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Brooklyn-based queer nightlife luminary Jasmine Infiniti self-released her debut album, BXTCH SLÄP, in March 2020. Dark Entries steps forward to present the album remastered and on double vinyl. Over the thirteen disruptive club cuts of BXTCH SLÄP, Jasmine conjures occult rave incantations with sub-tectonic bass and seductive harmonies. Audaciously championing R&B, vogue, and hip-hop sounds, Jasmine Infiniti’s latest collection of techno-hybrid dance tunes is built for the dancefloors of underground nightlife.
While SiS, her debut EP, was an ode to queer solidarity, community, and sisterhood, BXTCH SLÄP refines the art of personal myth-building. It is an unflinching and uncompromising album, but it also boasts surprising range, moving briskly between ethereal hardcore house (“HOTT”), anxious dark electro (“SPOOKED”), and certifiable techno bangers (“YES, SIR”, “WELLFAIR”). Meanwhile album standout “<3” hovers just above 100 BPM, a defiant statement of euphoric sensuality that’s no less gripping for its dramatic deceleration. Closing number “SHONUFF” clocks in at ten and half minutes, but not a second of this acid-laced adrenaline rush feels wasted. BXTCH SLÄP might be suited for the high-impact dancefloor, but this music takes on a new life in the moments we spend between the parties, alone and full of desire.
BXTCH SLÄP was mastered by George Horn at Fantasy Studios. The sleeve features photography from Guerrilla Davis and hand drawn Infiniti logo designed by Eloise Leigh with a 3-D chrome effect by Sebastian Ortega. Each copy includes a 3-D chrome die-cut sticker. The Queen of Hell is back and her powers are stronger than ever. All hail The Queen!

HøRD is the solo project of Bordeaux-based synthwave producer Sebastien Carl. Started in 2014, Sebastien has proven himself to be able to gather a cult fan-base around his creation in a short time, collaborating with artists as Hante, Winter Severity Index and Black Bug and performing live in most European countries.

Debuted by Antoni Maiovvi and Vercetti Technicolor’s Giallo Disco, an EP on SNTS’ Sacred Court and a second full-length on Avant! have followed. Bodies is his third album and it shows eight new passages that take HøRD’s distinguishing features one step further once more.

Ethereal synths matching deep analogue beats, veiled vocals speaking of visions, memories, meaning and failing. Synthwave sounds like a soundtrack from the 80’s meet electro and techno mechanical rhythms along a stream of tracks that almost have no name so that the listener can just let them flow and flow with them, taking a journey away from the present time and into an abstract, dream-like modern dimension where the misty and the solid are one.

Sebastian Heda's new EP is a auditory glimpse into the insides of the haywired central nervous system of a man machine. The opener DISSOLUTION takes no prisoners and sets the direction for this exploration in modular-made attacks from a dystopian future. Followed by no less than two great remixes by ARCHITEKTUR and CAREMAJOR. The next and eponymous track CV GUERILLA is at arms and aims at you with relentless, percussive drum fire and another well executed version by ENDLEC. Finally you get short bursts of radio traffic from a RANDOM SOURCE, leaving nothing but silence and a big grin on your face.

Efficient Space is honoured to share the little-heard recordings of three Yolngu songmen from Northeast Arnhem Land - Bobby Bunnungurr, Jimmy Djamunba and Peter Milaynga (d. 2007) - working in collaboration with Victorian musician Peter Mumme. Yolngu are the indigenous peoples of Arnhem Land in Northern Territory, Australia; their clans are the Marangu and Malabirr, the languages Djinang and Gannalbingu. Their songs are of instruction, story and ceremony.

A connection first initiated by Yolngu actor David Gulpilil, Waak Waak Djungi's mid-90s recordings were preceded by years of respectful sharing of culture. Mumme explains that 'the aim was to produce something that is new, not in the sense of a breakthrough, but what emerges from the combining of existing ideas'. What developed was sonically unique - sprawling vocal/electronic soundscapes and field recordings that reimagine the traditional songs of black crows and white cockatoos, sharing, creation spirits and of leaving and returning home to country. Spacious and patiently durational, the songs resound in a big land with a big story to tell.

On the 1997 Waak Waak Djungi album Crow Fire Music, these interpretations were assembled with traditional recordings and additional material from Sebastian Jörgensen and Sally Grice. Falling short of generating public interest, it became well known in the Yolngu homeland. Nearly two decades later, a CD copy filed away in the 3RRR FM library would prompt a three year investigation to meet the people behind the music.

Waak Waak ga Min Min (Black Crow, White Cockatoo) combines the previously unreleased Gandi Bawong with five contemporary versions from the original album, with a new cover painting by Bobby Bunnungurr. Tracing 1997 back to many millennia ago, this is a captivating window into the richness of Aboriginal culture and collaboration.

REPRESS 2017
Early Support from Stephan Bodzin, Steve Bug, Lexy, Christian Fischer, Markus Guentner, Laurent Garnier, Tim Xavier, Someone Else, Gunjah, Oliver Klein, H*O*S*H, Sebbo, Anderson Noise, Habersham, Emma Thompson, Markantonio and Jamie Stevens.

Early support by: Marcel Dettmann, Takaaki Itoh, Gary Beck, DVS1, Adam Beyer, Randomer, Jeroen Search, Speedy J, Jonas Kopp, Tommy Four Seven,Slam, Mosca, Psyk, Paul Mac, NX1, Manni Dee, Progression, Scalameriya, Thomas Hessler, Juho Kusti, Ryuji Takeuchi, Mr Jones, ANFS, Dustin Zahn, Kyle Geiger, Joton, Paul Birken, Hector Oaks, Charlton, Dario Zenker, Kwartz, Dimi Angelis, Drvg Cvltvre, Stranger, Mikael Jonasson, Arnaud le Textier, Dax J, Jerome Hill, 3.14, Pfirter, Echologist, Darko Esser, Tripeo, Endlec, Stenny, Clouds, I/Y, Rivet, Henning Baer, Dave Tarrida, Rolf Mulder, W.I.R.E, SHDW, Pacou, Patrick DSP, Ansome, Sebastian Krenzlin, Rebekah, Gareth Wild, Domenico Crisci, Perc, Setaoc Mass, J.Tijn, Radial, Aiken, The Black Dog, Ness, Developer, Exium, Sawf, Joseph Capriati, Svreca, Shards, Truss, Truncate, Myler, Inigo Kennedy, Advanced Human, Operator

repressed !

RFBCOLOURS 002 bring L'Atelier on board. This pair from Amsterdam bring you a 4 track EP with a digi only bonus. It starts off with Again, which hits that great sample hard and gets the party started on a disco vibe with a house twist. Then theres XTC which carries on where the A1 left off. On the flip we see a serious piano workout on top of a a grooving drum arragement. To finish off the vinyl package we see Times Are Ruff take the remix on a deeper tip with some seriously crunchy basslines and rolling groove. Then if that wasnt enough theres a digital bonus that will warm up any willing club room.

Feedback:

Telonius (Gomma)
'thanks nice one'

Laurin Fedora (Sleazy McQueen (Morris Audio / Paper Recordings))
'I'm looking forward to this vinyl. Nice return to late 90s filter disco!'

kostas tassopoulos (Ekkohaus (2020 vision, morris audio, cargo edition, liebe detail))
'Solid house record, loving it, thanks....'

Harri (Sub Club)
'liking afew of these'

Gameboyz (Clouded Vision / Relish)
'we dont usually play this kind of house music, but this is very nice! will try! thanks!'

Sebastian Wilck (Sebastian Wilck, Watergate)
'times are ruff remix is strong! support'

Jonny Cade (2020 Vision / Leftroom)
'great house ep'

Tensnake
'wow, that's quite a killer, downloading thanks!'

Lauhaus Lanting (Polder / Intacto)
'nice ep guys, also diging the times are ruff mix. thanx!'

Julien Barthe (Plaisir de France, Pro-Zak Trax)
'yeah remmeber 2000'years'

Julien Sandre (Morris Audio)
'nice music'

Doc Martin (none)
'XTC for Me!!!!'

Tom Findlay (Groove Armada)
'great EP, a little bit of everything and in all the right places....'

Andrew Claristidge (Acid Washed (Records makers))
'good stuff...'

Mihai Popoviciu (Highgrade, Fear Of Flying, Hudd Traxx)
'again is cool for me!'

Dorian Paic (Raum Musik)
'xtc times are ruff remix is the one for me ! cheers Dorian.'

Hector Couto (Tribal Sessions)
'full support for this release! good music!!!'

Gianluca Pandullo (I-Robots)
'LAtelier - XTC (Times Are Ruff Remix) ! I-Robots approved!'

Als Compilation-Reihe im Jahre 2001 gegründet um ein paar lose Fäden unserer Stammkünstler zu verknüpfen, hat sich SPEICHER inzwischen zu einem Garanten für fortgeschrittene Tanzklänge aus aller Welt weiterentwickelt, der es KOMPAKT
erlaubt Musiker aus allen Bereichen des elektronischen Spektrums einzuladen und zu fördern. Für SPEICHER 77 kehrt der französische Ausnahmeproduzent SEBASTIEN BOUCHET mit THESAURUS und BROKEN HEART zum Labelstall zurück, zwei Tracks, die seinen Ruf als Meister des Rorschach-Techno mühelos untermauern.

Early Support by Florian Meindl, Markus Kavka, Haito, DJ Misjah, Sweet n Candy, Sebastian Roya, Dole & Kom, Michel de Hey, Andre Kronert, Oliver Klein, Andy Kohlmann, ...

BCUC – Bantu Continua Uhuru Consciousness – have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. From humble beginnings rehearsing in a shipping container, a stone's throw from the church where Desmond Tutu organized the escape of the most wanted anti-Apartheid activists, they kept believing in their dream of self-empowerment. Today they command festival stages worldwide: Glastonbury West Holts, Roskilde, Afropunk Brooklyn, WOMAD, Fusion, Sziget, FMM Sines, Beaches Brew, Boomtown, Colours of Ostrava, Couleur Café – to name just a few. In 2023, BCUC were honoured with the prestigious WOMEX Artist Award, an accolade usually reserved for more established artists, in recognition of their fearless work and transcendent live performances.

THE ROAD IS NEVER EASY

The Road Is Never Easy is BCUC's fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica). BCUC's music is deeply rooted in history and echoes the voices of the ones who came before. The road was never easy for the people of Soweto who originally came to work in the mines of Egoli, the City of Gold, Johannesburg. When apartheid finally ended after a long struggle, it was hoped that life would improve. But more than 30 years later, many of those initial hopes and dreams are still waiting to be fulfilled. This album is about that struggle. The album contains 10 brand new songs – a record for BCUC, whose previous albums featured an average of 3 songs. It represents the culmination of more than two decades of performing together and building a reputation as a powerful live act. These ten songs encapsulate that same live energy, each one building gradually and drawing you into BCUC's Afro-psychedelic stream of consciousness. It's a seismic tour de force through life in Soweto today. Songs like Amakhandela (Breaking All the Chains) connect history to daily life: "How is this precious metal inflicting so much pain in us," sing BCUC, "this government has been telling us we are free, but we don't benefit from being free." The album also talks about all the hopes and dreams that remain: "I have too many wishes and dreams in my head," BCUC sing in Um duma khanda, "I think I am losing my mind". The album ends with the soothing Matla a rona ke Bophelo, "our strength is life", praising the spirits and thanking the elders for protection. The Road Is Never Easy is about the harsh reality of life in Soweto, where "people always carry heavy loads". BCUC are street poets trying to deal with that burden: sometimes revolutionary, sometimes soothing, but always hopeful and compassionate. "When you are from Soweto you can't retreat nor surrender." (Sebenzela)

RECORDING

The album was largely recorded in Munich, Germany during tour breaks over two sessions, each three days long. It took place in a small studio located in a German WW II bunker converted into rehearsal spaces. The songs were recorded in one take altogether in one room, with only a few overdubs added, mainly backing vocals, by BCUC at Fourways studio in Johannesburg. BCUC have created their own distinctive way of writing, or rather, finding and creating their songs. The recording process is like an improvised live performance. They bring their ideas into a zone where the music, the rhythm and the spirits take over until the song starts to form. In this Afro-psychedelic zone BCUC create their unique poetry that feeds on the dreams still dreamt, the hopes, the fears and the temptations lingering everywhere. BCUC's songs need to breathe and time to build. The right take was the one when the song took over, and just like their live performances, no one knew beforehand where the song would take them. During the recording, BCUC just let it all flow out: inner turmoil, cries of rebellion, but also resilience and a search for healing, love, unity and compassion. You don't have to be from Soweto to feel the deep meaning and impact of this music. In these times of so much hate and division, BCUC are like a campfire for people to gather around.

PRODUCTION & ARTWORK

"BCUC have a unique magic," says Outhere's Jay Rutledge, who produced the album. "It blew our minds. It's like punk and pure gospel at the same time. Their music can make you dance and it can make you cry, all at the same time. And when the song is over, you feel you're not alone in this world anymore. We felt compelled to do this." The album cover is based on a matchbox design, matches being a common household item in South Africa even today. "These were the matches people used to burn government buildings and cars," explain BCUC. Little messages, addresses, or phone numbers used to be scribbled on the back of these boxes; each one a reminder of the strength, resilience, and resistance that once drove the struggle for freedom in Soweto. BCUC keep this flame burning. The Road Is Never Easy is a heavy spiritual road trip, a deep dive into the subconscious of Soweto and a quest for truth, justice and sanity in this crazy world. BCUC tackle the harsh realities of the voiceless, guided by the spirit world of their ancestors. Rather than reinforcing stereotypes of poverty, BCUC's portrayal of Africa is one rich in tradition, rituals and beliefs. "We bring fun and Afro-psychedelic fire from the hood," says vocalist Kgomotso Mokone.

2026 Repress

Lisa Decker returned with her second studio album "Soliloquise" one year after her debut album "Serendipity" in 2021 with Japanese Jazz trio Nautilus from Tokyo and a superb single remix of "Everytime" by Pat Van Dyke featuring rapper John Robinson.

For this project she worked on eight new songs. Half of the album is arranged by Nautilus and the other half is produced by SaturnVybz who is known for his works with/and projects like Slick Walk, The Ruff Cats and Jazzanova.

Getting a step forward and conceptually a bit different this release gets the "Oonops Drops" FLIP SERIES treatment which means: Side A and Side B are made by different artists or differentiate from each other like the first volume with Nautilus X Anna Sato & Toshiyuki Sasaki (OD006LP).

Songs like "Free", "Let's Wake Up" and "Summer Child" with their feel warm note of groovy, jazzy pop and the more swing-jazz tune "Rimy Whitewater" meet guitar-electronic touched songs like "Love And Hope", "On My Way" and "True Blue" or her dreamt away track "Stay With Me" with smooth bouncy beats and with an atmosphere for being the perfect soundtrack for a night ride on deserted streets.

Lisa is careful about the artwork and after working together with renowned artist Lindsey Kustusch from San Francisco on her first album she collaborates with local artist Sebastian Maria Otto who is known for his signature art style and exhibitions from Germany to Japan.

Lisa will perform live in Hanover, the 20th May at roof top of the Historical Museum together with Nautilus. Japan meets Germany. Lucky coincidence or: "Serendipity".

BCUC (Bantu Continua Uhuru Consciousness) have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. In 2023, BCUC were honoured with the prestigious WOMEX Artist Award, an accolade usually reserved for more established artists, in recognition of their fearless work and transcendent live performances. The Road Is Never Easy is BCUC"s fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica).

CRIMEAPPLE keeps catching bodies and putting rappers in caskets on his brand new album "YOU'RE DEAD ALREADY”. With production duties handled byby DJ Muggs, Sebb Bash, Michaelangelo, Cynic, Billy Loman, Sadhugold and Oh No, the NJ rapper of Colombian descent brings his sound to the most obscure and extreme soundscape to date, perfectly matching the vibe of the title and the incredible artwork provided by Le Daltonien. Killer, under all points of view.

CRIMEAPPLE keeps catching bodies and putting rappers in caskets on his brand new album "YOU'RE DEAD ALREADY”. With production duties handled byby DJ Muggs, Sebb Bash, Michaelangelo, Cynic, Billy Loman, Sadhugold and Oh No, the NJ rapper of Colombian descent brings his sound to the most obscure and extreme soundscape to date, perfectly matching the vibe of the title and the incredible artwork provided by Le Daltonien. Killer, under all points of view.

CRIMEAPPLE keeps catching bodies and putting rappers in caskets on his brand new album "YOU'RE DEAD ALREADY”. With production duties handled byby DJ Muggs, Sebb Bash, Michaelangelo, Cynic, Billy Loman, Sadhugold and Oh No, the NJ rapper of Colombian descent brings his sound to the most obscure and extreme soundscape to date, perfectly matching the vibe of the title and the incredible artwork provided by Le Daltonien. Killer, under all points of view.

Um Jesus geht es auf KOMPASS, dem neuen Album von Prinzen-Frontmann Sebastian Krumbiegel, mal wieder nicht. Dafür etwa um Elon Musks Steuererklärung, den kleinen Prinzen, dass 2+2= 5 ist, warum man trotz allem keine Angst haben und lieber von einer besseren Welt träumen sollte, und es geht um Musik. Um mehr Musik. Knapp 70 Auftritte spielte Sebastian Krumbiegel in den letzten 12 Monaten, knapp 70 Songs schrieb er in der gleichen Zeit. Er testete die Lieder auf Herz und Nieren, arrangierte um, verwarf, erschuf. Das Ergebnis: Sein neues Album KOMPASS. Wie man sieht, liebt es Sebastian Krumbiegel, Songs zu schreiben und live zu spielen. Und er liebt es, vor, während und nach den Auftritten sein Publikum nicht nur zu unterhalten, sondern sich auch mit seinem Publikum zu unterhalten. Und nach und nach kristallisierte sich in seinen Gesprächen heraus, dass eben jenes Publikum in unseren schweren Zeiten nach positiven Liedern verlangte. KOMPASS enthält 14 Songs, in denen das Glas grundsätzlich halbvoll, das Gras grundsätzlich grün und das Licht am Ende des Tunnels grundsätzlich nicht von einer entgegenkommenden Lokomotive ist. Krumbiegel selber hatte, wie er sagt, keinen Bock auf traurige Lieder. Wer jetzt allerdings denkt, der Künstler würde in seichte Gefilde abdriften, irrt: Krumbiegel gelingt, wie wenigen sonst, der Spagat zwischen Unterhaltung und Reflexion, zwischen Kritik und Optimismus. Sebastian Krumbiegel ist einer, der glaubt. Er glaubt an die Kraft der Kunst, an die Möglichkeit der Veränderung zum Besseren, und seine Songs handeln genau von diesem Glauben. Er erinnert daran, den Traum von einer anderen, harmonischeren Welt nicht zu vergessen. Und das gelingt ihm ohne Kitsch. Dafür mit Humor, viel Humor. Auch musikalisch ist KOMPASS ein optimistisches Album, ein optimistisches Album, aber ohne Augenwischerei.

Bossa-Nova-Königin Astrud Gilberto in neuem Glanz. Nachdem ihr Gastauftritt auf dem legendären Album „Getz/Gilberto“ sie berühmt gemacht hatte, war dies ihr zweites Album unter eigenem Namen, es
machte sie endgültig zum Star der Bossa-Nova-Welle, die in den 1960er Jahren die ganze Welt eroberte.
Ihre unverwechselbare Stimme wird hier von sanft swingenden Arrangements von Don Sebesky und Claus
Ogerman umrahmt, die die Songs aus Bossa, Jazz und Pop perfekt veredeln.

Benefit compilation with exclusive tracks from live performances & installations at eavesdrop festival 2024. All revenues go to charities providing medical aid and food sovereignty in Gaza.

In november 2024, eavesdrop festival presented its 3rd edition of contemporary electronic music and sound art, taking place in the striking architectural setting of silent green’s Betonhalle in Berlin. ”to eavesdrop” - is invoked as a mode of listening intently, attentively and with curiosity. With its ongoing commitment to adventurous listening cultures, the festival brought together a top-notch line-up of Berlin based and international artists, who share a common practice in electronic sound composition whilst spanning a diversity of inter-related contemporary tendencies. Whether it’s multi-award winning Mariam Razaei’s exceptional turntablism, Ilpo Väisänen’s legendary DIY analogue electronics, Jasmine Guffond’s generative sound installation, Nina Garcia’s extraordinary electric guitar manipulations, Lottie Sebes’ AI voice synthesis or Rashad Becker’s idiosyncratic synthesizer explorations, to name a few, eavesdrop invited listeners to consider, from multiple perspectives, new social and technical developments in international music and sound cultures.

This compilation documents those 2 nights with 9 exclusive tracks - 7 live performances and 2 stereo mixes from multi-channel installations, edited by the festival’s curator / organizer Jasmine Guffond, with a total running time of approx. 78 minutes. All revenues will go to charities providing medical aid and food sovereignty in Gaza: Medical Aid For Palestinians & Thamra.