Physically tethered to this reality, yet creatively unmoored from any earthly restraints, Holy rawn freely slip in and out of metal, shoegaze, electronic, alternative, and rock as if inhabiting multiple states of sonic existence al at once. Blazing new trails both seen and unseen as well as heard and unheard (but always felt), the Arizona quartet continue to cover uncharted territory on their second full-length offering, Dimensional Bleed.
Amniote Editions team up with friends and bbs of Mala Junta for "The Collective Capsule" - a celebration of 5 years of Berlin's favorite queer event. The capsule collection consists of a 12" cordially made up of 4 belters from the residents Hyperaktivist, Yazzus, DJ Tool and D.Dan, two compilations stacked with friends and lovers and limited merch.
The capsule also launches 'Amniote Editions' return to graphic design studio Alexis Mark, who were part of the birthing of the platform and now presents their first cover design as a multilayer 12" gift - a record wrapped in a beautiful poster protected by a limited edition screen printed PVC sleeve.
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Das neue Album „AftërLyfe ‘‘ des Rappers Yeat erscheint auf Vinyl. Der aus California stammende RageRapper feierte im Februar das Release seines dritten Soloalbums nach „Lyfë ‘‘, auf welchem Features wie Young Thug, Gunna Lil Uzi Vert vertreten waren. Der Artist zeichnet sich durch seine energiereiche Art zu rappen, Rockstar-Attitüde und verchiedene Flowwechsel aus. Sein Hit „Monëy so Big’’ aus dem Jahre 2021 hat mittlerweile sogar Platinstatus! Fans dürfen sich freuen.
Das 5. Studioalbum von Django Django trägt den Titel ”Off Planet” und besteht aus 21 Titeln, die in vier Teile aufgeteilt sind. Ursprünglich sollten es vier experimentelle EPs werden, die aber schnell in ein richtiges Album verwandelt wurden, als die Band das Potenzial der Aufnahmesession erkannte. ”Off Planet” enthält einige der aufregendsten und dynamischsten Stücke, die Django Django je produziert haben. Das Album ist eine Rückbesinnung auf ihre experimentellen und elektronischen Wurzeln und enthält außerdem spannende Gastauftritte von Self Esteem, Jack Penate und vielen anderen.
Jeder Teil des Albums wird digital veröffentlicht und am Tag der Veröffentlichung des vierten Teils wird das gesamte Album auf Doppel-Vinyl und Doppel-CD erscheinen.
Das Hip-Hop Duo Rae Sremmurd veröffentlicht das neue Album „STREMM4LIFE“ auf Vinyl. Die beiden Brüder aus Atlanta erreichten ihren internationalen Durchbruch 2015 mit ihrer Hit-Single „No Type“.
Seitdem wurde das Duo mehrfach mit Platin für ihre Alben ausgezeichnet, arbeiteten mit Künstler*innen wie Nicki Minaj, Travis Scott und Future und erhielten unglaubliche 40 Single Platinauszeichnungen für ihre Songs wie „Swang“, „No Type“ oder „Black Beatels“
Marco Vella and Anth Wendt step up to International Feel with a five-track EP of Balearic-tinged bliss for their first collaborative release as Other Mother.
There’s definitely something in the air round the Adelaide Hills. Longtime friends Marco (aka Body Corp) and Anth (aka Oisima) finally got together in Anth’s studio after the pandemic and the result is Numero Uno an EP of laidback synth guitar and drum machine workouts mixing 303 riffs and sunsets for a supremely low-slung vibe.
After cruising around the Hills in the day the pair worked on tracks by night and their carefree days soaking up the sun shines through. Opening track About Time sets a steady pace with its lush delayed guitars slow-rising acid melody and hefty sub perfect for Sunday pub garden appreciation. A side closer Zwang! drops the tempo but brings the percussion into focus for another masterclass in tension and release with interwoven 303s and dub feedback.
Side B keeps the beach-side atmos flowing with guitar licks working around sumptuous synth chords for Anyway Music - a song that’s the ultimate soundtrack understated parts fitting together seamlessly in service to the feeling and belying the technique required. Lost In The Forest makes use of expansive ambient pads synth riffs and shakers to evoke a sense of wonder sunlight coming through the trees.
The EP concludes with Where’s The Fifty a dreamy piece of drum synth phrases and 303 interplay that perfectly characterizes Marco and Anth’s collaboration - two musicians and producers playing to serve the song. They write elements that combine for a harmonious whole greater than the sum of its parts. This is the underlying feel of Other Mother and Numero Uno - we’re all in this together - and by working collaboratively a brighter future might just be around the corner.
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A track first recorded by Felix Dickinson, DJ Shacra and Blane Lyon in 2001 finally gets a release in Blane’s memory with remixes from Ron Trent, Crazy P and Brother Lee Love.
Felix’s Dub offers a stripped back, slouchy workout that previews Blane’s lyrics in tastefully dubbed-out snatches. From this open canvas, Blane’s voice melts into disco glitter and cool funk, courtesy of UK mainstays Crazy P. On track three, house royalty Ron Trent spotlights Blane’s vocals underneath a steady groove, soaring into euphoria with passionate pads and colourful synths.
Next, Brother Lee Love’s Heads Down remix pulls the record into techy minimal territory: Blane’s voice loops pensively, speaking to the sultry, eyes-closed part of the night. The digital release also features the bonus Brother Lee Love’s Hands Up mix which takes us back to the surface of house music’s hopeful vision with the help of tender melodies, Blane’s direct speaking voice, and a chorus of joyous synths.
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Die Power Metal-Szene braucht einen Einlauf - und dieses Album ist einer!
Das neue Album "Out Of The Dark" von FROZEN LAND ist Power Metal der alten Schule - Punkt.
Es ist ein feuchter Traum für alle, die in den 90er Jahren angefangen haben, Power Metal zu hören. Es gibt keine Füllstücke. Es gibt keine nicht-eingängigen Refrains. Es gibt keine langweiligen Gitarrensolos.
Nach der letzten Veröffentlichung machte die Band eine 4-jährige Pause.
Und warum? Weil sie in dieser Zeit ihre Depressionen überwanden - laut augenzwinkernder, eigener Aussage, half LSD dabei - daher auch der Name des Albums, "Out Of The Dark".
Das Album ist im Grunde ein 7 Songs umfassendes Gesamtkunstwerk im traditionellen Power Metal-Sinne.
Aber bei den letzten 2 Tracks wird spannend! Tuomas hat eine perverse Vorliebe für Eurodance der 90er Jahre, was bereits durch das Cover von E-Types "Angels Crying" auf dem Debütalbum der Band durchschimmerte.
Auf diesem Album dachten FROZEN LAND nun, sie nehmen das Hedt selbst in die Hand und mischen Eurodance mit Metal. Nehmt es nicht zu ernst... FROZEN LAND tun das auch nicht!
Die Power Metal-Szene braucht einen Einlauf - und dieses Album ist einer!
Das neue Album "Out Of The Dark" von FROZEN LAND ist Power Metal der alten Schule - Punkt.
Es ist ein feuchter Traum für alle, die in den 90er Jahren angefangen haben, Power Metal zu hören. Es gibt keine Füllstücke. Es gibt keine nicht-eingängigen Refrains. Es gibt keine langweiligen Gitarrensolos.
Nach der letzten Veröffentlichung machte die Band eine 4-jährige Pause.
Und warum? Weil sie in dieser Zeit ihre Depressionen überwanden - laut augenzwinkernder, eigener Aussage, half LSD dabei - daher auch der Name des Albums, "Out Of The Dark".
Das Album ist im Grunde ein 7 Songs umfassendes Gesamtkunstwerk im traditionellen Power Metal-Sinne.
Aber bei den letzten 2 Tracks wird spannend! Tuomas hat eine perverse Vorliebe für Eurodance der 90er Jahre, was bereits durch das Cover von E-Types "Angels Crying" auf dem Debütalbum der Band durchschimmerte.
Auf diesem Album dachten FROZEN LAND nun, sie nehmen das Hedt selbst in die Hand und mischen Eurodance mit Metal. Nehmt es nicht zu ernst... FROZEN LAND tun das auch nicht!
Expanding an ever-evolving discography of cutting edge minimal house and techno, Modeight adds another brilliant release to the fold. This time beamed in from Spain-based groover Loopdeville.
People familiar with his work on Bodyparts, Rotate and his own imprint Delooped, will certainly be excited to wrap their ears around this freshly minted three-tracker. Opening with the low-slung, breakbeat jam 'Incase', Loopdeville injects his characteristic funk and fun-loving vocal flair into the A-side cut. Creating an irresistible dancefloor destroyer.
On the B-side, we begin with the swooning tones of 'Cleansing'. Lacing airy atmospherics and tonal key strokes over a seductive bassline roll. Finally B2's 'The Bounce' is every bit as elastic as its title suggests. With a buoyant breakbeat rhythm underpinning stuttered vocals, and ghostly tonal dissonances. Back with the fire once more, Loopdeville has found the perfect platform on Modeight for his enigmatic.
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The Valley and the Mountain aka TVTM aka Josh Dahlberg makes a bold return with 'A Number of Northwests', an EP which tells the tale of an artist in transition. Quite literally, that is, as he moved from Detroit's westside to the very far edges of the Pacific Northwest. Musical this is a stylistically diverse offering with four cuts starting with the mid-tempo smooth grooves of 'Bretton Drive' and glistening synths and pads of the cosmically minded 'Grand River Slide'. The chugging 'Ramps to Nowhere' is a dubbed out afters classic and then the one and only dusty deep house don DJ Aakmael remixes it into another cuddly classic.
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After the success of Codeine's Frigid Stars LP, the trio of Stephen Immerwahr, John Engle, and Chris Brokaw booked time at Harold Dessau Recording in June 1992 to track an eight-song sophomore album. A few days and a couple of unexplainable high-pitched frequencies later, the record was scrapped, shelved, and forgotten about. Brokaw left the band shortly after, and these songs were re-tracked in various iterations for Codeine's final LP. On its 30th anniversary, Numero has unearthed these recordings, restoring the original White Birch to the band's exacting standards with producer Mike McMackin. A slowcore masterpiece hidden in plain sight.
The Plastik People label has been going along nicely for its first few releases, with label head Marc Cotterell stepping up and coming correct last time out. Now he calls upon various artists with Dave Charlesworth taking care of the a-side of Nice Ripe Cuts. He offers two super slick garage cuts that cannot fail to make their mark on the club and it's no different on the flipside except D Lux & Y No combine first for '25 Miles' and then S R offers the irresistible 'Pressure.' An essential 12" for anyone looking to bring some fresh garage flavours.
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LDS takes no prisoners on this blistering new techno workout for Exos' Planet X & X/OZ labels.
Opener 'Karplusfunk' is a 100-mile-an-hour assault with caustic hit hats over clipped, kinetic drums. Manic synth lines ride up and down and the energy levels are off the chart. 'Mvoper FM' is slightly paired back but is still warp-speed icy techno to take dance floors on a white knuckle ride through the cosmos.
The Exos remix of 'LD5' has snares that sound like sheet metal blowing in the wind while solar clouds peel off the groove. The flip side offers two more cuts of head-melting techno experimentalism.
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The album Symposium Musicum is developed from field recordings, interviews, and observations collected in the villages of Podolínec, Lomnička, Levočské Vrchy, and Kolačkov - all areas of the eastern and north-eastern Slovakia with significant Romani enclaves. The pieces resulting from these interactions encourage the listener to tune in for a delicate negotiation of language, (audible) gesture, and storytelling.
The collaboration with the local participants appears lighthearted and whimsical on the records, but this seeming easiness is clearly a result of devoted fieldwork planning and committed post-production. The curated compositions represent and emphasize not only performative aspects of the acoustic activities but also point attention to seemingly non-productive aspects of creation, such as silence, hesitation, observation, perception, or waiting.
Sound experiment and preservation is not the only goal of the project. Some of the records capturing acoustic activities in peculiar places but also carry an element of social novelty that accompanied their making - according to the locals in Lomnička, the recording visitors were the first non-Romani persons who spent the night in the village.
In many instances, these recordings explore liminal spaces that have lost their original function (a church ruin or an out-of-business grocery store) and became a lively territory for acoustic exploration and playful reciprocity. For instance, in track 7, "Kavka", local children used crackling leaves as percussion devices.
Such moments betray a high level of engagement in the subtle details of the recorded spaces and their social ecologies. According to the creators, their creative processes involve "a social sound practice" as an attitude towards exploring sound in its social setting.
Symposium Musicum leaves behind many aesthetic conventions of sound capture and what is considered "musical", including the usual notions of a linguistic unit, narrative, memoir, and play. Instead, it engages in a self-reflective questioning of the way we listen to the world around us.
This project invites us to experience places outside the divided sociolinguistic provinces, resulting from multigenerational displacement and neglect of the Romani communities from the explored areas. The result is in many ways revelatory and poetically impactful.
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After the acclaimed ΠΟΛΙΣ, Subheim returns with RAEON; a collection of eight new tracks for lonely evenings and long night drives. With RAEON, Subheim continues to expand into the sonic territory he has steadily been exploring since 2015’s Foray, the album that marked the project’s shift towards moodier, highly textured, lofi compositions through the use of sampling and heavy audio manipulation. While this EP feels like a natural continuation of the producer’s most recent work, it is intentionally stripped of any percussive elements, with the focus being entirely placed on space and melody.
Each composition feels like a distant, fading memory that unfolds faster than you expect it to and dissolves into an echoing nothingness before you’re able to hold on to it for more than a few seconds. Much like a long-distance train passing by or perhaps like a song you might hear in your sleep.
Every piece serves as a different chapter of the same open-ended narrative; one where stillness, grief and hope simultaneously coexist in perfect harmony. Intentionally imperfect, naturally gritty, spacious as ever, this new record balances between fragility and conviction, and once more illustrates the deeply human side of its creator.
In contrast to some of the producer’s darker work, RAEON is filled with an undertone of bittersweet hopefulness and a strong desire for new life. With the juxtaposition of nostalgic, synthesized, analog sounds and neoclassical elements, Subheim strikes the perfect balance between past and future, between melancholy and hope. And while the closing track is almost ironically called “Forget”, its ending will leave you longing for more and wondering what else is there.
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A certified maestro of his time, king of Cool Jazz with a penchant for unusual time signatures, Dave Brubeck is as prolific as they come. For their third release, Major Keys lovingly remaster and reissue three of his key pieces as The Dave Brubeck Quartet including the instantly recognisable ‘Take Five’ on 180g vinyl in a Major Keys sleeve.
On the A side one of the most famous jazz pieces of all time. Released in 1959 as part of the Quartet’s Time Out LP, which become the first jazz album to sell more than a million copies with the ‘Take Five’ single also taking that that coveted spot whilst going on to become the best-selling jazz single of all time. Accolades aside, it’s an intricate, absorbing and elating piece of jazz history, with one of the most recognisable melodies ever to be written. Timeless genius written by the quartet’s saxophonist Paul Desmond and performed by Dave Brubeck, Paul, Joe Morello and Eugene Wright, reissued for a new generation of listeners.
The B side sees ever more experimentation from the quartet, with the time signatures Dave heard on the streets of Istanbul providing the inspiration that gave birth to the lead track from Time Out - ‘Blue Rondo a la Turk’. As cool and complex as they get, stirring up those meters like a slick Manhattan. Rounding off the package, American jazz singer Carmen McRae’s 1962 vocal version of ‘Take Five’ gives an extra dose of sophistication to proceedings. All in all, a must have for any discerning music lover.
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Cairo’s trip hop, illbient and club producer Hashem L Kelesh aka Dijit documents a decade of sprawling productions at his home studio, fuelled by the energies of his friends and collaborators.
Populated with the vocal presences of vocal spars Deedz, 7aleeb, and Lella, ‘The Room’ is a metaphoric synecdoche for Kelesh’s studio output between 2008-2019, featuring 9 tracks of lo-slung but levitating trip hop and illbient that overlaps his productions on the long sold-out ‘Hyperattention: Selected Digital Works Vol.1’ album, and augmented by a number of fiery percussive pieces and future folk works that give a wider frame of reference to his style.
While the album follows the smoke curl dynamic of his previous work, the glorious mesh of electro-chaabi breaks and Eno-esque ambient guitar licks on ‘Dreak’, and the heat-seeking street rave scenes of ‘Saga’ will no doubt disrupt your preconceptions, while his folk prayer-like ‘Loli’ reaffirms a knack for captivating downbeats. ‘Leban’ brings a chopped ’n screwed trip hop temporality, deploying laminar layers of male/female vocals that inevitably call to mind Tricky via Leila Arab, while ‘Hasheesh’ trades in red-seal levels of heads-down pressure shades away from Portishead or even Pessimist’s snapped productions.
Dijit smartly manages to keep it all just the right side of gloomy though, with the shatterproof tension between screwed vox and ascendant hyaline electronics on ‘Hamhama’, or likewise in the high-register piquancy and celestial chorales of ‘Dream of a bee’, while the upfront burst of drums in ‘Saga’ will bring heads to their feet.
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After the demise of Teenage Jesus and the Jerks, Lydia Lunch launched her solo career with Queen Of Siam, arguably her greatest LP. In true No Wave style, the album is a mishmash of irritants, but her palette is far broader here, lurching from slow dirges, excessive feminist exhortations, and raucous personal purges to a touch of disco and lounge music exoticism, as conjured by Voidoids/Lou Reed guitarist Robert Quine, Contortions bassist Jack Ruby, and John Cale’s drummer, Douglas Browne. Spirited, surprisingly broad and defiantly dissonant, Queen Of Siam’s dense layers were designed to provoke and inflame; listen closely to fully decode.
Die Blue Flames 7"-Singles sind unter Sammlern und werden von Liebhabern des frühen R&B und des Proto-Mod-Sounds sowie von denen, die ihre Freude am Ska-Beat gesucht. Obwohl sie vor fast einem halben Jahrhundert veröffentlicht wurden, wurden sie tatsächlich bis heute nie wieder auf Vinyl neu aufgelegt. Für Ace schien es eine Selbstverständlichkeit zu sein, sie auf dieser Blue Flames-EP zu kombinieren. Für das Sleeve hat Ace das Titelfoto von Georgie Fame direkt vom original Fotograf Val Wilmer lizenziert. Auch Dean Rudland würdigt in den Liner Notes die Story dieser Georgie Fame-Band. Zu sagen, dass diese vier Tracks großartig klingen, ist untertrieben - diese Blue Flames kochen auf Gas.
Past Inside The Present has really gone to town with the re-release of this 36 album The Lower Lights: it comes in several different formats and vinyl versions with this one being a limited, numbered and opaque red vinyl including a download code. Musically it is just as essential as a collection of tracks from a year-long 'Audio Diary' project undertaken by 36 between April 2018 and April 2019. It first came back in May 2019 and soon sold out, such is the quality of the vibrant and eclectic ambient sounds within. This is not sleep-inducing background material, but rather emotionally charged soundscaping with a mix of dark, futuristic and urgent pieces all making the cut.
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The Endless Coloured Ways is a collection of songs by legendary singer/ songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences. From Fontaines D.C to Guy Garvey, and Aurora to Feist, each artist has offered their own incredible take on a timeless classic. - Fifth in a collection of five 7" singles - - Limited stock - - Gatefold lancing sleeve -
FELT summon the hand of two of the most uncannily suited producers around to remix cuts from Civilistjävel!’s "Järnnätter" album one year on from its initial release.
As a regular collaborator with SVN and Dynamo Dreesen as well as having a slew of experimental techno 12”s to his name, A Made Up Sound immediately got the memo. The Dutch producer takes the foggier, subdued angle of his own craft into wildly captivating effect when tasked to build upon the stems from the “civilian bastard”.
Whilst the A Made Up Sound remix constantly builds in intensity, Ossia’s “Disoriented Dub” explores a much more radiophonic, lost-at-sea headspace with echoes of early concrete compositions and a spectral approach to dub; an olive branch of muggy hauntological weirdness extending from Bristol up to Scandinavia and back via the lowlands.
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The long-awaited debut LP from Romanian duo Khidja is finally coming via Malka Tuti Records.
The album ‘Transmission’ will be divided into two separate releases - Part 1 & Part 2. Part 1, presented here, will be released on June 16th, while Part 2 will be released in the 2nd half of September 2023. The album, which contains 10 new tracks from the duo (5 on each part) was written and produced by Khidja over the last several years.It was mastered by Enrico Mercaldi and distributed world wide by One Eye Witness, with a fresh fresh artwork by Angus Plunkett & Morey Talmor @ &talmor Part 1 consisted of 5 gems showcasing the diversity in the Romanian duo’s production - from shuffle to slow-mow, through chugging disco-not-disco to 4th world and beyond.
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On June 16th, 2023, Steven Julien and Kyle Hall return with their first EP together in ten years, CROWN. The record follows earlier EPs the duo created under their former alias Funkinevil, 2013's Ignorant and 2012's Night/Dusk. The record once again brings together two artists from opposite sides of the pond—Julien hailing from London and Hall representing Detroit—with a shared love for soul in its purest essence.
Opening "Page 1", a pitched-down vocal by James Massiah pronounces, "My plan—won't let you take it from hand." That alone could be considered the nut graph of a record about taking ownership, created by two vanguards in the electronic music scene that, a decade ago, insisted on infusing their music with soul in a commercial club circuit lacking in it.
Assembled from a few years-worth of studio jams in Julien's studio, Crown dials up the staticky warmth present on earlier Funkinevil tracks like "Dusk" and "In The Grid." Across seven songs, Funkinevil shaves off some of their tougher elements, instead shooting for pastoral melodies and funky basslines, like on "Page 2", where Vicky Flint's flute flutters sleepily over breaks and a groovy Korg synthesizer. But the atmosphere on the EP is also grander than ever—on "Page 5," Cloud's wistful melisma soars over Flint's bleating saxophone and wandering sci-fi synths.
With all this attention to funky musicality, it's only fitting that two legends specializing in the craft would land on the B-side—Däm Funk revs up "Page 3" with a slamming kick and his unmistakable coolness, and Reggie B turns "Page 5" into a sludgy, jazzy dance party.
In the words of Julien, "I think a lot of people have forgotten about what this whole thing is about. Musically, artistry and everything. So I'm happy this is what we represent on this project."
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Taiwanese label JIN records enters autumn 2022, with a new promising release by South Korea’s Yetsuby. As always searching for gems in the pan-Asian domain, JIN is delighted to have Yetsuby for its latest/6th release.
On this EP, one-half of the ambient duo Salamanda, Yetsuby showcases her expertise in mood setting soundscapes, taking listeners on a sound journey across a wide array of musical spectra.
Opening on A1, Yetsuby reinterprets a traditional Korean folk story of a bear devouring garlic and green onions, transforming the animal into a human being. Aptly named ” Bear Becomes The Human,” she transforms the transformed, turning the bear into a buzzing modern drum & bass-fused energetic tune. It turns out garlic is a powerful source after all.
B1’s “Jelly” showcases Yetsuby’s talent for stripped-back glitch music: With a minimal bass and drum pattern, the track gently muddles along and presents itself as well suited warm-up track for the earlier hours of any party.
For the remix sides, Cleveland delivers a vinyl only remix of “Bear Becomes The Human” with a futuristic house tune filled with jungle like drum pattern and techy yet smooth atmosphere on A2.
On B2, New Zealand’s Eden Burns takes an entirely different path on his reinterpretation of Jelly. Embarking from the original pattern, he turns the original into a slow brewing psychedelic trance cracker that seems most suited for the early morning after hours that need an energy boost.
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Please take the five stars not as a statement that this is the best record of 2013, but as a delighted endorsement of a genre classic. With his fifth record (3 with Harpoons, and 2 solo) Ezra Furman has made an album of classicist rock'n'roll that never feels like an exercise, but a living, breathing piece of self-expression. The foundations are obvious, but the simple touches that adorn them are what elevates Day of the Dog. Been So Strange, for example, is the Velvet Underground's chugging R&B reincarnated, but with the delicious addition of a horn section. It leaves you wondering why Lou Reed never thought to do the same, so well does it work. Slacker/Adria is nervy, jittery powerpop until two minutes in, when the bottom drops out of the song and it turns into a doomy riff over which Furman appears to be telling us his nightmares: "I see white crosses burning across a dark landscape." He's seen his critics coming, too: the liner notes contain an index so you can check off the references. Clever, funny, sharp and tuneful – a great rock'n'roll record.” Michael Hann (The Guardian).
Z Lovecraft AKA Rhythm Section International's Mali Baden-Powell, offers up four originals on the Utopia Club Tracks label that showcase the disco/house end of his varied output. 'Exotic Passage' coasts along serenely with gently slapped bongos and warm electric piano, definitely a weapon to have in one's warm up arsenal. 'Release (The Tension)' ups the heat a little with a busier bassline, filters and disco licks, before B-side opener 'Lust In Denial' comes with more jazz-slanted piano riffs and 'People Get Too Deep' closes proceedings with the most spacious and dubby arrangement of the quartet. Musically refreshing and understated but lively enough to move feet onto dancefloors, this is the business.
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Bonzai Classics is thrilled to announce the highly anticipated release of the 3rd installment of the Bonzai Power Vinyl series. This 2 x 7" vinyl set comes in a stunning orange color and includes Phrenetic System's "Wayfarer," Aqua Contact's "Cinderella," B.W.P Experiments with "Organic," and Cyberdelia with "Deconstruction”.
This vinyl set is essential to any electronic music lover's collection. The tracks have been remastered for optimal sound quality and are presented in a beautiful gatefold sleeve. Be sure to grab your copy and experience the power of the 90s again!
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Much anticipated debut album from this Leeds-based electronic duo, following high-profile UK festival slots, and shows alongside luminaries The Brian Jonestown Massacre, Warmduscher, Sea Power, Moonlandingz, The KVB, with multiple plays across BBC6/BBC Introducing and Amazing Radio, jellyskin are finally ready to unleash ‘In Brine’, their first full length release. The result of four years spent writing, recording, and refining the album between Leeds, Liverpool, Bristol, Palamos, and Berlin, ‘In Brine’ showcases the many talents of Will Ainsley and Zia Larty-Healy in a work straddling iridescent electronica, tungsten-tipped techno, art pop, and queasy, brown acid folk. The songs are pieced together with themes of longing, misadventure by the sea, desire and aquatic apparitions that showcase Larty-Healy’s warm but urgent vocal range, as at home around the campfire as it is in the club. The pair’s meticulous arrangement and rearrangement, sculpting, recording, and mixing was a glacially slow process of adaptation, mutation, cooperation, growth, and, yes, natural selection. First single ‘Bringer of Brine’ thumps from the speaker anthemically and forcefully, pitched somewhere beautiful and uncanny; Larty-Healy’s vocals soar and skim off the production like a smooth stone across choppy waves. The radio-ready pop electronica of ‘I Was The First Tetrapod’ bursts into the world with an urgency in line with the lyrics. An aquatic tale of crawling onto land for the first time, desperate to make new life forms, it’s also a positive, joyful rebuke to the despair of the world around us. “Growing my legs...”. The fuzzed-out psychedelic keys and forward-moving, Knife-like structure echo throughout while beautiful lyrics detail visions of where this would all lead life as we know it-“I can run freely, white horse behind me. Flexing my bones and artery twine, find human tone and reach for the vine.” ‘Fox Again’ opens with chopped alarm clocks segueing into a lurching rhythm, before exploding into skittering beats and a soaring chorus. The effect is like waking up drowsily, going over to the window in your room and yanking open the curtains to be blasted by searing sunshine. The pair brought in Berlin based co-producer, mixer and masterer Lewis D-t to help finesse the tracks into fat-free hunks of ecstasy and sonic exploration, their rich depths marking ‘In Brine’ as an album everyone should be talking about this summer and beyond-all nine tracks will have feet moving and hearts swelling in equal measure. As opening track ‘Lift (Come In)’ positively opines “Going up!/Just want to keep going up!”. It’s time to get in on the ground floor
Yugoslavian synth-pop band Videotex formed in 1982 but settled on its more lasting line-up in 1983 with Anja Rupel on vocals, Janez Kriaj playing bass, Iztok Turk drumming, and Matja Kosi and Nina Sever both on keys. A year later they broke through with their Videosex 84 debut album and then had another local hit with the follow-up, 1985's Lacrimae Christi. It now gets a first-ever international release, all remastered and on nice heavyweight vinyl. The group had plenty of mainstream hits - two of them are on this album in the form of 'Sivi dan' (or Gloomy Day) and 'Tko je zgazio gospo?u mjesec' (or Who Ran Over Mrs. Moon), played some big concerts and even appeared on national TV before eventually splitting up in 1992.
Jean-Philippe Altier’s first full-length excursion as Jpye, 2021’s Samba With You, was heralded a contemporary Balearic pop gem – a superbly summery, sun-kissed set full of atmospheric instrumentation, colourful synth sounds, strong songs and star turns from a wide variety of musical friends and guest performers.
Bleu Your Mind, his hotly anticipated follow-up, takes a similar sonic approach to its predecessor, with Altier being joined in the studio by friends old (vocalist e11e, keyboardist Michael T and fellow Twonk members Leonidas and Renato Tonini all reprise their roles from ‘Samba With You’) and new (Da Roc and Iamrobd) on a set that effortlessly mixes and matches elements of nu-disco, jazz-funk, laidback synth-pop, Italo-disco and Balearic beats.
Those who savoured ‘Samba With You’ will feel at home right away, as e11e sings softly and sweetly atop the gentle Latin infused shuffle, dusk-ready instrumentation and chiming vibraphone solos of ‘Freedom Ain’t Free’. French composer and keyboardist Da Roc make’s his first appearance on the following track, the duelling electric pianos and synths of sun-splashed instrumental Balearic pop gem ‘You Freak Out’, before e11e returns on the throbbing and suspenseful ‘Shiver’– a re-imagined and genuinely glassy-eyed cover of Marie Laure Sachs’ sleazy 1978 Italian disco jam of the same name. So, it continues, with Altier and his collaborators painting scintillating sonic pictures in kaleidoscopic colours.
Impeccable arrangements and pin-sharp instrumentation work in perfect harmony with seductive grooves that pack plenty of subtle swing. Even more impressively, ‘Bleu Your Mind’ is an album that genuinely rewards repeat listens, with each successive spin revealing more musical touches and cannily crafted melodic motifs. As a result, highlights come thick and fast throughout, from the delay-laden jazz-funk-goes-electrofunk fizz of ‘Xcuse My French’ (with Da Roc), and the humid afternoon heat of ‘Va Là-Bas’ – a gorgeous and immersive, sunset-ready affair produced alongside Renato and featuring dazzling kets from Michael T) – to the slow-motion Gallic/Italian reggae-pop of ‘Tutto OK’ (a nod to the tropical-tinged reggae sounds created in France during the 1980s), and the slap-bass sporting, smoothed-out (but low-down) grooves of Renato hook-up ‘Take Off’.
As ‘Bleu Your Mind’ progresses, the musical details become more refined, the grooves drowsier and the mood more horizontal. This subtle shift can be heard in Leonidas co-production ‘Lazyjack’ – all chiming lead lines, languid bass guitar, snappy drum machine beats and glistening guitar motifs – the vocoder-sporting stoner funk of ‘Spinnaker’, and the yearning brilliance of ‘Fingers Crossed’. The album’s most emotive and immersive moment by some distance, ‘Fingers Crossed’ sees Altier and collaborator Iamrobd (also a fellow Twonk member) tease out a slow-motion groove in combination with lilting Spanish guitar solos, ultra-dreamy chords, twinkling pianos and delay-laden drum machine hits. Bittersweet and brilliant, it’s a track guaranteed to send shivers down your spine. By the time it fades out, via a sustained piano chord, you’ll be sat or stood in wide-eyed, open-mouthed wonder.
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Detroit’s Eddie Fowlkes returns to Rekids this June with ‘Bahama Man EP’
Hot on the heels of his recently released ‘Forever EP’ on Radio Slave’s evergreen Rekids, Eddie ‘Flashin’ Fowlkes returns to the label with ‘Bahama Man EP’, another four-track EP of red-hot dancefloor cuts. From the swinging opening title track through to the jacking low end of closer ‘Cube’, Eddie’s knack for crafting his unique style of club-friendly cuts is on full display across the record, some of his finest work to date.
As one of Techno’s originators, Eddie Fowlkes has shaped the Techno genre for over 36 years. With his releases on Metroplex, Tresor, Sony, Peacefrog, and his own imprints CityBoy Records and Detroit Wax, Fowlkes' contribution to the blueprint of modern electronic music cannot be overstated.
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Breakbeat Paradise Recordings has teamed up with hip-hop legend Paul Sitter who has gather some of dopest MCs on the planet to feature on the epic LP: Hip-Hip Delivery.
The LP is a celebration to the oldskool hiphop vibes that started it all by cutting and scratching up the classic funk record, twisted in a brand-new way with MCs from around the world dropping fire on the mic.
Starting out with the intoxicating Global Chremistry with Craig G and some big funky grooves. Moving on to the Go Move featuring the awesome Andy Cooper on a smooth boom bap joint. The classic Wild Thing gets a oldskool hiphop twist with some big rhymes by Birdapres and cuts by DJ Robert Smith. The breaks are about to get serious as Chromedrops some high paced rhymes on the Who's Nice Kid track. Finally the A-Side finishes up paying some respect to some of the classics beat and breaks from the early hip days on the King Of Rock jam.
The flip side kicks off with more groovy, soulful hip hop featuring Andy Cooper on the catchy Chasing the Funk. Paul Sitter breaks is down nice on another slick hip hop anthem B-Boy Impressions before letting Dr Syntax take it over on the mic on the It's On Like That jam.
The last 3 joints on the album lets Paul Sitter get busy on some funky hip-hop creations showcasing his classic breakbeats and heavy sample techniques.
Breakbeat Paradise Recordings' first full album release since 2019 to drop on 12" vinyl but with an instant classic release like this we felt there was no other way to do it.
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