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Whispers is the first proper P.G. Six album since 2011"s Starry Mind. Time passes slowly, as they"ve been known to say out in the country, and before you know it, there"s a bunch of it behind you. After five releases in the first decade of P.G. Six, it may seem a bit of a surprise to have not heard something new in the past twelve years - but a cursory listen to Murmurs & Whispers will answer why, as the deep acoustic focus of the tracks imply an investment of the type of compassion and understanding that takes time and concentrated effort to conjure. Additionally, Pat Gubler"s always got a few pots going at once in his ever-expanding musical universe. He"s been active since the mid-90s, first with Memphis Luxure and Tower Recordings, then as P.G. Six, and as a member of Metal Mountains, Wet Tuna, Garcia Peoples and Weeping Bong Band. Additionally, some time was spent making collaborative records with Dan Melchior (in 2019) and Louise Bock (in 2021). Pat"s been playing the harp for more years than he"s been in bands, but when he realized that he was writing a set of songs centered around harp compositions, he spent some time in the woodshed with his instrument, a late 80s model Triplett Celtic 34 String Harp (which replaced a lovely Paraguayan harp he"d played for years previously). After the previous P.G. albums of electric band arrangements, he was in a place of writing songs with more silence in them. He ended up playing a lot of the parts himself on Murmurs & Whispers, adding guitar, bass, keyboards, recorder and hurdy gurdy, in addition to his harp and vocals. Clark Griffin and Wednesday Knudson, who Pat plays with in Weeping Bong Band, played and sang a bit themselves, and the record was recorded piece by piece in houses around upstate New York by Mike Fellows. Returning to the quiet acoustic sound of the first couple of P.G. Six albums, Parlor Tricks and Porch Favorites (which has seen a much-needed reissue in the past year after too many years OOP) and The Well of Memory, Murmurs & Whispers is more straightforward in expressing its vision of rural celestial wonder. Bucolic and comfortably lived in, Murmurs & Whispers nonetheless projects the transcendent heart of P.G. Six once again, and as ever, it is magnificent to hear it passing through us.

Whispers is the first proper P.G. Six album since 2011"s Starry Mind. Time passes slowly, as they"ve been known to say out in the country, and before you know it, there"s a bunch of it behind you. After five releases in the first decade of P.G. Six, it may seem a bit of a surprise to have not heard something new in the past twelve years - but a cursory listen to Murmurs & Whispers will answer why, as the deep acoustic focus of the tracks imply an investment of the type of compassion and understanding that takes time and concentrated effort to conjure. Additionally, Pat Gubler"s always got a few pots going at once in his ever-expanding musical universe. He"s been active since the mid-90s, first with Memphis Luxure and Tower Recordings, then as P.G. Six, and as a member of Metal Mountains, Wet Tuna, Garcia Peoples and Weeping Bong Band. Additionally, some time was spent making collaborative records with Dan Melchior (in 2019) and Louise Bock (in 2021). Pat"s been playing the harp for more years than he"s been in bands, but when he realized that he was writing a set of songs centered around harp compositions, he spent some time in the woodshed with his instrument, a late 80s model Triplett Celtic 34 String Harp (which replaced a lovely Paraguayan harp he"d played for years previously). After the previous P.G. albums of electric band arrangements, he was in a place of writing songs with more silence in them. He ended up playing a lot of the parts himself on Murmurs & Whispers, adding guitar, bass, keyboards, recorder and hurdy gurdy, in addition to his harp and vocals. Clark Griffin and Wednesday Knudson, who Pat plays with in Weeping Bong Band, played and sang a bit themselves, and the record was recorded piece by piece in houses around upstate New York by Mike Fellows. Returning to the quiet acoustic sound of the first couple of P.G. Six albums, Parlor Tricks and Porch Favorites (which has seen a much-needed reissue in the past year after too many years OOP) and The Well of Memory, Murmurs & Whispers is more straightforward in expressing its vision of rural celestial wonder. Bucolic and comfortably lived in, Murmurs & Whispers nonetheless projects the transcendent heart of P.G. Six once again, and as ever, it is magnificent to hear it passing through us.

Unlike the spiraling momentum of the band's sophomore LP, pleasure suck, the spirit of the beehive takes a more grounded approach here, though the ground it's standing on is equally otherworldly. Dreamy is a fitting adjective, but the ten tracks on Hypnic Jerks never fully slip into the peaceful character of dream-pop. Hypnic Jerks has the quality of an indescribable dream fading from memory as you slowly begin to regain consciousness. Its warped guitar tones, transcendental synths and smattering of eerie audio samples conjure this purgatorial space between reverie and reality. It's an arena where the songs unexpectedly contort themselves and take on different textures, morphing in and out of one another. Once the celestial harmonies, balmy keys and creeping false climax of album closer it's gonna find you roll past, it's clear that the spirit of the beehive has secured a seat at this decade's table of musical visionaries.

Tripped's second full length album has arrived, roughly one year after Unboxed (PRSPCT273) and is once again ready to take you on another journey through hard techno, industrial, acid, breaks & hardcore techno.

Tripped digs deeper into raw & analog techniques that will teleport you back to the wastelands of 90's warehouse raves.
While slowly building in Bpm and intensity, It features both emotional and kickheavy tracks ready to take on any dancefloor.
It also includes a Slave To Society remix of 'Tank', earlier released on MADINCH003.

While we once again recognise the artwork style from past releases (painted by himself) we notice another personal concept linked to the album . 'A Thing About Something' addresses mental health issues, anxieties & depression and aspires to keep fighting the daily struggles.

Stephen Steinbrink discovered a short YouTube video of a street magician who approaches a highschooler walking home in Barstow, California. “Here, let me show you my idea,” he says, as he places a quarter on the kid’s hand. The magician performs some relaxed flourishes, and the coin vanishes. In silence, the kid stares at his hand at the nothing where there once, indisputably, was something, until his wonder finds a single word: “Cool.” The title of Disappearing Coin, the new album from Oakland songwriter Stephen Steinbrink, comes from this short clip. “When I look at it now,” he says, “I relate to the kid, who’s obviously uneasy in his body, and going through the experience of being a teenager in the early 2000s growing up in a bleak desert town like I did. I also relate to the coin, an inanimate disc of possibility. And I relate to the magician, an absurd facilitator of sending what is tactile and concrete into the wispy conceptual realm.” “I’ve watched it probably a hundred times,” he says. “It cracked me up but also blew my mind open the feeling of wonder I experienced watching this video became a guide as I navigated new ways of staying in the realm of what’s both real and magical.” Following the 2018 release of Utopia Teased, Steinbrink completed an apprenticeship in the nearly-lost art of Stained Glass, becoming a glazier at a studio that over three years, fully restored the enormous 90-year-old windows in San Francisco’s Grace Cathedral. He committed to his Buddhist study, beginning lay monastic training before the process was thwarted by the pandemic. He dove deeper into music production for other artists, engineering two albums by Boy Scouts released on Anti- Records in 2018 and 2021. Steinbrink delighted in the way these pursuits pulled at the thread of ego’s tapestry and decentralized him from his craft, allowing him to embody a new role as a creative caretaker engaging in practices that felt communal and restorative. “As I slowly began writing for myself again, I tried to imbue my new songs with this sense of playfulness and wonder I felt while exploring these other interests.” He says. Feeling unlocked from the pressures of perfection that he often felt in his earlier work, creating Disappearing Coin felt buoyant and healing. “The album feels like an integration of all of my past musical selves zeroing in on the present,” Steinbrink explains, “I felt free to explore new ways of writing, through different perspectives, experimenting with fictional songwriting, visual archetypal language, and total collaboration.” This “total collaboration” was a joyous new venture after years of solo performing and recording. The album can be seen as a 42 minute session of show and tell, the manifestation of Steinbrink repeating the mantra of “Here, let me show you my idea” to himself over and over. Disappearing Coin is at once a welcome return for the veteran Steinbrink and the debut of a totally new artist, one who has found a new path to himself with new goals of openness, curiosity, and self-acceptance. “Recalls the magic pop purity of Arthur Russell...its minimalism manages to feel enlightened and transformative.” PITCHFORK // “Melodic and self-assured. Steinbrink delivers his knotted lyricism with a smooth lilt.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

In Japanese, the word “Guru-Guru” refers to the state of spinning, whirling.?
This state is captured in the work of Japanese artist Hoshina Anniversary, who makes his third appearance on MUSAR with his EP Guru Guru and marks the return of the label after an extended break.

Hoshina’s self-titled brand of ‘Watechno’ has appeared on well-loved dance music labels like ESP Institute, Volvox’s Jack Dept and Young Marco’s Safe Trip, alongside MUSAR where he also appeared as Shifting Gears back in 2022; an electronic-jazz-centered moniker.

His Guru Guru EP captures the latest snapshot of Hoshina’s sound and sees him draw from Japanese language as a through-line.
The title track is the clearest representation of his ‘Watechno’, where he uses Japanese instrumentation on top of a menacing EBM-style march. The track's slowly whirling momentum is the “Guru-Guru”.

On tracks like “Banri”, which means far away in Japanese, we see new shades to Hoshina’s work as he mixes a Japanese Wadaiko drum groove with acidic elements and piano melodies to make a track of contradictions which pairs roughness with elegance. Whereas on “Usagi”, Japanese for rabbit, Hoshina fires up the BPM.
Piano melodies remain here but their effect is more drifting and emotive than on “Banri”.
“Kaga” is named after a place in the southernmost part of Ishikawa Prefecture, between Kanazawa City and Fukui City.
On this track, Hoshina’s love for jazz comes through and even mirrors the work we heard from him under Shifting Gears.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7” single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low profile while making his heartfelt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with.

The first thing you notice listening to Les Imprimés is the high level of musicianship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a Hip Hop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is as an artist on his own terms.

Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experience behind the boards he built his own studio on the island of Odderøya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape.

However, "it wasn't until COVID, when things locked down, that I was really able to find the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his influences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine."

It is his sound, his fingerprint, his sensibility, that makes his music hard to categorize. He has crafted an album of songs with different energies that all fit together to make one gorgeous record. The lead single “Falling Away” starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On “Still Here” he professes his resilience through life’s twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like “You” and “Our Love” mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens’ lyrics and delivery leave you singing the melodies long after they finish. “Love & Flowers” finds Martens in a moment of clarity with a song that fits the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like “Muse” and “Chess” that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens’ lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There’s an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Chain Of Flowers return with their lofty and long-simmering sophomore full-length, rich with reckonings, reverb, and redemption: Never Ending Space. Despite some of the songs dating back a few years, the record first began materialising in earnest during the pandemic, by which point most of the band had relocated from Cardiff to London.

Reunited and rejuvenated, they picked up where they left off, booking two multi-day sessions at Hackney hub Total Refreshment Centre with producer Jonah Falco. In this time they successfully channelled their kinetic chemistry into 10 full-blooded anthems of torn dreams, poetic delirium, and “hope stretched too far.” Musically, Never Ending Space skews notably more maximal than the group’s previous work, fleshed out with trumpets, saxophone, synth, percussion boxes, and spoken word. (Smith jokingly calls them The Chain Of Flowers Orchestra).

Yet the songs still swing and soar with a charged heart, ripe with hooks, drama and ragged melody. Opener “Fire (In The Heart Of Hearts)” stirs to life on a tide of wiry guitar and defiant horns, facing down the embers of love that still glow in the wake of pain: “Peace came tumbling like a shower of bricks / The mind twists slowly till everything fits.”

A tense energy ripples throughout – from the nocturnal rush of “Serving Purpose” and “Amphetamine Luck” to the bruised battle cries of “Torcalon” and “Old Human Material.” Outliers like “Praying Hands, Turtle Doves” hint at proggy possible futures, while instrumental vignette “Anomia” offers an intriguing glimpse at a lesser heard facet of the band: swaying, shadowy, subdued. The album’s title track is also its closing cut, a stomping, sparkling ode to “the wrong side of the night, where time goes to die.” Smith describes the scene: “Everyone’s talking, screaming, trauma bonding, but no one’s listening. Broken dialogue. Shouting over each other. You want to switch off, but everyone’s too fucked.” The guitars spiral and slide towards the oblivion of dawn, the chance to crash and do it all again.

Chain Of Flowers return with their lofty and long-simmering sophomore full-length, rich with reckonings, reverb, and redemption: Never Ending Space. Despite some of the songs dating back a few years, the record first began materialising in earnest during the pandemic, by which point most of the band had relocated from Cardiff to London.

Reunited and rejuvenated, they picked up where they left off, booking two multi-day sessions at Hackney hub Total Refreshment Centre with producer Jonah Falco. In this time they successfully channelled their kinetic chemistry into 10 full-blooded anthems of torn dreams, poetic delirium, and “hope stretched too far.” Musically, Never Ending Space skews notably more maximal than the group’s previous work, fleshed out with trumpets, saxophone, synth, percussion boxes, and spoken word. (Smith jokingly calls them The Chain Of Flowers Orchestra).

Yet the songs still swing and soar with a charged heart, ripe with hooks, drama and ragged melody. Opener “Fire (In The Heart Of Hearts)” stirs to life on a tide of wiry guitar and defiant horns, facing down the embers of love that still glow in the wake of pain: “Peace came tumbling like a shower of bricks / The mind twists slowly till everything fits.”

A tense energy ripples throughout – from the nocturnal rush of “Serving Purpose” and “Amphetamine Luck” to the bruised battle cries of “Torcalon” and “Old Human Material.” Outliers like “Praying Hands, Turtle Doves” hint at proggy possible futures, while instrumental vignette “Anomia” offers an intriguing glimpse at a lesser heard facet of the band: swaying, shadowy, subdued. The album’s title track is also its closing cut, a stomping, sparkling ode to “the wrong side of the night, where time goes to die.” Smith describes the scene: “Everyone’s talking, screaming, trauma bonding, but no one’s listening. Broken dialogue. Shouting over each other. You want to switch off, but everyone’s too fucked.” The guitars spiral and slide towards the oblivion of dawn, the chance to crash and do it all again.

Renowned Danish trumpeter Kasper Tranberg reforms his delicate chord-less trio with Nils Davidsen (bass & cello) and Frands Rifbjerg (drums) for the release of "Nobody"s Heart". Active on the jazz and improv scenes since the early 90s, Tranberg has been described as a player of great heart and purpose. Inspired by the iconic improvisers of our time, the album explores the connection between their instrument, their body and their soul. A collection of eight songs that Tranberg has deemed his favorites of the past few decades, the repertoire ranges from tin pan alley legends Rodgers and Hart, to visionaries like Ornette Coleman, to contemporary Danish singer/songwriter C.V. Jorgensen. On selecting the repertoire, Tranberg says "it was not about surface flash, technique or speed, but I followed my heart, my own footsteps and encounters in the previous 2 or 3 decades". Tranberg, Davidsen & Rifbjerg have been performin together since the early 1990"s, united by their passion for an exploratory and unpredictable playing style. With emphasis on stillness, melody, and texture, the record"s tone is melancholy, peaceful, and restorative. Tranberg"s intimate, warm trumpet sound soars above a bed of fluid bass and drum texture, slowly evolving from miniscule and sparse to dense and chaotic. Egoless, mature, and without flash, it is apparent the ensemble holds listening in high regard The trio seems to breathe as one, with each member aiming to make every note and sound mean something. Capturing the essence of each of the songs and making them undeniably their own, "Nobody"s Heart" is deeply personal, meditative and intricate. "Sometimes something else sings through the room and music - not often, but it"s a great feeling when it happens." - Kasper Tranberg

Bourassa is back and serving us a scorching new summer hit. This time, label boss Smolny doesn't hold back, unleashing a powerful holiday anthem titled "Need Love." If you're truly in dire need of some love, this track is definitely for you!

It starts off slowly and nostalgically, seasoned with a distinct amen break. The growing tension sends shivers down your spine, while a beautiful trance chord intertwines with a long pad in the background. Adding to the flavor is a twisted female vocal that seductively flirts with your senses. It all culminates in a euphoric experience, gradually building up to release the accumulated energy. Finally, everything explodes as a strong and expressive bass line hits you like a ton of bricks.

The following track "Running" takes a more tranquil approach, transporting us to a dreamy realm. Broken drums keep propelling us forward, never allowing us to pause. The melodic chord gracefully emerges, creating a chill atmosphere and setting the mood. After the breakdown, grooving bongos complete the picture.

The B-side features two fantastic remixes of the title track, "Need Love." The first one is a fierce breakbeat roller from Denham Audio. With its powerful bass and mesmerizing droplets cascading in the background, it creates a distinct hypnotic atmosphere. The change in bassline to the typical speed garage sound delivers an even more potent punch at the end.

The second remix is crafted by SLG, who flawlessly captures the sound of the '97s, creating a track in the progressive trance style from that era. A brilliantly composed bass line constantly propels the track forward, building tension alongside the melodic line. A real dance floor killer!

NoCorner and Stone King proudly presents the first official collaboration between Ossia and Andy Mac. Both are fresh off a series of high-profile releases and projects - Ossia with recent releases on Berceuse Heroique and Blackest Ever Black, and Andy with his new Deep Street label and the 2nd Diving Bird 12 that just came through on Idle Hands.

Featuring three tracks written & recorded between 2015 and 2017, the record sees Andy & Ossia's mutual love for Jamaican and African rhythms, dusty records and a tape-saturated approach to guide a fresh, dubwise production process involving a battered old Roland Sampler and Ossia's infamous half-broken analogue Trident Mixing desk.

A Side Soup Riddim serves itself up as a hybrid slab of dancehall, dub and perhaps even the looser stylings of house - a fresh twist with an eternally-universal emphasis on space, and the movement within it. On the flip, Cado leans even further into negative space, allowing a gorgeous piece of samplism to drive the rhythm all the way to its conclusion in the blink of an eye, with the soft insistence of the percussion playing with the listener's sense of time. This feeling intensifies in the final track, Linguine Loop. A shapeshifting low-frequency hum underpins a hypnotic melodic loop that develops, delays and distorts into a dizzying crescendo of feedback and noise. The final minutes serve as a final reflection on what came before as the melody slowly re-filters into the mix as a ghostly, half-there form of itself, drawing the reductive conclusion to this EP, a triple version excursion of far-away sounds.

Edition of 300, six times (at least) hand-stamped, in kraft sleeve.
Mastered and cut by Lewis at Stardelta.

A central figure in Seattle’s fading disco scene, radio DJ, producer, engineer, writer and multi-instrumentalist…Tony Benton was the driving force behind the Seattle soul-funk sound during the late 70s & 80s. Starting off his career at the age of ten he learned how to play the piano and then finally got to take a music class in the 7th grade. Having access to an electric piano made him fall in love with the thought that he could make his own music. At the age of 16 Tony and his friends already formed their first band called ‘Crystal Clear’ and were making up songs in his basement.
Things would really start off when Tony Benton teamed up with his group to form the avant-boogie group Teleclere who went on to release their first single in 1982 (Fantasy Love / Ultra Groove). That’s when Tony started playing all of the other instruments and thus earning him the title ‘multi-instrumentalist’. Teleclere was all about creating and performing original music, there was no music scene in Seattle at that time for a black artist or group who played original compositions. Rap-music was also emerging and clubs slowly started to switch from live performances to deejays.
Through the success of their independent EP release, Teleclere followed up a year later with their Affection/Defection album which created a serious hype. This gave them the chance to regularly open at concerts for national artists in halls and clubs. They played at nightclubs, bars, festivals, private parties and did mini tours in the Washington State cities & Canada…including opening for Grammy-award winning soul-star Peabo Bryson (performing for a crowd of 3,000 in their hometown Seattle)
Sadly, radio would not play their music so folks never really had the chance to hear it unless they saw them perform live (they always won the crowd over). To add insult to injury, venues and the likes started to mainly book cover bands playing top 40 music. Disappointed by this Tony Benton became a radio personality but would continue to record and perform under the name ‘Teleclere’ with various players and vocalists for many years to come. Only a handful of his tracks recorded were released in the end.
Thankfully we are left with the unique audio-document that is the Affection/Defection LP. The album took the scene by storm in 1983 and sounds like a sci-fi space odyssey unfolding on an intergalactic dance floor…a chopped and slapped slice of 80ies electro-funk, sensual soulful serenades, pulses of Innervisions-worthy bass, top of the line vocals and a plethora of vocoder magic. Also included is the hit ‘Steal Your Love’ that was featured on the acclaimed 2014 Light In The Attic compilation ‘Wheedle’s Groove Volume II: Seattle Funk, Modern Soul And Boogie 1972-1987’.
Tidal Waves Music (in collaboration with the Numero Group) now proudly presents the first ever vinyl reissue of this fantastic private pressed Seattle electronic soul/funk album (originally released in 1983 on Telemusic Productions). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork and obi strip.

Pretty Sneaky slips deep down the dub-hole for the sweet 4 tracker on Private Stress (Brussels). Refined stuff. TIP!

The sneaky one is slowly carving out quite a reputation with a super-solid back catalogue of releases next to some ultra dope radio shows and DJ appearances.

2026 Repress

Underground 3 deck vinyl legend Jeff Amadeus returns to Cluster with an epic journey of thumping beats, frenetic rhythms, and slowly building textures on Predators. The track lives up to its name being a monster slice of menacing 'chase and kill' techno - wholly individual and unique but capable of having a devastating effect on hard dancefloors. On the flip Bad Boy Pete delivers a slamming remix of tough beats and driving rhythms, whilst Chicago Loop adds his take with pounding kick, wobbly synths and attacking 303 stabs. 3 versions that take no prisoners!

smokey vinyl

French label and promoter Much More recordings is proud to present the first vinyl our collection.

This vinyl features 6 tracks ranging from breaks to techno and passing by acid and electronica, designed for soundsystem and anchored in their proper original and analogic techno sound.

We believe that redefining the essence of the genre is now critical. After years of promoting parties in Paris and Europe, Much More has gathered artists considered to be the essence of techno. Artists who know how to turn knobs without screens.

They continue to make the mob sweat on the dance-floor, with a simple at first yet efficient recipe that holds a myriad of subtleties.

On our table lies a lemon slowly withering away, a fruit that once was as much suave than sour. Our artists are as ripe as this yellow sphere lying in the open. They possess the experience and knowledge needed to forcefully broadcast this emergency rebirth that techno desperately needs. Our creations are neither nostalgic nor futuristic, they aim to be atemporal. They are naked to artifices, raw to over-tuning, built and cut upon the very ageless tools that defined and will name what is Techno.

Far from us the desire of claiming to be the only definition of the genre, nor forgetting about its primal cravings. Whereas Amarou, Skudge and Sawlin showcast the narrative scope of our passion, Wrong Assessment, Arnaud le Texier and Falling Echoes will remind us what is raving under the strobe's fire.

It's music from urban centers and countrysides, for big room and inner space.
It's music without tag or time, where every loop stops and unfolds on its own.

We are back to the essence, and yet, much more.

Borrowed Tongue is the debut solo album by Korean singer-songwriter Minhwi Lee. It’s a mysterious, strangely compelling thing, an album of rare poetry, and remarkably self-assured. Originally released in November 2016, the album made waves, winning best folk album of 2016 at the 14th Korean Music Awards. Its eight songs, written and predominantly arranged by Lee, don’t reveal their secrets easily, or at first blush; rather, they take their time slowly to unfurl in her listeners’ worlds. There are hints of other music here, from time to time: the intimacy of Stina Nordenstam, perhaps; the gauzy haze of Hope Sandoval, on the blissed-out pop of “Broken Mirror”; there are touches of acid-folk, and ECM jazz, and a slyly filmic approach to songwriting and arrangement that makes every song fit perfectly into the album’s arc.

Lee arrived at her solo music through a complex, circuitous route. After studying musicology in Seoul, she learned her trade, film scoring, in New York and Paris. She also studied classical music, blowing off steam in a wild punk duo, Mukimukimanmansu, who released one album, 2012, on Korean indie label Beatball. Subsequently, Lee has been refining her music, focusing both on her solo songs, and on writing for television series and films; she’s written scores for films by such directors as Sangmoon Lee, Jeongwon Kam, and Wanmin Lee. She also plays in the jazz outfit Cubed, and recently joined doom metal group Gawthrop on bass.

Since its release in 2016, Borrowed Tongue has slowly bewitched listeners with its idiosyncratic arrangements and evocative songwriting. It’s an album that hints at plenty, but refuses to make grand statements, something Lee seems intent to pursue: in correspondence, she’s very clear that she wants these songs to enact a kind of transmutation, to be adopted into the listeners’ lives and exist within their own imaginings. She does, however, offer a few hints to what propels these mercurial songs, explaining, “this album is about a person who again opens their mouth, which was once shut. The album deals with what it means to speak: things that are known but not said, things that should be said but are not, things that cannot be said but nonetheless are.”

This may well explain the curious mood of Borrowed Tongue, the multiple ‘voices’ that inhabit the album; Lee’s singing voice is pliable and mutable, approaching each song as its own diorama and ensuring the song is sung with just the right tone. The arrangements Lee conjures for her songs are all in service to narrative and melody; they appear to her alongside the composition, which is surely why everything here fits together so beautifully. From there, Lee approaches her songs carefully, in deference to their ‘need to be sung’ a certain way. There isn’t a moment wasted: everything on Borrowed Tongue is as it needs to be, whether a melancholy folk song taking to the air, or a psychedelic reverie dreamed into being. It’s a beautiful, poised and confident debut.

She may be making her first appearance on NuNorthern Soul, but Zeynep Erbay is no newcomer. A classically trained pianist who took a turn towards the dancefloor while at university, the Turkish DJ/producer earned her first release on Compost Records way back in 2007 after taking part in 2006’s Red Bull Music Academy programme. Since then, her career has been on an upwards trajectory, with releases on Fools Gold and Soul Clap Records confirming Erbay as a genuine rising star of underground electronic music.

On the Healer EP, the Istanbul-based producer showcases the more atmospheric, sun-kissed end of her productions, taking a turn away from synth-powered, disco-leaning club tracks towards something more suitable for al-fresco events, sun-down sets, and sofa-bound listening sessions.

Inspired by a poem inscribed on the back cover of the EP, Erbay’s two original instrumental tracks simply ooze with emotion. The poem tells the story of a whale searching for her family while helping others along the way, which acts as a metaphor for our wider search for belonging and acceptance.

This aural narrative unfolds firstly across ‘Heart of a Healer’, a slowly unfurling stunner in which emotion-rich chords, gentle electronic melodies and Erbay’s poignant and picturesque piano motifs, gently rise above a chunky dub disco bassline and mid-tempo, triple-time drums.

Delving further, the effortlessly emotional, life-affirming composition ‘Healer Whale’, where Erbay’s impeccable piano playing ushers in languid, jazz-flecked drums, dubby bass, sumptuous synth-strings and colourful, slow-moving chords.

On remix dutires, NYC-based Italian Danilo Braca, who also mastered the release, provides a fine club-focused fix of ‘Heart of a Healer’, laced with crunchy machine drums and undulating TB-303 acid lines. NuNorthern Soul regular Marshall Watson handles ‘Healer Whale’, first delivering a fine ‘Remix’ version that effortlessly blurs the boundary between dub disco and Balearic nu-disco, before serving up a shorter, ambient ‘Reprise’ version.

Written and produced by landyhill.

More lost recordings of landyhill (Timex Social Club) Bay area funk featuring Jamie Vallo on vocals, previously unreleased. PPU is slowly making its way through the depths of demos, more coming soon.

Sound Metaphors gives they keys of the label's catalogue vaults to Aggelos Baltas aka Anatolian Weapons and this is the result. 5 tracks previously released on our labels now submitted to the studio prowess of the Greek machine. Dubbed out, tripped out, slowed down, sped up, mind blown. Aggelos brings his distinctive flavor to the table and re-constructs some of our dacefloor oriented favorites from the early 90's. From California's Exist Dance label to Italian underground tracks and even a Disciples' number, Aggelos cherry picks his weapons for the most spaced out of dance floors, sounding big and effective, can't go wrong.

S Transporter is Izaak S and Ryan Spencer, a pan-American duo of exact origins unknown. With roots spanning from Detroit to San Francisco, the project is somewhere around four years old, though no one remembers exactly when it started. The songs were initially demoed in Ryan's bedroom and promptly forgotten about in the chaotic whirl of both members’ efforts in other music projects, DJing, and party-throwing ventures until Ryan played them at his weekly, Monday Is The New Monday (co-founded with PGS' Ben & Zach). Immediately, the songs burst with new life into our ears, and we excitedly requested to hear more. In a tale every creative can relate to, Ryan simply didn't know if they were any good. We found them extraordinary.

What followed were several months of additional recording sessions in a collective effort to finalize the tracks, done at Ryan's apartment in Southwest Detroit, Izaak's in SF, and the Portage Garage in Hamtramck. Bay area DIY underground luminary Anya Ghiorzi joined the group and contributed her vocal talents to the songs, which began to exhibit a sound representative of the genre-collisions featured at MITNM– from krautrock and boogie to trance, acid, and house– in a way other PGS releases have hinted at, but have not fully expressed until now.

S Transporter is the name of the EP, the project, and all four songs. A maximalist sound with a minimalist presentation, naming the songs - so many years after their inception - would, perhaps, take away from the feeling that struck all three of us the first time we heard them on a club-grade sound system.

Izaak S and Anya Ghiorzi are San Francisco residents, musicians, and DJs in the Loveshadow dance collective.

Ryan Spencer is a Detroit resident, DJ, co-founder of Monday Is The New Monday, and is a member of Freakish Pleasures.

"S Transporter 1"
Uptempo, backspin-laden electro/acid with a winding 303 bassline that reveals itself slowly over the pulsing breakbeat backbone. Immersive, haunting and enchanting.

"S Transporter 2"
Downtempo electro. Slap bass. Heavy boogie. Sensual vocals reminiscent of early Chris N Cosey carry you through this industrial funk heater. Heavy synth lines and rhythmic grooving guitar that is club-ready for dance floors of all kinds.

"S Transporter 3"
A fast paced, percussion forward adventure with balaphone melodies and bending synth pads. Spoken words guide the journey, arriving at a movement inducing Juno ascension that dances into a calm end.

"S Transporter 4"
Encompassing the seemingly disjointed, individualistic styles of S Transporter 1-3, ‘4’ combines elements of the entire release into one final gesture. ‘4’ could be Byrne/Eno ("Regiment"), but it's something else - the product of decades of dance music history, distilled by two musicians & DJs into one song.

credits
releases July 19, 2019

PGS 010
S Transporter
"S Transporter"
EP

2015-2019
Written, Mixed and Produced by Izaak S & Ryan Spencer
Vocals by Anya
Bass on “2” by Lucas De Leon Turner
Percussion & additional production on "3" by Shigeto
Percussion on “3” by Julian Spradlin

Mastered by Josh Bonati at Bonati Mastering
Recorded at Izaak's apartment in San Francisco, Ryan's apartment in Southwest Detroit and the Portage Garage
Records Pressed at Archer Record Pressing, Detroit, MI
Design by Will
MMXVIX

Keni Burke's seminal Changes yielded the eternal club classic "Risin' To The Top". You need this record for this iconic steppers anthem alone. However, it's crucial to acknowledge that the whole of Changes, first released in 1982 on RCA but now a tricky one to find, is something truly special. It's a masterpiece of sophisticated 80s groove, containing first class funky soul that sounds as fresh as ever. This is multi-tempo soul music conceived in heaven.

Ace bass player, songwriter, arranger and producer, Keni Burke was discovered by Curtis Mayfield and a childhood member of the Five Stairsteps. Emanating from that magical 81-83 era and pristinely recorded at Philadelphia's legendary Sigma Sound Studios, his third solo album Changes really perfected Keni's groove. It incorporated tight, snappy rhythm arrangements which, despite the era, featured *real drums* courtesy of Steve Ferrone (from Average White Band) to compliment Keni's meaty bass lines. With Dean "Sir" Gant on synths and keyboards and Ed Walsh handling the Vocoder-OBX and Prophet 5, wonderful lines from Earth, Wind & Fire's legendary horn section and hooky rhythm and lead guitar riffs courtesy of Ed "Tree" Walsh, Keni was truly spoiled for excellence. With Doc Gibbs on percussion and Vince Montana on vibes elevating the sensational writing and arrangements, Keni couldn't really go wrong.

“Risin’ To The Top” is undoubtedly the defining crown and lasting legacy of this album. Wth its instantly captivating bassline, slowly creepin' groove and uplifting lyrics, it was a favourite among both the 80s soul steppers and hip-hop crowd and remains canonical to this day. Written by Burke, Allan Felder, and former Chic member Norma Jean Wright, it incredibly failed to garner much American radio play or really trouble the soul charts. Whilst it was an instant classic in the U.K., in the States it took the hip-hop generation and later R&B and hip-hop samples of the tune to finally make it popular, many years later. Of note, Big Daddy Kane sampled it for "Smooth Operator", LL Cool J for "Around The Way Girl", Pete Rock & CL Smooth for "Take You There" and O.C. with "Born 2 Live".

But the highlights are not restricted to this one behemoth. For example, the track which precedes "Risin'" on Side B is another steppers favourite. "One Minute More" is a perfect mid-tempo ballad and the epitome of deep modern soul. A truly timeless work of genius. We, for one, struggle to think of a better song segue than the moment you're still reeling from the intense beauty of "One Minute More" and "Risin'" elegantly stirs into action. Frisson in excelsis. The propulsive, bass-heavy opener "Shakin" is an indisputable cracker and its followed by the timeless mid-tempo class of "Hang Tight". Just gorgeous. Next up, "Can't Get Enough" is another emotional, horn heavy chugger. The side closes with the sparse, tender, floating sl-o-o-w jam "Who Do You Love"; a truly divine ballad. The B-side beings with the title-track, "Changes", a squelchy, melodic boogie banger with fantastic keys, incredible vocals, ace shuffling percussion and spacey synths. It's followed by the ultimate one-two in "One Minute More" and "Risin'" before this sensational set closes with the glorious easy glide "All Night".

An absolutely essential record for fans of deeply soulful modern-funk, Changes was mastered for vinyl by Simon Francis and cut by Cicely Balston for Alchemy at AIR Studios. The artwork was restored at Be With HQ over many painstaking months so, hopefully, this fresh new edition ensures this long-lusted after album is no longer so awkward to find.

Long time Leng recording artists 40 Thieves are back with one of their most notable singles to date – a surprise collaboration with two NYC disco originals, storied vocalist Cinnamon Jones and multiinstrumentalist/producer Gary Davis.

San Francisco outfit 40 Thieves has been serving up cosmic, dubbed-out and otherworldly contemporary disco treats since the mid 2000s, and have been part of the Leng family since 2011. The crew, headed up by Layne Fox, Jay Williams and Corey Black, have released countless killer cuts on the label, as well as an expansive
debut album, 2014’s The Sky Is Yours.

They’ve worked with other artists before, but nobody at the same legendary level as Cinnamon Jones and Gary
Davis. The latter cut his teeth as a musician working with iconic disco producers Patrick Adams and Peter Brown at their P&P Records stable, before becoming a producer and artist in his own right writing and arranging the disco classic ‘Got To Get Your Love’ performed by Clyde Alexander & Sanction.

Jones, meanwhile, has enjoyed a hugely successful career both in her native New York (as Joyce Jones, an original member of First Choice) and on the West Coast, where she not only became an in-demand performer, but also snagged a role in the Supremes biopic Dream Girls.

‘The Gift’ is one of Jones’ most cherished solo songs – a joyful celebration of a new day dawning that has long been popular in her live sets. With input and instrumentation from Davis and a fantastic delivery of her own lyrics by Jones, 40 Thieves has successfully re-framed the track as a sunrise-ready future Bay Area free party
favourite; a dubbed-out, suitably cosmic creation that’s presented in three potent versions.

Leading the charge, and stretched across side A of the vinyl version is the band’s ’Disco Mix’ which boasts a fully realised instrumental arrangement and extensive use of passages from Jones’ vocals. Not all the lyrics are present as the Bay Area band has chosen to focus on selected lines that most neatly fit their musical vision and
celebrate the joys of dancing at sunrise. There are more spaced-out keyboard solos, sharper guitars (smothered in effects in true 40 Thieves fashion) and sound design that’s as immersive as it is heady and intoxicated.

On the flip is the ‘Disco Dub’. A bona-fide dub disco chugger rich in relentless synth-bass, addictive guitar licks, echo-laden vocal snippets, sparkling nu-disco electronics, tactile, deep house style electric piano stabs and cosmic effects aplenty, it’s a track tailor-made for slowly shuffling while the sun peeps over the horizon.

To complete an inspired package, 40 Thieves have also included a killer DJ tool: a ‘Beats’ take that wraps energy packed percussion hits, trippy electronic noises, trailing dub delays and sparse melodies around a metronomic drum machine beat. It’s a wavy, groovy and pleasingly mind-altering way to conclude one of 40 Thieves’ most magical EPs to date.

Ruffy's back with a new four track EP Casita Más Alta and it's a love letter to Ibiza - as he takes us on an alternative tour of his favourite parts of the pine-covered island.

The title track opens slowly, spaced out with motifs and pads washing in like an incoming tide, before charging headlong to the beach with a thumping kick and distorted keyboard solo. In contrast, we get a more sundown feel with Cala Vedella, soaking up the forest breeze and sounding like The Art of Noise but fed through a modulator and left to float in the iciest pitcher of 7Up.

Meanwhile, the rolling congas and percussive synths of Las Cicadas take us deep into tribal territory, Lost Woods style. The EP closes out with Niu Blau, built on beautifully optimistic choir pads and steel pan sounds, and the evening could just go on forever, especially if you've taken any of those power ups. It might be an homage to Ibiza and the Balearics, but seen through the Ruf Dug prism, there's always something new to discover.

Yse Saint Laur'ant makes wonky, left-of-centre sounds for proper underground parties. He's done so for years, and now returns with more of his raw and inventive disco on the sought-after Vinyl Only label. Opener 'Bad Company' pairs visceral arps with glossy pads and soulful vocal, which is stripped away from the 'Better Company' version.

On the flipside, 'Don't Look Back' is a more freewheeling and funky feel, with silky basslines and hip swing claps under buttery vocals. Last of all is a classic chug-disco gem. 'Foreign Love' goes slow, with crashing hits and languid bass all topped off by a yearning female vocal that slowly but surely rises into euphoria.

A1 - Interconnected

Taking the reigns again for his latest solo EP, Aural Imbalance opens in style as Interconnected blends delicate keys and ambient soundscapes swirling together creating a sumptuous, serene intro before brisk amen patterns gently roll their way into the mix, filtered perfectly and set over silky, graceful 808 undertone bass, transporting your mind across the oceans to distant shores - while equally catering for the discerning dancefloor.

A2 - Solitude

Aural Imbalance showcases all aspects of his incredible production journey on Spatial with Solitude, an anthemic, almost spiritual track with enveloping escalating swathes of powerful somber mood ambience, set upon finely crafted rousing drum patterns which punctuate proceedings perfectly. Solitude is a track which lives long in the memory - it is an experience you will identify with on your own level, within, as the title suggests.

AA1 - Subliminal Messages

A melancholic, unnerving amtmosphere introduces Subliminal Messages, shaped with enchanting synthwork and light hi hats, accentuating a mournful audio landscape. As the tightly constructed breakbeats unfold, immersive sub bass adds depth and presence to the mix and the listener is taken on a meditative voyage to the inner spirit, challenged to understand and reflect.

AA2 - Sentience

Closing the EP, Aural Imbalance shakes things up again as Sentience carves a more upbeat vibe, a beautiful addictive earworm melody composed with gently refined keys instantly grabbing the attention. Filtered breaks are slowly introduced before announcing themselves fully, a sublime drum loop layering a dynamic percussive energy as the catchy melody captivates us throughout.

A1 - Burst Transmission

ASC returns with another stellar solo EP and Burst Transmission dives straight in head first to kick things off, pulsing crafted breakbeats and computer FX intertwine and stack with smooth synths, keys and trademark vocal hits. A powerful undertone bassline perfect for the dancefloor keeps the momentum going with blissful speckles of detail in the composition, including expertly tuned bongo drums scattered throughout.

A2 - Whispers

Sci-fi vibes take center stage as ASC channels that classic 720 energy with Whispers, a track which utilises sharp stabbing snares in distinct, forceful drum patterns which develop and adapt over halcyon synthwork. Respite comes in the middle of the track as the breaks change and settle the vibe briefly, before we are thrust forward again with those epic breaks commanding our attention once more.

AA1 - Psionic bond

ASC continues the retro sci-fi vibes with Psionic Bond, entering with zapping laser FX and a haunting vocal sample echoing before thunderous breaks thrash their way into the track, epic kicks and sharp thrusting snares dominate proceedings while through the wooshing layers of synthwork a distinctive bassy melody elevates the composition. This one is going to send the lucky discerning dancefloor into extra-sensory fever.

AA2 - Future Music

Ending the EP with something a little different, Future Music gives us a true taste of the old school brand new. A building intro lashes you with jabbing bass and effects, classic hi-hats rattle and slowly the 90's jungle breakbeat edits are released in waves as the piece progresses. The construction of the breaks is staggered sparingly, weaved with an influx of effects and samples creating a truly unique experience.

First Ever Vinyl Reissue (released in collaboration with the Numero Group)

180g BLACK vinyl limited to 500 copies (w/obi strip). Non-Returnable.

Little is known about the mythical band ‘Heart-Soul & Inspiration’ and their band leader, L.A. drummer and producer Vince Howard…The crooning Howard got his start in 1957 on Herb Newman’s Era label where he released a bunch of excellent Doo Wop, Funk & Soul singles. Over the ensuing decade Howard slowly began piecing together his “Orchestra” consisting of bassist Jimmy Soul, guitarist Ron Carr, and pianist John True.

Howard’s Heart-Soul & Inspiration Orchestra cut their self-titled (and only) album in 1974 for John Spriggs’ Los Angeles-based Viscojon concern under the watchful eye of R&B godfather Johnny Otis.

The result was the birth of an astonishing piece of art filled with playful sexy moans, climaxing grooves and soulful hooks. One of the many highlights on the album (and clocking in at an epic eleven minutes), Vince Howard’s “I’m Gonna Love You More” is a tantric reimagining of Barry White’s 1973 sexually charged classic. Where White was content delivering a subtle and syrupy innuendo, Howard transformed the break-heavy track into a meandering funk workout.

Sadly, after their Barry White/Isaac Hayes facsimile LP failed to gain traction, the group released their final recordings—“Funk on Down” b/w “Fallen Angel”—for Viscojon in 1975 which became a hit among prominent DJ’s in the nightclub circuit. This ushered in the end for Howard’s Heart-Soul & Inspiration project.

Heart-Soul & Inspiration was a true example of a bright light burning out way too quickly. Thankfully we are left with the unique (and very rare) document that is their self-titled album. Almost impossible to get ahold of…a well-deserved reissue has been long overdue. This is an album that deserves a prominent place in every serious Funk & Soul enthusiast’s record collection!

Shamanic call from the ethereal field where all shapes fluidly come to one. Inspired by the multilevel constant dynamics of slowed down and pushing forward energies of one frequency.
“Diamond Director” with clear edges and smooth surfaces turns slowly glittering like the transparent stone under the sun or the spots in the club.
“Ruby Director” is steady colored going deep into a simpler way of movement without losing its pressure of serious laziness.
“Shayde's remix” means the state of trance after the glitter of the turning diamond occupying the personal view with little sparkles.
“Dan Bay's remix” is the consequence of the deep slowed down original bringing the slow pressure back to faster laziness again.
“Le Rubrique's remix” as a fusion of the two originals shows how different similarity can be and rolls up everything in a new way.

Glitching through pop music, cruising around the borders of the avant garde, passing by the edge of coldwave and tumbling into dance and club vibes: after her debut Bad Woman Céline Gillain is back with her second album: 'Mind is Mud'.

On Mind is Mud' Gillain let herself sink in the swamp of emotional confusion, the perpetual brain fog caused by a post Covid-world asking herself: do we have to get used to paradox as a way of life from now on?*

A musical dissection in nine songs of the mudflow, a flow which reveals its rich complexity the more Gillain dived into it: from the demanding intro 'Together' Céline opens up her highly personal and unique vision, shifting between high definition lost dimensions and emotionsthe mud slowly transfers in a crackling and sparkling stream of consciousness.

The mud is well alive in all its weirdness and unclarity. At times, it even glows in the dark.

The answer to that question is yes. The story of Mind is Mud by Céline Gillain: "Music is a place where intuiting is a work in itself. For me, it's the one place where I'm in charge, free to think and do what I want. Mind is Mud is the fruit of a collaborative practice with a DAW, a research around the palliative power of rhythm and the dancefloor, music as a space where emotions and ideas merge, storytelling, the comic potential and imaginative nature of sound. I don't really write, I copy paste and then I arrange and rearrange. Every sound I use comes from software, field recording, Instagram, movies and midi scores I collect here and there. In the hierarchy of sounds, you might call them cheap sounds. The lyrics are collages as well, made of pieces of texts from various contradictory sources. In addition to using the voice as a vehicle for ideas, I investigate its percussive and polyphonic potentialities, the possibility to have more than one voice/mouth."

Next up is an overdue reunion with a familiar face. After his outstanding contribution to Cocoon Compilation S and his first solo EP on Cocoon Recordings, Raxon is back with a more than equally fascinating sound. The Egyptian-born and now Barcelona-based artist is back on it again, delivering two tracks that will take you on a journey through the depths of robotic soundscapes.
Intricate beats, hypnotic synthesizer melodies, deep bassline grooves, and distinctive EFX sounds create Raxon’s very special signature sound.

Straight drum programming paired with chirping percussions takes us away to embark on a travel through space and time while distinctive claps poke through a futuristic nebula of floating and shifting sequences. The twisted melody of “Robotalia” carries us to a parallel dimension of machine sound and if you listen closely, you can hear the robots’ screwing and sawing. Warping bleeps and mechanical effects complete the robotic feeling. Raxon’s understanding of structures and architectural abilities are reflected through the arrangement, slowly increasing to ecstasy.

“Kryptonite” scores with alien soundscapes. Stuttering vocals are the questions, while futuristic and dramatic chord stabs are the direct answer. A straight, radiant sound appears as an electronic trombone from outer space, offensively supporting the driving bassline. The symbiotic interplay between the euphoric synthesizer hook line and the relentless beat with pushing sharp hi-hats visualize powerful images in one's mind's eye. Suddenly the beat stagnates and results in a morphing break going head over heels developing a start-stop pitch effect that not only builds up tremendous tension but also bears an increased risk of melting your brain. We just love tape delay!

Remotely Together introduces new works by claire rousay & Morita Vargas, Maria Chavez & Valentina Magaletti, and KMRU, all commissioned through remote residencies for Rewire’s 2021 - online edition. In the midst of COVID-19 lockdowns, Rewire initiated these collaborations between disparate artists from all over the world, connecting them remotely to explore new creative practices both online and in isolation. The audiovisual results of these residencies were presented during the online edition of the 2021 festival. Newly edited versions of a selection of these performances have now been compiled for this release.

Featuring an enthralling mix of ambient, noise, field recording, and experimental sound art, the scene of Remotely Together is set by the crunching sounds of footsteps over a grassy environment on atmospheric opener Humo De Margatina Dulce, a collaborative song between North American percussionist and improviser claire rousay and Argentinian vocalist Morita Vargas. rousay’s textural mix of field recordings, everyday sounds, and deep electronics coalesce with Vargas’s ethereal vocals, paving the way for compelling music that gradually draws its listeners deeper into its mysterious soundworld.

Meanwhile, New York–based turntablist Maria Chavez and celebrated Italian percussionist Valentina Magaletti collaborate on Particle, featuring hypnotic textures and dreamlike percussion that seems to sonically propel itself forward, slowly expanding into a rich and layered work of stretched-out free jazz.

During his online residency, Kenyan sound artist KMRU teamed up with Dutch filmmaker Donna Verheijden. MicroVerse showcases his evocative mixing of field recordings, entrancing noise, and improvisation, resulting in a piece where the seemingly gentle sounds of the natural world begin to blend in with the artificial muck of droning noise.

Peruvian-born and Amsterdam-based graphic designer Jonathan Castro Alejos has designed the artwork of Remotely Together. It was thought of as a sculptural documentation of the unnoticed urban gestures between Amsterdam and Lima during the pandemic – further reinforcing the relationship between isolation and interconnectivity explored during the remote residencies of Rewire.

A1 - Divine Intervention - ASC opens up with intent a heavy piece, thick analogue kicks thumping around the expertly crafted breakbeats, switching the pace effortlessly as the backdrop melodies float along with some trademark vocal hits. ASC once again proves himself to be a true master of his craft, delivering an emotive, powerful track that's both technically impressive and emotionally resonant.

A2 - Variable State - Changing the pace we see ASC introduce an edgy, nervy energy to Variable State, combining classic breakbeats more modern beat accompaniment before a catchy wavy key melody overtakes. Soon the anxious vibes pull us back as Variable State lives up to its name, ebbing and flowing several times before we reach our conclusion, almost serving as a commentary on modern times in old school language.

B1 - Azure - A delightful roller continues the proceedings with Azure, featuring gentle, lingering bells that craft the melody over a bed of deep, rolling basslines and intricate percussion. The track is both uplifting and introspective, perfect for late night listening while the rain dots the window and you gaze out into the twilight hours.

B2 - Loose Ends - Tying things up for the EP we have Loose Ends, opening with off-beat breaks and FX, slowly enveloped by haunting synthwork. Soon the intense, moody bassline notches up the intensity before the track does a 180 and an uplifting rhythmic key melody provides some respite. The creepy ambience returns soon enough, completing this curiously cohesive creation in style.

Blue Marbled Vinyl

Opening the EP we have a serious sensory treat from Aural Imbalance, as he ditches his own rulebook unleashing a myriad of rapidly combining elements synergising over glorious echoed intro-beats, before an uncharacteristically heavy slice of breaks punches its way into the track, electrifying the atmosphere while the trademark melodies dance above like fireflies in the night.

A2 - Luminosity

An airy intro slowly welcomes in snappy snares, staunch forthright bass tones and those delicious airy pads we know Aural
Imbalance so well for, gradually enveloping the listener in a luscious web of glorious serenity. Layers of intricate textures and rhythms build upon one another, creating a mesmerizing and hypnotic sonic journey inviting repeated listens.

AA1 - Moonscape

Aural Imbalance crafts a true gem here as Moonscape opens with a serene hit of soothing pads before the wonderfully analogue breakbeats join the party, laden with hi hats and subtle poise. The backdrop exudes whimsical birdsong until halfway we are treated to a true earworm melody carrying us through to the clean ritualistic outro.

AA2 - Sunlight Through Clouds

Simon closes the EP with Sunlight Through Clouds, opening with wistful muffled grooves before the bubbly apache break reveals itself and whisks us on a synthful audio feast, built on the immersive, meditative soundscapes he is so well known for. The track has a soothing, reflective vibe and fits perfectly as a curtain call for his latest extended player.

Words by Chris Hayes (Spatial / Red Mist)

Repress!

After some time of laying in the dark, the Warsaw-based Syntetyk label and club night series emits waves yet again with their very first cassette release by various friends from the local and global underground.

Tape starts with a pathos ambient track by Mchy i Porosty, followed by a desert night drive dub by Rapha. The A side continues with a wavy melodic thumper by Olivia, accompanied by a nostalgic club diver by Czech maestro Exhausted Modern and a punkish fast paced hymn done by the Colombian prodigy – Filmmaker.

The B side opens with Dogpatrol’s broken jungle track and carries on with Astma’s industrial dub-driven tune. Album slowly comes to a close with a nasty distorted wave by Dyktando, dystopian radiation emitter by Chino and ends with Mala Herba’s folk inspired epic ambient drone.