A collection of previously unreleased material (between '75 & '90) by Enno Velthuys.
Compiled by Hessel Veldman.
"Hello boys and girls, my name is Enno Velthuys and I am the idiot of the group (and also the
most intelligent, the most sensitive, the most artistic and he who has to carry the heaviest
load, because this boy's luggage, DAMN, it's pretty heavy).
Luckily, I had already been through a lot when I got this ‘knock in the head’. Sex, drugs, lots
of rock and roll and a sunny childhood with beautiful views I look back on with nostalgia.
Later on I lost my focus and I only thought about one thing: how to get out of it (that damn
problem, my shifted reality, my blind spot, that piece of poisoned apple of forbidden
knowledge choking my throat)!
But I can't think my way out of it, psychiatrists are just ordinary people, and very heavy pills
suppress everything (I'll just take my pills) FLASH!
You ask me what it takes to create music or art that is meaningful and tells a story. It’s hard
when you haven't had enough setbacks, nothing more than maybe a little blues. I'm not
saying it was the right path, but at least I've come a long way. And now I'm a fish in a pool.
Please understand that this is very disturbing. It's not my waterway. A fish belongs in a river.
And my star sign is fish. >))D
Jolene Cuts returns with a 5-track vinyl-only masterpiece that channels the golden era of 1998 French House while pushing it into the future. No edits—just 100% original productions from Danny & Mike, two true craftsmen of filtered house grooves. “Jackpot” kicks things off with a euphoric, sample-driven floor-burner, dripping in funk and irresistible filter sweeps that recall the raw magic of classic Roule and Crydamoure records. “Voiture” follows with a sleek, late-night ride through hypnotic basslines and shimmering disco loops, perfect for peak-time club moments. On the flip, “So Cruel” brings soulful vocal chops and deep, rolling grooves in a way that nods to the emotional side of the French Touch era. “Love U” injects pure joy into the mix—swinging drums, warm filters, and a seductive disco flair designed to light up any dancefloor. Closing it all, “Disco Road” is a driving, high-energy weapon blending pulsating bass and filtered hooks that feel like 3 a.m. in Paris circa ’98. This is a love letter to French House—strictly vinyl, strictly limited, five unmissable club bombs. Perfect for DJs who crave that raw filtered energy, vinyl purists, and anyone who knows the true essence of French Touch: groove, soul, and pure dancefloor ecstasy. Once it’s gone, it’s gone.
Acclaimed, Swedish composer, producer and live artist Sebastian Mullaert, and Georgian electronic artist Tamarma (Tamara Davitashvili), are set to release the deeply personal and genre-fluid album ‘Holds the Sky’ on the 25th September via Awesome Soundwave, the label curated by Christopher Coe and Carl Cox.
Spanning ambient, experimental and alternative electronic forms, alongside a set of dancefloor-oriented reworks that expand the project’s sonic spectrum, at its core, the album is the result of an unusual artistic convergence that traces back to 2020. Tamarma entered Mullaert’s successful In Bloom mentorship programme on a scholarship, and over a year-long deep exploration of album creation, her work revealed a rare clarity and emotional depth.
One piece in particular became the catalyst. Developed further through Mullaert’s 4 step studio process, it unfolded into a full length album collaboration. What began as a single composition has since grown into an album that documents an organic and intuitive exchange between two distinct artistic voices.
The result is less a collection of tracks than a continuous unfolding; a dialogue shaped by trust, listening and shared curiosity. Rather than aiming for a fixed genre position, the album operates as a living process: a meeting point between tradition and experimentation, between voice and synthesis, between two artists allowing something larger to emerge through their collaboration.
With compositions such as the chiming ‘Being Colours’ and hypnotic ‘Holds The Sky,’ Mullaert and Tamarma have created a body of work that resists easy categorization. The album moves through intimate, meditative passages and more rhythmically driven moments, always anchored in a sense of presence and emotional immediacy. The flickering beats of ‘Winnow’ and ambient manifestations of ‘Lost In Dimension’ and ‘Field of Us’ add a sense of tranquillity, stillness and convergence.
Tamarma’s voice carries both a personal and cultural depth throughout the album, while remaining fluid and responsive to the moment. The result is a sound that feels both intimate and spatial, where voice, texture and atmosphere are closely connected. Her Georgian musical heritage combined with Mullaert’s open-ended electronic exploration, allows something beautiful to emerge, shaped by listening, space and a sense of something larger than either artist alone.
Widely celebrated in the electronic music community, Mullaert has spent the last three decades moving beyond the boundaries of electronic music, from shaping the sound of cult duo Minilogue to creating the fully improvised global platform, Circle of Live, which has seen him perform and collaborate with artists such as Mathew Jonson, Âme, Amp Fiddler, Aurora Halal, Speedy J, Sam Barker, Dorisburg, Move D, Sleep D, Kuniyuki, Pantha du Prince, Leafar Legov, Wayne Snow, Laurence Guy, VRIL, Neel and Erika.
Initially making a name for himself in the world of techno, his performances have moved fluidly between environments, from underground spaces including Berghain’s Panorama Bar to festivals around the world, and venues including the Barbican, London, where he has appeared alongside artists including Joep Beving, Laura Misch and JakoJako. Platforms such as ARTE have featured his performances, placing his work within a broader European cultural context, while support from Resident Advisor and Boiler Room reflect his continued presence within the core of electronic music culture. He has received a Swedish Grammy and the P3 Guld award from Swedish National Radio.
His 2020 album ‘Natthall,’ developed in collaboration with Tonhalle Orchestra Zürich and performed with Subchamber Ensemble, saw Mullaert enter the world of contemporary composition, and merged electronics with chamber music and improvisation. The album was later named among the top post classical releases of the year by BBC Music Magazine.
A new documentary film by Ableton, set for release this summer, captures Mullaert’s Circle of Live project through a performance at Brighton Dome in the UK, featuring Mullaert and electronic artists Clark and Rival Consoles. The film offers a rare insight into the inner workings of collective improvisation at a high artistic level, further cementing Mullaert’s role as a leading voice in contemporary live electronic practice.
Tamara's background is rooted in the landscapes and traditions of Georgia. Raised near the Caucasus Mountains, classically trained in piano and shaped by years as a jazz vocalist, her work carries traces of Georgian polyphonic singing and a strong connection to nature and place. Her transition into electronic music is not stylistic but transformational; a recontextualisation of heritage into new sonic forms.
‘Holds The Sky’ will be available on vinyl and digitally on the 25th September via Awesome Soundwave. The digital release includes three exclusive album track reworks from Mullaert.
Morevi Records presents their second release, a variousartists EP that brings together five artists from three countries. Skyra, Hamatsuki and BMI represent Georgia, Orion comes from Italy, and Shjva from Ukraine.
Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.
British electronic music pioneer Dave Angel returns to R&S Records with “A Time And Place”, his first full-length album release for the seminal Belgian label. Arriving thirty-five years after Dave first joined the R&S family, the album reunites one of UK techno's defining voices with the imprint that helped launch his career, renewing one of electronic music's most enduring creative partnerships.
That relationship began in 1991, when R&S founder Renaat Vandepapeliere discovered Angel's ‘Rolling Thunder’ project and invited the young London producer to Belgium. Personally welcoming him into the R&S family alongside a new generation of forward-thinking electronic artists, Vandepapeliere released the landmark “1st Voyage” EP, helping establish Dave Angel as one of British techno's most distinctive new voices. A succession of acclaimed releases followed, including “Stairway To Heaven”, “3rd Voyage”, appearances on the influential “In Order To Dance’” compilation series, and releases on sister imprint Apollo, charting an artistic partnership that helped shape both Angel's career and the wider evolution of UK techno.
Three and a half decades later, “A Time And Place” feels less like a return than the continuation of a conversation left unfinished. Rather than revisiting former achievements, the album reflects the perspective of an artist whose creative journey has continued to evolve. Reconnecting with the label that first championed his work, Angel delivers his most personal and musically expansive statement to date.
Across fifteen compositions, “A Time And Place” reaches beyond the conventions of techno to reveal the full breadth of Angel's musical identity. Drawing on jazz, soul, improvisation and richly textured electronic production, the album balances rhythmic precision with warmth, melody and emotional depth. Reflections on family, heritage, nature and the communities that have shaped his life sit alongside broader observations of the world around him, creating a body of work that feels both intimate and expansive.
That openness is reflected in a carefully chosen cast of collaborators. Celebrated trumpeter Steve Waterman features on both “Réflexion” and “The Yellow Butterfly”, bringing a lyrical, Miles Davis-inspired voice to the album after first catching Angel's attention through his work on Paul Hazel's “Out Of This World”. Elsewhere, legendary Chicago vocalist Robert Owens appears on “Harmony Serenade”, while guitarist Merv Carswell and vocalist Aurii Sky (Dave’s daughter, adding a poignant family connection) add further colour and texture to a record rooted in musicianship and shared expression.
While Dave Angel's influence on British electronic music has long been established, “A Time And Place” reveals another dimension of an artist whose foundations were laid long before techno. Raised in a household immersed in live music and jazz culture, Angel has spent a lifetime absorbing sounds beyond the club, allowing those influences to surface naturally throughout a career defined by curiosity rather than convention.
For R&S Records, the album renews a relationship that stretches back to the label's formative years. For Dave Angel, it reflects both the path travelled and the road ahead. Thirty-five years after “1st Voyage” first announced his arrival, “A Time And Place” reunites artist and label with the same forward-looking spirit that brought them together in 1991, proof that the strongest creative partnerships continue to evolve.
Prologue: Wearied by our endless travelling under a burning sun, we stopped by the margins of a tiny stream, embraced by a timid vegetation. The scorching heat made our throat parched and weak: yearning to quench our thirst, we immersed ourselves into the waters without any hesitation, drowning our dryness and our exhausted limbs. I pointed my face, revived by water, towards the sky and I lingered on, admiring it: a flock of birds gently floated, drawing in the sky some abstract shapes. I sat beneath a palm tree, motionlessly admiring the show, the shades of the night approaching. 'The true joy of a moonlit night is something we no longer understand. Only the men of old, when there were no lights, could understand the true joy of a moonlit night.' --
Back in November 2015, after years of collaborations with such as Ghostface Killah, Raekwon, Obie Trice, Sean Price, Kool G Rap, Eternia and countless others, Toronto-based producer MoSS released his debut producer album entitled "Marching To The Sound Of My Own Drum". Since the beginning of his career, the Canadian beatsmith, record digger and music connoisseur has been making a name for himself with his signature sound and on this record he gives an amazing display of what he's capable of doing being backed up by an all stars team that features AZ, Havoc, Slum Village, Onyx, Inspectah Deck, Ill Bill, Skyzoo, Guilty Simpson and 20+ other legendary MC's. A few years after its original release, we've decided to team up with MoSS to bring you this masterpiece on wax and, for the occasion, he's also added an unreleased bonus track called "We Here" that features Smif-N-Wessun that, together with "Emotional Redux", we've put on a 7" together with its instrumental. Limited edition of 500 hand-numbered copies, with the first 200 pressed on orange/black A-side B-side vinyl, and 300 on black vinyl.
BONUS 7”
A1. Emotional Redux (feat. Big Gov, Guilty Simpson, Jon Connor, Vstylez, Willie The Kid)
B1. We Here (feat. Smif-N-Wessun) UNRELEASED
B2. We Here (Instrumental)
The sun sat high above the desert outside Joshua Tree on October 17, 2024, baking the rocks and shrubbery outside the Farrington Observatory as a small group of invited guests ventured up a steep path towards the telescope. Kyle Simon, the artist and printmaker who founded the Observatory, was standing outside the print studio sat below the towering cylindrical building, greeting friends alongside his wife Sarah and lifelong friend Brian Weitz, the musician widely known as Geologist of Animal Collective. Simon and Weitz had spent the previous day testing and retesting a system that would transform the light of the oncoming full moon captured by the gigantic telescope into a signal that would modulate the control voltage of Weitz’s modular synthesizer. As the sun dipped below the horizon line, the audience gathered on a small wooden patio surrounded by speakers while Weitz readied himself behind the array of patches and knobs. Simon addressed the group, presenting the history of The Sirens, the sonic exploration of the night sky’s mystical and scientific significance about to unfold.
The music conjured under the Hunter’s Moon that night is now documented on this first official release of The Sirens, which was conceived by Simon and Weitz as a recurring performance piece and sound installation. Over a decade ago, Simon began immersing himself in literature on humanity’s sonic relationship to the celestial realm, including Homer’s Odyssey, Plato’s “Spindle of Necessity, ” Kepler’s Harmonices Mundi, and the field of astroseismology. He fitted homemade telescopes with photodiodes and optical sensors to make the images audible, finding latent patterns in the noisy sonic signals he began receiving from the stars. With Weitz, the process expanded as the signal was routed through an analog amplifier and set to modulate the pitch, filter, and other elements of his synthesizer. Together they developed a system of improvisation, with Simon adjusting the telescope to change the intensity of the light based on its relationship with the moon’s position (imagine a theremin player moving their hands in subtle, meaningful motion), and Weitz responding to that input in real time: bending it, amplifying it, or letting it stand on its own. The duo debuted the piece at the Integretron in Joshua Tree in 2018, providing a crucial proof of concept for the performance at Farrington featured here.
The first thing the listener hears on The Sirens is the opening of Farrington Observatory, the cranking of motor and metal. As the lens of the telescope is exposed to the evening air, a wavering drone emerges from the synthesizer, flickering at the margins, the tuning of the oscillators adjusting to the rapidly cooling desert air. The piece progresses and the drone becomes a luminous, spherical constant, bathing the listener in pure tone as Weitz draws out harmonically ambiguous melodies that spiral upwards. Electronics crackle and convulse, coalescing into dense dissonance before widening out into an open octave. Just as the moon orbits the Earth and the stars shift as the planet rotates, so each sonic element appears in flux, interrelationships slowly forming and falling away. Divided into two parts, The Sirens flows as a continuous conversation between the artists and the starlight completing its thousand-year journey across the galaxy.
The Sirens belongs primarily to a lineage beyond music: of sea captains navigating by looking skyward, of astrophysicists studying the formation of the Milky Way, of the modern myths of werewolves, of the stories embedded in constellations. As Simon writes in the album’s extensive liner notes, “These stories and explorations reveal a collective yearning to become conscious of our connection to the universe, our deep-seated desire to understand how we fit into it all.” This music underscores the history of the night sky as the place where poetry and science find common ground, where exploration hinges on the imagination. Driven by curiosity and ingenuity, Weitz and Simon look up and wonder.
On Dummy’s new album, do you love the color of the sky?, the Los Angeles-based 5-piece deliver a breathtaking piece of work that introduces new textures and rhythms to their already varied and refined catalog. For the band’s third album, and first for new label home Polyvinyl, the group split time between self-recording at their home studio as well as Studio 22, linking up with frequent collaborator and engineer Joo-Joo Ashworth (Corridor, Automatic, Spiral XP). The band focused on intentionality and experimentation, exploring downtempo dance beats and electronic music while pushing the guitar as far as they could, using new self-sampling and processing techniques. Percussionist Alex Ewell’s overall sound design and production skills can be heard across the album, with layered drum sounds and rhythmic tremolo techniques shining throughout. Tracks like “Full Spectrum Dominance” and “Alluvial Fan” showcase the band’s tasteful pop sensibilities, while closing track “Heaven’s What You Make Of
It” features perhaps the strongest vocal delivery yet from vocalist/keyboardist
Emma Maatman. Additionally, the dynamic exchange between guitarists Joe Trainor and Nathan O’Dell is absolutely gorgeous, adding a new layer of immersion and directness that is unlike anything the band has done before. The result is Dummy’s most ethereal and sincere record to date, with more feminine and delicate undertones that sit beautifully alongside the gritty and noisy textures the band has become known for. Dummy has been praised in numerous outlets such as Paste, Stereogum, Aquarium Drunkard and Pitchfork, who described their second album, Free Energy, as “the
sound of a band turning all its potential energy into music that’s dazzlingly kinetic and powerful." The band has toured the US, UK, and EU extensively, with festival appearances at Austin Psych Fest, Treefort Music Festival, and others. In addition to larger outlets and festivals, the band’s strong ties to community and DIY ethos are ever-present, oftentimes preferring to play and connect with different local artists on tour, uplifting those around them while shining a light on the history of independent music.
On Dummy’s new album, do you love the color of the sky?, the Los Angeles-based 5-piece deliver a breathtaking piece of work that introduces new textures and rhythms to their already varied and refined catalog. For the band’s third album, and first for new label home Polyvinyl, the group split time between self-recording at their home studio as well as Studio 22, linking up with frequent collaborator and engineer Joo-Joo Ashworth (Corridor, Automatic, Spiral XP). The band focused on intentionality and experimentation, exploring downtempo dance beats and electronic music while pushing the guitar as far as they could, using new self-sampling and processing techniques. Percussionist Alex Ewell’s overall sound design and production skills can be heard across the album, with layered drum sounds and rhythmic tremolo techniques shining throughout. Tracks like “Full Spectrum Dominance” and “Alluvial Fan” showcase the band’s tasteful pop sensibilities, while closing track “Heaven’s What You Make Of
It” features perhaps the strongest vocal delivery yet from vocalist/keyboardist
Emma Maatman. Additionally, the dynamic exchange between guitarists Joe Trainor and Nathan O’Dell is absolutely gorgeous, adding a new layer of immersion and directness that is unlike anything the band has done before. The result is Dummy’s most ethereal and sincere record to date, with more feminine and delicate undertones that sit beautifully alongside the gritty and noisy textures the band has become known for. Dummy has been praised in numerous outlets such as Paste, Stereogum, Aquarium Drunkard and Pitchfork, who described their second album, Free Energy, as “the
sound of a band turning all its potential energy into music that’s dazzlingly kinetic and powerful." The band has toured the US, UK, and EU extensively, with festival appearances at Austin Psych Fest, Treefort Music Festival, and others. In addition to larger outlets and festivals, the band’s strong ties to community and DIY ethos are ever-present, oftentimes preferring to play and connect with different local artists on tour, uplifting those around them while shining a light on the history of independent music.
You've never played a game like Blippo+ before, and you've never heard a video game soundtrack quite like Greatest Hits from Planet Blip.
Composed by Rob Kieswetter and Jona Bechtolt from the LA-based trio YACHT, the soundtrack collects 71 tracks from the cult classic video game Blippo+, reworked and sequenced into a continuous listen for this special release —a TV static-speckled gatefold double LP, out Oct. 16 via Hologram Opera, marking the soundtrack’s physical debut.
Taking the form of a cable TV simulator, Blippo+ captures the magical feeling of seizing a mysterious signal from outer space and discovering the television programming of an alien culture. Soundtracking the game’s pastiche of programs is Rob and Jona’s genre-spanning score—synth-heavy, eccentrically electronic, with a skewed sensibility that pays homage to cable access, library music, video art, and the late-night margins of the 80s and 90s underground.
TV obsessives will find plenty to love in Greatest Hits from Planet Blip: with surreal theme songs, jangly jingles, zippystings, catchy kitsch, period-accurate menu music and even pop hits from the alien airwaves, this propulsively playful soundtrack will have channel-flippers tingling with nostalgia.
“Planet Blip is an alien planet where art and music are the only currency and ‘consciousness particles’ form the basis of all media. To capture the spirit of this world, we drew inspiration
from all the music we felt best embodied this ethos and ran it through our own utopian blender,” say Bechtolt and Kieswetter.
Blippo+ is an award-winning, experimental, live-action video game created by YACHT and Telefantasy Studios, along with developers Noble Robot and Dustin Mierau, and published by Panic Games. It was released for Steam, Playdate and Nintendo Switch in 2025 to widespread
critical acclaim and has earned a devoted fandom. A Mac version followed earlier this year, and was nominated for an Apple Design Award.
"Simultaneously nostalgic and futuristic, otherworldly yet
welcoming, Blippo+ is an absolute artistic triumph.
" —Deven McClure, Screen Rant
"Blippo+’s presentation might ape old traditions, but the collective impact of its content is richer, deeper, and more entertaining than any mere remembrance.
" —Garrett Martin, Paste/Endless Mode
"In the increasingly reactionary and prescriptive landscape of video games, it is remarkable to encounter something so distinctive, so hopeful, so celebratory, so devoted to expanding the possibility space of art beyond a single medium." —Sam Bodrojan
There’s this feeling that House Music is sometimes diluted into a pleasant, non-offensive and conformist formula. Well, Jackie Gritness - you may have heard of her big bro Gary - is bringin’ all the sweat, the attitude and the filth down - take it or leave it.
Jackie introduces herself from both sides on this well-strapped debut 12” - the slick swingin’ & sangin’
on the bass-heavy A side, and the raw clave trax and cunty snarls of the acid-laced B side.
No trace of over-production or tired sampling here: this is just Jackie, her mic and her lil’ groovebox -
gettin’ raw in the studio just like she does onstage. Only thing added is some wall-shaking mastering by New York OG Dietrich Schoenemann.
This is the kinda House that’s supposed to make regular folks wanna turn it off. This ain’t rated E for Everyone, it’s rated F for Freaks.
It’s music from the underground, for the underground - as it was first revealed on the runway of Glastonbury’s infamous NYC Downlow last summer.
And if that’s more than you can take - it’s alright. It’s not like Jackie will hold it against you.
Jackie Gritness
“Gary’s little sister.” His studio session resume reads like a House music who’s who - from David Morales to Fred P. He’s also been rockin’ clubs with the Playin’ 4 The City and MLIU crews - but she’s also been seen on Gideon’s fierce Homo-Centric Records. See, this bitch’s true feelings about House are stripped-down, bare-bones, and unapologetically sexual. With a radical ‘live’ attitude, she’s serving the realness with an irresistibly acidic zing.
Berlin (Germany) resident DELFONIC hits us with six Disco Edits/Remixes. Markus Lindner (Delfonic) has previously released music on label BBE. Here for the first time on HOT BISCUIT RECORDINGS
A glorious night of no particular significance, Totally, the new album by Baba Stiltz. Recorded in Helsinki in studio with a drummer and overdubs committed in 5 days. Ballroom- sink songs of loss, grief, long drives on the I-5, centralized acquisitions, and corrective conditioning towards the prolonged effects of computerized lifestyles.
Every song looks you straight in the eyes, crooked and veering towards a light fixture off the side of the mirror. Ambivalence and assertions track us, down some gauzy networked afternoon. Relatively, perfectly, three dimensional. Proportions as they appear to us from outer intuition. Sometimes meaning is evoked through pure nothingness. Concealed and nothing known. We have no need for any paradise informed by anything beyond what is directly in front of us.
Stone repetition thwarts the possibility of control and surrenders itself to understanding. Who are we, and what are we trying to understand? To understand being universally greater than being understood. There are soap operas everywhere for those with eyes to see. You don’t have to look as hard as we currently look. The dramatic is everywhere, we breathe it unintentionally, then we come to hate it. Haptic, embodied facts of a tedious life lodged in the jowls of history. Everything under the
sky being the best bedlam has to offer. Your family, your relationships, your memory. As you eat a burger you are reminded of every sharp protrusion and corner under the florescent lights, the same lights you see when you’re born, and although unconfirmed, when you die.
Some of these songs were written years ago, some recently. The bookshelf and television set come into full view. Women/men come and go. Stars and poseurs collapse under their alienated contradictions, the search for truth yields to continued gradients of probability (collapse). Spatial order maintains itself through perceptional feeling. Silence, singing along to Roger Miller, people entering and leaving, figures hovering over you in your dreams and waking hours. Cool and fun, Totally
Colorize presents Echoes, the highly anticipated debut album from Massachusetts songwriter, producer and musician Jack Willard, a richly melodic body of work.
Jack Willard blends organic songwriting with modern electronic production, cinematic storytelling and immersive sound design, an emotionally driven style that has earned support from Above & Beyond, Tritonal, Yotto, Nora En Pure and Bob Moses since debut single Celsius, alongside airplay on SiriusXM Chill and BBC Radio 1 and millions of streams worldwide. The Massachusetts native made his Colorize debut in 2023 with Big Sky, an instrumental favourite still in regular SiriusXM Chill rotation, before expanding his sound on the Patterns EP with his first larger scale vocal collaborations, including fan favourites Everything All At Once and Wanna Know. Following performances across both U.S. coasts, Echoes arrives as Willard’s most ambitious project to date.
Die Musik auf Horse Lords' "Demand to Be Taken to Heaven Alive!" wirkt zugleich unglaublich detailliert und zutiefst menschlich. Die zwölf versammelten Stücke sind vielschichtig, verflochten, tonal und rhythmisch komplex - moiré-artige Muster aus Interaktion und Verzahnung, die sich sowohl körperlich als auch geistig entfalten, voller klanglicher Gänge mit einem unausweichlichen Groove. Künstler sind nicht notwendigerweise Wissenschaftler, Logiker oder spirituelle Führer, doch durch ihr persönliches Verständnis von Ordnung und Erfahrung eröffnen sie einen unmittelbaren Zugang zu gesteigerten Zuständen von Materialität und Immaterialität. Horse Lords wurden 2010 in Baltimore gegründet; sie gingen aus einer anderen Gruppe namens Teeth Mountain hervor und starteten als Trio mit Gitarrist Owen Gardner, Bassist Max Eilbacher und Schlagzeuger Sam Haberman, bevor der Altsaxofonist Andrew Bernstein zum Kernensemble hinzustieß. Obwohl das Quartett aus einer fruchtbaren Noise- und Experimental-Rock-Szene hervorgegangen ist - einem legendären Umfeld für Künstler und Außenseiter, das viele einflussreiche Bands hervorgebracht hat (Lungfish, Matmos) - war ihr Ansatz über sechs Alben, zahlreiche Kollaborationen und als gefeierte Liveband weit vielseitiger, als es die punktierten Rhythmen instrumentaler elektrischer Rockmusik vermuten lassen. Für dieses Projekt wird die Band durch Bassklarinettistin Madison Greenstone, Posaunist Weston Olencki und - erstmals bei Horse Lords - durch Gesang von Nina Guo und Evelyn Saylor ergänzt. Das Eröffnungsstück ,Eureka 378-B" ist ein Arrangement von sakraler Harfenmusik aus dem 19. Jahrhundert, getragen vom Gesang von Guo und Saylor; seine Melodie entfaltet sich weit und setzt einen tonalen Startpunkt für vieles, was folgt. Dazu kommen die kurzen "Rotations", die Fragmente aus anderen Stücken isolieren. "D2BT2HA!" enthält unzählige klangliche und konzeptuelle Schichten, doch angesichts der unverkennbaren Kraft und Menschlichkeit der Musik ist der Prozess, sie zu entschlüsseln, begeisternd und zutiefst lohnend. Selten ist eine Platte, die einen so unmittelbar packt und zugleich bei jedem Hören vollkommen neu erscheint.
Murmuration’ is the low hum made by vast, beautifully choreographed flocks of starlings as they simultaneously flap their wings and take to the sky. Some people say that the frequency of this unique, rumbling, oscillating sound can cure diseases...
One of the most exciting live bands in the UK, British Birds combine the garage-punk energy of Billy Childish, the wry English sophistication of XTC and the witty pop inventiveness of The Lovely Eggs. Like a murmurating flock of starlings, they create a unique sound, and might even be able to cure diseases.
Based in Chorley, Lancashire, British Birds are a resolutely DIY band. Bobby records and mixes all the music; Emma creates all the artwork. Their first two albums were self-released, selling hundreds of copies at gigs and at a few chosen record stores. British Birds didn’t wait for permission to take flight. They just got on with it. Their songs are sophisticated, hard-hitting, and very skilful. It may be DIY, but it’s big and it’s ambitious.
Sessions for Marc Riley and Gideon Coe have followed, along with tours supporting The Bug Club, BC Camplight and Lovely Eggs.
‘Murmurate, Oscillate’ kicks off with Lie Down With Dogs, Stand Up With Fleas, a rousing expression of exasperation at our passivity in the face of lame authority. British Birds are acute observers of the English political scene, shrouding their observations in humour and surrealism. Polka Dot Eyes is another piece of sharp social observation: it portrays Lancashire lads – friends from school – who join the Army and return home physically and mentally damaged. The song is simultaneously disturbing, funny and catchy as hell. From the fog of disinformation and doubt that surrounds us all in 2020s Britian, British Birds embrace the darkness, but with wit and verve – no slogans, no easy answers – and with an energy that helps us escape the mundanity of a declining island. This might all sound a bit bleak, but it’s not: every single one of the songs on this album has a chorus as big as a house.
There are personal songs too: Scary Movies is a poignant description of Bobby and Emma’s grandfather, who delighted in showing them horror films when they were kids – giving them sneak previews of the darkness they’d come to embrace as adults; Just Like Them is a celebration of introversion: it might not be fun, but it’s better than being an idiot. (Paradoxically, any other introverts who hear this song will feel impelled to join in in the chorus.) Blame Game and Thunder Claps examine the darkness inherent in relationships: there is always an impending storm, if you recognise the low hum of the imminent thunder. Once again: the choruses of these songs confound the melancholy sentiment.
You’ll get the same impression if you see British Birds live: Bobby’s ferocious guitar and dark lyrics are counterpointed with Emma’s sometimes haunting, sometimes playful vocal responses and insistent rhythms. You’ll be swept away by the energy of a band who don’t know the meaning of limits. And as the songs get darker and darker the smile on your face gets wider and wider.
The core members of British Birds are siblings Bobby and Emma Townson, working from their HQ-cum-nest in Chorley. Drums are by Dominic Lawson (apart from Michael Aindley on ‘Just Like Them’). Bass is by James Robinson.
British Birds will be embarking on a headline tour of the UK in early 2027.
In 2000, after almost two decades of hibernation under the ambient waves and dub currents of the Sargasso Sea, LSD revived the seminal ‘Auntie Aubrey's' series, an Orb Remix Project. Released as a 2 x CD compilation, Part 3 is a veritable smorgasbord of classic, new and unreleased labour-of love remixes that span three decades yet still transcend space and time.
Many influential artists have been involved with The Orb since the beginning, and the project keeps evolving and adapting. Dr. Alex Paterson, the gravitation centre of the Orb is known for his playfully subversive remixes and true to form this album highlights the diversity of his musical mind.
We see the good doctor remix the melancholy and evocative “The Last Lighthouse Keeper” from The Transit Kings, an early British electronic music group that included Jimmy Cauty of The KLF, one of the original members of The Orb. The remix of ‘Davy Jones’ Locker’ from System 7 takes you surfing on a sun-dappled sea of ambient dance nostalgia, while Killing Jokes’ ‘European Super State’ remix (in which LSD label founder Martin ‘Youth’ Glover plays bass guitar) sounds like the soundtrack for an imaginary spy thriller with the powerful lyrics and hypnotizing voice of Jaz Summers.
Legendary producer Youth teams up with Lx yet again on a psychedelic rocker with spellcasting vocals by Lara Smiles, and this is just the beginning! Boasting an all-star lineup, the compilation includes many of our scenes most esteemed electronic music producers such as Coldcut, David Harrow, Sendelica and Gaudi as well as the ambient blissed out vibes from the enigmatic DF Tram, Duende India Collective and The Gyuto Monks of Tibet, this collection offers up such the variety to appease even the most dedicated Orbsessives and music connoisseurs
