasse") can be seen as on ode to winter, the richness of the seasons and different weather conditions which have been an inspiration to Karjalainen’s work.

The arc of the album follows seasons from autumn to spring, starting from cold autumn winds (Viima) and ending to the melting of the ice (Sula). Different winter phenomena are explored on the way, including ”Routa” (finnish for "ground frost"), ”Kuura” (rime) and ”Kelirikko” (a term known especially in the archipelago meaning a time at the end of winter when the frozen sea does not support transportation anymore but boat traffic is neither possible). Yet, the album is being suffused with a sadness stemming from the threatening permanent changes in the diversity and balance of nature trough the climate change caused by us.

Red Vinyl
Infonabeat Records (Mexico) is proud release ISSR A002
A Compilations of tracks from VA producers around the world
that projects a contemporary vision of Techno that emphasizes on industrial and obscure sonic scenarios.
with tracks By:

Olēka:The new alter ego of the already well-known Bosnia & Hercegovina-based DJ/Producer Forest People, He has affirmed himself as a new powerhouse in today's techno scene,
This moniker emphasizes the more industrial, and distorted side of techno.

Dahraxt: DJ producer and label owner based in Berlin Germany has a proposal with heavy basses and delicate rhythmic transitions.

Voca Negra : This project is the collaboration of Label Owners Ricardo Carmona (Ixbalanke) Based out of Tijuana Mx. and Miguel Angel Vazquez (Netika)Based out of San Diego Ca/ Tijuana Mx
This project portraits a contemporary and fresh approach to techno representing the region, displaying it with complex rhythmic patterns,
hard and robust bases with non conventional lead designs and vision.

Ixbalanke: Ricardo Carmona DJ/Producer and Label Owner Portrays a Obscure and abstract landscapes ,penetrating and vibrant sequences with unique Leads

After Joao Selva, Dowdelin, The Bongo Hop, Underdog Records continue their exploration of the Black Atlantic with IREKE.Ecstatic brass, 70’s keyboards, elastic guitars, round bass and world percussion: from this sonic heritage, Ireke makes a unique fusion, enhanced by the audacious contribution of his dub science, and a few electronic touches

IREKE

Ireke? Sugar cane in Yoruba. Like her, the duo loves tropical climates and intoxicating rhythms, quick to liberate the bodies gathered on a dancefloor. Afrobeat urgency, funk suppleness, dub alchemy, highlife jubilation: with Tropikadelic, Ireke summons the heritage of the masters and the audacity of machines to give life to new sonic territories. At the crossroads. For the love of groove.

From the West, with their ears to the Black Atlantic, Julien Gervaix and Damien Tes- son are both children of the collective and of improvisation, playgrounds for these complete multi-instrumentalists.

The first one puts his talents of arranger-saxophonist at the service of the Nantes collective Soulshine and of numerous formations - in turn funk or rhythm’n blues - where swinging is the rule.This is notably the case of the afrobeat group Walko, in which Julien Gervaix had the honour of sharing the stage and the studio for several years with Kiala Nzavotunga, guitarist extraordinaire for Fela Kuti and Egypt 80. Meanwhile, Damien Tesson was being trained as a dubmaster-guitarist-arranger at the reggae roots school with the digital option of the Vendée collective Shi Fu Mi Temple.This initiation led Damien Tesson to join, among others, the Nantes-based group BIBA (Bingy Band) and then to collaborate with Jideh High Elements, a key figure on the international dub scene, Roberto Sanchez and the team of his Lone Ark Studio, as well as Sana Bob, a famous reggae singer from Burkina Faso.And then, life being well done, the paths of Julien Gervaix and Damien Tesson ended up crossing within the jazz-funk combo Playtime, before meeting again in the Vendée a few years later.

With an obvious tropism for Afro-Latin grooves, tropical colours, electronic tricks and furious swaying, the two musicians create Ireke like a glass of well arranged rum. Here’s to us, here’s to you! As if guided by the spirit of the plant, Ireke toasts the immense richness of these danceable rhythms, true generators of life, connection and energy.

Like Legba, the Yoruba orisha of intersections and crossroads, Ireke thrives in the between worlds.Aware of the lineage of goldsmiths who preceded them, Ireke

knows his classics and humbly draws inspiration for Tropikadelic from the musical genius of Pat Thomas, Poly-rythmo Orchestra, King Tubby,Tony Allen, Fela Kuti, Maître Gazonga, Ernesto Djédjé or the Vikings of Guadeloupe. Ecstatic brass, 70’s keyboards, elastic guitars, round bass and world percussion: from this sonic heritage, Ireke makes a unique fusion, enhanced by the audacious contribution of his dub science, and a few electronic touches patiently flushed out in the studio - which the duo considers as an instrument in its own right.

Finally, to give voice to his compositions, on Tropikadelic, Ireke calls upon an army of serious enthusiasts, each member of which has come up with his or her own lyrics. Thus, alongside Ireke, we find the groove griot Pat Kalla (“Femme qui Danse”,“Love Is Jokin”), the Franco-Laotian reggaeman Amatah Keo (“Man Bo Diak”), the Vendée- based Agnès Hélène (“Petit à Petit”,“Oh Ma Chérie”) and Charly Sanga (“Bas Les Masques”,“Oh Ma Chérie”), the Burkinabè lion Sana Bob (“Métissage”) as well as the Nantes soulman Jy Cooly (“Kinkeliba”).

For the duo, music is above all a collective practice, an active liberation, a rhythmic approach to letting go, a source of communicative joy... In short, groove is the weap- on! And Ireke knows how to use it.

I was lucky enough to release Godflesh 'Love is a dog from Hell' on my old label Pathological many moons ago. I was equally lucky to drop JK Flesh 'In Your Pit' on my new label PRESSURE three years ago, and then follow that up with the G36 vs JK Flesh sound clash 'Disintegration Dubs' last year. Justin has consistently handed me pure audio gold, and actually gifted me some of my favourite releases from him full stop, in an incredible career of riches which he has tirelessly. produced since Napalm Death til today. So again, I’m now totally psyched to drop 'Sewer Bait' on my label PRESSURE. The sixth album from JK Flesh, this album is a Slo-mo, Slo-fi, Sewer tech journey into utter gutter level filth. Overdriven, corroded, corrupted and absolutely blasted, it contains so many essential elements of clubland low life, but yet manages to remain beautifully original whilst pushing all levels deep into the red until it hurts in the best possible way. Anyone hooked on Andy Stott's dirtiest works, Porter Ricks deepest explorations or Techno Animal's speaker punishing grooves will find addictive nourishment within these relentlessly distorted heavyweight grooves.... Not so much hard as completely f-ckin brutal, the master stroke from Justin Broadrick however, is takin his raw materials and feeding them militantly into the dub chamber. This is like a wholesale destruction of Techno, 4/4 for people too wasted and strung out to give a f-ck about dancefloors, yet compelling enough and magnetic enough to completely insist upon fully body hypnotism in an undersized room with an oversized rig. The album's title track sounds like Drum & Bass don Digital or the peak of the Metalheadz label dragged down into hell for the ultimate bad rave trip, whilst 'Crawler' could be Killing Joke, jammin with Regis and his aggro allies from Birmingham Techno's underappreciated discography, deep in a warehouse warzone. You don’t have to dig techno to dig this dirt, you just have to enjoy having your head taken off and your body physically punished. If Jeff Mills output had been chopped, screwed and then painfully, slowly crushed, it may resemble the monolithic, psychedelic, crawl of 'Sewer Bait'.” – Kevin Martin

With his debut release Yapp delivers a stunning blend of house, breakbeat, and trance across four compelling tracks. The carefully crafted production and rich sonic tapestry create a mesmerizing energy that is sure to keep the dancefloor packed. Yapp's innovative approach to electronic texture blending results in a fresh and unique sound that is both forward-thinking and unforgettable. From the rhythmic beats of the opening track to the dreamy soundscapes of the closing number, the EP takes the listener on a captivating journey through Yapp's artistic vision.

Artwork by Sunmiguelsun