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DJ Support: Kerri Chandler, Prunk, M-High, Archie Hamilton, Mr.V, Alexi Delano, Laurent Garnier, Okain, Mystic Bill

Dutch House maestro Dennis Quin makes a welcome return to PIV this July with his ‘Treat You Right’ EP, comprising four originals, one of which features LA’s Cheshy on vocals. Over the past ten years Amsterdam’s Dennis Quin has moved from strength to strength and has become globally revered and respected for his raw and powerful productions, racking up releases on Cécille, Ibadan, Dungeon Meat, Eastenderz and of course the leading light of his hometown scene, PIV, where he returns with his latest EP.

Up first on the package is the original mix of title-cut ‘Treat You Right’ which sees Dennis team up with Los Angeles based Cheshy, delivering a composition that personifies the quintessential House sound, crisp 909 drums, fluttering stab sequences and a bumpy bass hook run in unison with Cheshy’s soulful vocal stylings, cinematic strings and shimmering synth lines. ‘Impressions’ follows next and showcases a different aesthetic with a swinging low-slung rhythm section, jazzy leads, marimba lines and bouncy subs to create a more Parisian deep house feel.

Further showcasing Quin’s dynamism as a producer ‘Touched’ then shifts up gears to a saturated skippy drum groove, vacillating synth stabs, a heavy dose of low-end drive and hypnotic vocal chants. Lastly to round out the release, Dennis offers up a ‘Classy Dub’ of the title-track, as the name would suggest stripping out a large portion of the vocals and reshaping the structure of some of the original elements and stirring some additional jazzy elements into the mix.

The unstoppable production powerhouse that is Paul Woolford aka Special Request is back with another of his frankly ridiculous run of releases. Never one to just drop a single tune, this year he has several albums on the way off the back of his superb re-imagining of the KLF's cult 'What Time Is Love?' and this Portals Box Set Project is one of them. It is a multi-part collection that "uses today's modern technology to bring you the sound of tomorrow" and each limited edition 12" comes with its own custom artwork by Nic Hamilton. As you should expect, these are all utterly monstrous bangers and this first part has the high-pressure techno bounce of 'Hectic' and 'Pure Potential' to welcome you to the Portal.

Perhaps one of the most exciting and anticipated projects in the world of heavy instrumental music is Parlor Greens, a fresh organ trio on Colerine Records! You could say that Parlor Greens are greater than the sum of their parts.. however, the individual parts are simply stellar on their own. Tim Carman (GA-20) on drums, Jimmy James (True Loves, formerly Delvon Lamar Organ Trio) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ. Parlor Greens started off as an idea before it even had a name. Carman had been chatting with Colemine label boss Terry Cole about their shared love for organ combo records of yesterday on labels like Blue Note and Prestige. Cole said he'd love to have an organ trio be the first project at the label's new studio, Portage Lounge, located in Loveland, Ohio, So when Carman tapped James and Scone for the session, the stage was set. Carman and Cole had started work a day early to dial in the drum sound, so when the rest of this murderer's row arrived they hit the ground running. It was instant chemistry, Within the first ten minutes of everyone plugging in, a song was written and recorded, "West Memphis". And over the next three days, these three maestros conducted a beautiful and soulful symphony straight to tape. As natural and fun as three old friends getting together after a long absence, only this was the first time they had written and performed together. True magic. So this is the result of that session. Eleven outs. Ten originals. Two sides. All killer, no filler. Straight to the old reliable Tascam 3BB tape machine, mixed up nice and dirty for your enjoyment. Parlor Greens are proud to present their debut long player, in Green / We Dream.

Perhaps one of the most exciting and anticipated projects in the world of heavy instrumental music is Parlor Greens, a fresh organ trio on Colerine Records! You could say that Parlor Greens are greater than the sum of their parts.. however, the individual parts are simply stellar on their own. Tim Carman (GA-20) on drums, Jimmy James (True Loves, formerly Delvon Lamar Organ Trio) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ. Parlor Greens started off as an idea before it even had a name. Carman had been chatting with Colemine label boss Terry Cole about their shared love for organ combo records of yesterday on labels like Blue Note and Prestige. Cole said he'd love to have an organ trio be the first project at the label's new studio, Portage Lounge, located in Loveland, Ohio, So when Carman tapped James and Scone for the session, the stage was set. Carman and Cole had started work a day early to dial in the drum sound, so when the rest of this murderer's row arrived they hit the ground running. It was instant chemistry, Within the first ten minutes of everyone plugging in, a song was written and recorded, "West Memphis". And over the next three days, these three maestros conducted a beautiful and soulful symphony straight to tape. As natural and fun as three old friends getting together after a long absence, only this was the first time they had written and performed together. True magic. So this is the result of that session. Eleven outs. Ten originals. Two sides. All killer, no filler. Straight to the old reliable Tascam 3BB tape machine, mixed up nice and dirty for your enjoyment. Parlor Greens are proud to present their debut long player, in Green / We Dream.

Esteemed musical chameleon Brendon Moeller, renowned for his highly respected work in Deep Ambient, Dub Techno and a myriad of variations on these themes - turns his hand to 170 for Samurai Music.
Vacuum is the first fruits of this collaboration and encompasses a cross section of his approach to the tempo. Dub-wise 170 that hints at a deeper version of autonomic, but ultimately invents a new sound that only Brendon and his analogue dungeon could conjure. 30 years of mastering the art of the deep filtered through an all new tempo lens.
Vacuum is a gentle 6 track record that will become a close companion to those tuned to, or open to embracing the rewards of Brendons impeccable sound design and mastery of immersive, minimalist warmth.
Breathe it in

It's already hard to describe what Deerhoof sounds like. So we'll skip that part and say this sounds a lot like Deerhoof with a different singer. And in keeping with 30-year Hoofian tradition, melodies soar, big hit earwigs abound, harmonies are complex, and keys change frequently and unexpectedly. Arrangements are in a constant state of impatient agitation. Emotions run high but delivery is usually a falsetto deadpan. We Sang, Therefore We Were is grief delivered in code. Greg plays everything save for a few birds who join in singing now and again. He keeps the instrumentarium severely limited, the sound shambling and anti-slick. It turns out Greg is a really good bass player and guitar player, if a bit more rudimentary and slicing compared to his Deerhoof bandmates. He does play more angry guitar solos. But don't expect another Chippendale/Saunier speed-drum freakout; the songwriting is gorgeous and sophisticated, and drums are almost an afterthought. Here, song is Queen. The singing is high and whispery, tending towards the three-part harmony. What we're saying is: We Sang, Therefore We Were sounds a bit like Deerhoof fronted by The Andrews Sisters. This is a peek inside the mind of one of indie rock's most celebrated drummers, many of whose fans may not even realize the relentlessness of his musicianship and compositional prolificacy. Mozartian chords and sounds insinuate themselves here and there on this record, finally taking over in a big climax at the end, when the drums break off unexpectedly into a laugh-or-cry orchestral outpouring that ironically may be the rawest part of a very raw album. "Satomi, Ed, John and I were chatting between shows in Austin in early December. They encouraged me to make a record on my own. With no one to please but myself, it came together way faster than usual. It was basically done by the holidays. I had been excited by the announcement that the new Rolling Stones record was going to sound 'angry.' I thought, 'Yes, I'm angry too.' But Hackney Diamonds turned out more like cotton candy than punk rock. So I went back to Nirvana. I always loved the catchy melody over massive distortion, the way their songs refused to conform to simple major or minor scales, the dark sarcasm which still resonates in this age of phony blue-check-washing of fascism." The album cover is all text, penned by Greg on the familiar topic of interspecies absurdist operatic anti-Cartesian revolution. The songs' lyrics are all drawn from this epic poem. White House spokespersons are recast as The Queen of the Night from The Magic Flute, The Queen of the Night is recast as a mockingbird singing all night in a battle for survival, and ultimately the mockingbird is recast as a campy drag artist taking pleasure in her own aggressive, tireless music-making.

After his debut album 'Happy Floating' in 2022, Leipzig-based producer Damian Dalla Torre returns to Squama with 'I Can Feel My Dreams'. Developed during a residency in Santiago, Chile, it incorporates electronic, jazz and ambient influences utilizing Andean quena flutes, synthesizers and field recordings and again centering on collaborations with fellow artists like Ruth Goller, Miriam Adefris and Christian Balvig.
A wistful haze runs throughout the album, coming out at the end, there's both light and darkness and no need to choose.

Everyone’s favourite Instagram music account is now a label!

Belters4u has been sharing a steady stream of forgotten club bangers over the past few years and now arrives with original material. The inaugural release sees Tre Turner serve up three belting hardware jams straddling 90s euro-house, trance and early prog with a subtle nod to Scotland’s notorious old-school rave scene.

First dropped by Job Jobse at last year’s Nachti Festival, title track" Can’t U Feel" is a feel-good party pumper resplendent with galloping euro bass, gated filter sweeps and catchy pitched vox destined for a festival near you. The two mixes of “Mixed Emotions” on the flip take a hazy, trancier path, keeping the emotion and euphoria running high.

Available on vinyl via One Eye Witness and digitally via all decent platforms.

KEYS has just completed their second album, “The Grand Seduction”. This all-keyboard band is the brainchild of singer Jake E (Cyhra, Amaranthe and others) and keyboardist Mark Mangold (Touch, Drive, She Said, Michael Bolton, Cher, Paul Rogers and others) with Emanuel Bagge (Sweden’s Got Talent Finalist) on additional vocals and keys, Irwan Fabrien (noted keyboard guitar sound designer) with help of drum gurus Alex Landenburg (Kamelot, Cyhra and others).

Featuring live performances with three keyboardists and a huge battery of keyboards, this ambitious band brings keyboard and instrumental prowess to new heights while playing songs that run the gamut from scathing progressive melodic forays to catchy and melodic rock anthems …and Jake’s award-winning voice (Burrn Vocalist of the year 2020). Previous KEYS album also featured guest keyboard additions by Charlie Calv of Angel and others.

Though songs are first and foremost, this band shows the versatility of keyboards in this day and age. These artfully crafted songs are ripe with scathing synth, organ and “guitar” pyrotechnics, dazzling time signatures and drumming, bombastic choruses and “guitar” riffs (played on keyboards with the now available plug in’s that perfectly emulate guitars). As Mark and Jake are first and foremost award winning songwriters, they never lose sight of the composition and melodies, though couched in the very signature and hard to pigeon hole sound (isn’t that the whole point?) of this band and Jake's 4 octave vocal range.

A song is a song until it isn't, until it's pushed to its limits and beyond to become harder, faster and more dissonant. The music on Oneida's 17th full-length album, Expensive Air, all started as tightly structured, melodic rock songs _ very much in line with the non-stop bangers of Success from 2022 _ but along the way, they changed. Bobby Matador sketched the structures of these songs from his home base in Boston, then sent the demos to Oneida's New York contingent: Kid Millions, Hanoi Jane, Shahin Motia and Barry London. "We were working out the songs in New York without Bobby. We would start out riding the riffs, and then Shahin and Jane would add wild, out-of-tune licks," said Kid Millions. "It seemed so perfect." Oneida has long straddled gray-area boundaries between the NYC punk/psych/rock world and the art/experimental world, playing at gritty rock clubs and elevated cultural institutions, including the Guggenheim, MoMA PS1, ICA London, MassMOCA and the Knoxville Museum of Art. The band has been known for extended live improvisational performances, collaborating onstage with Mike Watt, members of Flaming Lips, Portishead, Boredoms, Yo La Tengo, Dead C, Godspeed You! Black Emperor, and many others. Oneida's members juggle a wide variety of other music projects. Drummer Kid Millions has played with Spiritualized, Royal Trux and Boredoms and releases solo compositions under his own name and as Man Forever. Shahin Motia founded noise - punk's Ex-Models and currently plays in Knyfe Hits. Kid and Fat Bobby perform and release music as People of the North, and Bobby's outside projects New Pope and Nurse & Soldier each released new albums in 2023. Oneida's previous album, Success, came after a four-year hiatus, unleashing the band's pent up creative energy in a set of catchy, accessible, nearly poppy songs. Song structure remained important in the run up towards Expensive Air, but so was the instinctual, improvisatory interplay that has always been a part of Oneida's process. The band had been playing live together for two years, sharpening its attack and pushing its songs to go harder, faster and wilder. Oneida recorded Expensive Air in three sessions scattered across 2023, convening at Colin Marston's Menegroth The Thousand Caves studio in Woodhaven, Queens, whenever they had a few songs ready. Marston and the band mixed the album in February 2024 at Menegroth. The new album expands on what Oneida achieved with Success, but also pushes past it, laying down irresistible song structures then blowing them to psychedelic bits. "I found myself thinking about this record as a darker, looser, louder, counterpart to Success," Bobby explains. "Both records charge forward from the jump and mix the elliptical with the blunt, and longing with self-mockery. But Success is like laughing in a car gunning carelessly through an ice storm, and Expensive Air is how you laugh at yourself as the car spins into the ditch, or a tree. Same trip, but a little closer to the bone."

Das Phänomen ”Heat Waves” ist einer der meistgespielten Songs aller Zeiten und jetzt sind Glass Animals bereit, ihr neues Projekt der Welt zu präsentieren. Das neue Album “I Love You So F***ing Much“ zeigt, wie sehr die Liebe das Individuum prägt und nicht nur auf romantische Beziehungen beschränkt ist. Das Album ist jetzt erhältlich als CD und als LP auf schwarzem Vinyl

The longest-running all-female rock band, still active after more than 40 years.

Following two successful dancefloor-orientated releases with remixes by Marco Shuttle and S.O.N.S., London-based label E2-E8 takes an ambient turn while remaining faithful to its ethos of putting new artists on the map. Water Locks is the debut release from Szl0, a sound artist who’s been living and breathing East London’s inspiring atmosphere and contradictions for the last 10 years.

Water Locks is a tale of boats, canals, twists and turns of a quietly ever-changing life. A misty, smoky dive into a soul in constant search for itself. For his debut album, Szl0 peeked into instincts and fantasies and crafted a series of deep live improvisations.

The beauty is in the tension: Szl0’s music is for pause and reflection, yet it’s the moment that matters. A series of intense movements firmly grounded in the here and now which, taken together, becomes bigger than the sum of its parts. A late night listening at sea.

Limited run of 50 tapes. Includes a download code with a bonus remix from E2-E8’s own Miro Sundaymusiq (“First Light” – Pacifist Techno Soul Edit) who reinvents one of Szl0’s movements and gives it an unexpected dancefloor appeal.

Sony Music feiert das 25-jährige Jubiläum des legendären Soundtracks "Bodyguard" mit der Veröffentlichung von Whitney Houston - I Wish You Love: More From The Bodyguard am 17. November 2017. Die brandneue Whitney Houston Sammlung enthält eine großartige Auswahl von Live- und Studioaufnahmen - viele davon bisher unveröffentlicht oder bisher nicht erhältlich, welche die größten Erfolge der Künstlerin dokumentieren. Auf dem neuen Album I Wish You Love: More From The Bodyguard finden sich noch nie veröffentlichte Live-Aufnahmen von Whitneys berühmter "Bodyguard"-Tour (1993-1995), dazu noch nie gehörte Versionen der Musikstücke aus " Bodyguard", ein Remix von "I'm Every Woman", zusätzliche Grafiken und vieles mehr. Das Album wird als CD und digital veröffentlicht.Einige der Höhepunkte des Albums sind ein Alternative Mix von "I Will Always Love You" mit einem gesprochenen Intro von Whitney alias Rachel Marron, eine noch nie veröffentlichte Acapella-Version von "Jesus Loves Me" und eine Live-Aufnahme des nur selten gespielten "Run To You". Außerdem enthalten sind Film- und Live-Versionen von "I Will Always Love You", "I Have Nothing", "Queen of The Night".

LIMITED INDIES LOSER EDITION PRESSED ON BLUE TRANSPARENT VINYL! Stella makes her Sub Pop debut with the mesmerizing Up and Away, an old-school pop paean to the pangs and raptures of love. From the Greek folk-inflected get-go, we're swept up in Stella's world - and it's quite the captivating place to be. The singer-songwriter joined forces with artist and producer Tom Calvert (aka Redinho), and it was a match made in Athens; the results are heavenly. Tom caught one of Stella's gigs on a visit to the city. He reached out, they started hanging out, and the pair soon clicked creatively. Both mention chemistry when asked about their collaboration and it's clear, from what we hear, they had it in spades. The meld is seamless. Stella's songs have always riffed on American and Greek mid-century pop but Up and Away doubles down on the vintage aesthetic. Tom says he styled the record "as if it was a rare gem from the '60s found in a box of records in Athens," and Stella notes she was ready for a more "deeply Greek touch - it felt comfortable and right, smoothly fusing with the pop." The bouzouki appears on a full five tracks played by Christos Skondras who, she says, "was brilliant at improvising," while Sofia Labropoulou on the kanun "brought an insane amount of dreaminess to the last two songs. Having these amazing musicians play for Up and Away - I couldn't be more grateful." While not exclusively a confessional artist, Stella is always intimate - when she sings, it's personal. She writes "about things I feel passion for. Stories about me, about others, about all that's there in love and war." Stella was "in a very emotional state at the time, which came through in the lyrics and vocals." And it's true, her honeyed voice - layered in those unmistakable harmonies of hers - thrillingly runs the gamut from tender to terse, by turns bracing and smitten, aching and forlorn. But it's the lyrics that feel key. Across her output, Stella has proven herself a strong storyteller, and Up and Away is no exception (the guise of the medieval bard she assumes on the cover is telling). Past releases have been studded with gem-like vignettes - a diverse array of stories set tightly together to form non-linear narratives unified by emotion. Her latest feels singular in that it seems to trace a longer-form tale across songs, with each track escalating the record's erotic arc. By the end of the album, Up and Away's core concerns are clear: the conflicting and conflicted emotions inherent in love, that live on in ways we can't always understand or control. Love is like this record: when it's over, you still feel it for time to come.