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'I Don't Know Why' is Kraak & Smaak's debut single from their legendary album 'Juicy Fruit', and it's an outstanding collaboration with Grammy-nominated soul royalty - Mayer Hawthorne.

It's a true meeting of minds which is exactly what you'd expect from these two class acts. Kraak & Smaak throw down the gauntlet in a popping boogie track with the Tuxedo frontman delivering his signature sweet and catchy soul melodies over the top. Sublime!

The flip sees another jewel in the K&S arsenal. The album version of their hit single 'My Mind's Made Up', which features live band member and regular collaborator Berenice van Leer, is a more funked up spin on the original. Nonetheless it brings more fire to play with on this one-off 7" release.


b B: My Mind's Made Up (Album Version) feat. Berenice van Leer

2023 Repress

In between the re-releases of the two legendary Drexciya albums released on Tresor in '99 and '01, the Berlin techno institute is proud to re-present Transllusion's 'Mind Over Positive and Negative Dimensional Matter' the 12' single which originally accompanied the album 'The Opening Of The Cerebral Gate'.

Produced by the late James Marcel Stinson and released in 2001 via Supremat, a short-lived sub-label Tresor dedicated to a more abstract and experimental electro sound, both releases were conceived as the second part of the so-called Drexciyan Storms - a whopping stack of seven albums by the Detroit pair released under different monikers within a single year (the Tresor album 'Harnessed The Storm' being the rst).

This phase marks a groundbreaking time for the duo, their cosmos breaking wide open, right at the dawn of a new technological era in electronic music production. All this is deeply reected in Transllusion's rst album and single.

Thematically, 'The Opening Of The Cerebral Gate' and 'Mind Over Positive and Negative Dimensional Matter' saw Stinson shift away from the grand narrative of the Drexciyan saga, instead exploring a sub-plot of esoteric concepts revolving around internal, mental and psychedelic tropes. Musically, it presents the electro genius at the height of his game.

Historically Fucked is a four way entanglement made to create short, eruptive songs and then set about obliterating them from the inside, like improvising a barrel to encase themselves in and then proceeding to lick their way out of it. It is about playing and laughing at playing, and it is about not doing either of those things sometimes. Sometimes it is to do with talking, howling or grunting, and sometimes it is to do with hitting and rubbing.
Historically Fucked contains four people, who each share the same duties, and whose names in sequence are Otto Willberg, David Birchall, Greta Buitkuté and Alecs Pierce. They are from Manchester and often other places. Guitar, bass, drums and voices keenly jostle amid the group’s frenzy of spontaneous rock throttles. Some of these rampant exercises in avant are collected on ‘The Mule Peasants’ Revolt of 12,067’, the band’s new album, released by Upset The Rhythm on February 3rd. This is the group’s first release since 2018’s mantlepiece staple ‘Aliven Wool’ (Heavy Petting). This is Rock and/or Roll as fertilizer, uncivilised and free, as if one were to imagine what the Plastic Ono Band would’ve hit upon if they had read ‘Riddley Walker’, the sound of an entire timeline of expression put back together back-to-front, misshapen and irradiated.

‘The Mule Peasants’ Revolt of 12,067’ is not mere Sedentary Rock but Blasted Basalt, Frog worshipping cave-funk, harmolodic hullabaloo-wop, a musical game of “badger in the bag”. It is the sound of sacks crammed full of aggregate, a chimerical mind-meld, a seductive din that is to a hound dog in blue suede shoes what a raking of the dorsal fin with a fat marrow pinecone is to a pelican in the midst of being fired from the academy.

‘The Mule Peasants’ Revolt of 12,067’ by Historically Fucked was recorded by Rory Salter, mixed by Otto Willberg and mastered by Mikey Young. The liminally worrisome artwork was painted by John Cobweaver.

“They say these days that History is Fucked. Nothing ever dies but continues to rule the earth as an undead tyrant that cannot accept its own decomposition, look earwardly upon the dance of the proudly dead and decrepit!”

Vymethoxy Redspiders, Leeds 2022

WRWTFWW Records is thrilled to announce the first ever release of the soundtrack for the sci-fi Amiga demoscene wonder Odyssey by the Alcatraz group, with music from Greg - and what is possibly the first ever vinyl release for an Amiga demoscene soundtrack, if not the first ever vinyl release for a demoscene soundtrack whatsoever!

The special limited edition vinyl features the complete soundtrack of the demo sourced from the original masters as well as printed innersleeves, a 24x24 inch double-sided poster with extensive liner notes on the fascinating history of the Amiga demoscene on one side and a floppy disk print on the other, and a WRWTFWW sticker sheet. Odyssey is also available in digital format.

Wikipedia says: The demoscene is an international computer art subculture focused on producing demos: self-contained, sometimes extremely small, computer programs that produce audiovisual presentations. The purpose of a demo is to show off programming, visual art, and musical skills. Demos and other demoscene productions (graphics, music, videos, games) are shared at festivals known as demoparties, voted on by those who attend and released online.

In the demoscene galaxy, one era was particularly exciting: the Amiga years during which the demos were created for the Commodore Amiga home computer - a time of intense rivalry between programmers, graphics artists, and computer musicians, testing the limits of the (fixed) Amiga hardware.

The Odyssey demo was one of the largest productions ever released by an Amiga group, a real sci-fi movie on five floppy disks made with 3D sequences. It was presented at a demoscene party in 1991 and won the competition, setting a new standard for Amiga demo possibilities.

One of the highlights of the demo was the funky cosmic music from Swiss composer Greg, a true space opera, the 90s galactic soundscape you didn’t know was missing from your life! And so here it is, available for the first time, 10 tracks of pure video game music joy, adventurous computer pop, pixelated techno-trance, Star Wars gone floppy disk, and interstellar beats for days.

HALFTONE The future of heavy bass music has always found its portal via SATURATE! Records, and now alongside WAVECRAFT, we have another glimpse into infinity in the form of HALFTONE! From the onset of this compilation, you can feel the ominous bass ballast even before it first hits you…. Swelling up like a tsunami to engulf your brain with grinding terror. The heaviness is abundant across these tracks, with contributions from synth destroyers like Suahn, Kryptt and Low Poly melting your speakers and eardrums alike. Dark atmospherics rule the day here, which effectively sets the tone for the rabid roughness on display when the bass morphology takes hold of each track so mercilessly. Slow knuckle draggers and upbeat head bangers both hold dominion in this realm, leaving no sonic stone unturned. Always at the crest of the future music wave, HALFTONE shows you just how deep this rabbit hole can get.

Samuel Rohrer - drums, percussion, electronics, keys, modular synths Music produced, recorded and mixed by Samuel Rohrer
Samuel Rohrer’s newest solo album, Codes of Nature, shows the artist making yet more refinements and additions to an already rich catalog of musical ideas. Though he has excelled in collaborative projects with Ambiq, Ricardo Villalobos, Max Loderbauer, Tobias Freund, Dark Star Safari, Nils Petter Molvaer, Oren Ambarchi and
many others, it is fascinating to experience him also working in a field completely his own, yet managing to still give the impression of being fully integrated or connected with a larger musical universe.
A strange, intriguing ambiguity between the specific and the universal is indeed what makes Rohrer’s music worth playing on a loop – the cool, downtempo, yet energized constructions on Codes are powered by subtle atmospheric and tonal changes, and work like a camouflage adaptable to any environment. This is a record whose strength derives from its versatility. It’s clear that this versatility of sounds has been inspired by a commitment to positive differentiation that is not just a musical one, and that’s where this work will inspire others in turn.
— Total playing time: 50:04

Ever dream you're in a spaceship on a never-ending journey to an unknowable destination? That's how Nyles Lannon often thought of life in the early part of the pandemic, when time seemed to stand still, before the vaccines or even knowing when there might be any. But whether that spaceship is a desolate prison or a vessel for escaping to a better world depends on how you use it. With literally nowhere to go, the Film School guitarist and his then-12-year-old son Skye, on drums and modular synths, would jam most evenings in Nyles's home studio, just to have something to focus their minds on and counter the tedium of "remote learning." What started out as a way to keep his talented kid busy became a means to process the anxiety and disorientation of that strange, scary stretch of time. The result is Vanishing, a ten-song album of moody melodies, new wave beats, droney rock, and even an electrogroove instrumental interlude, by the father-son project they named Nyte Skye.

The emotional toll of lockdown, our collective grief, the literal darkness that engulfed the sky thanks to devastating wildfires brought on by climate crisis—these are heavy subjects, but the songs also convey how we managed to keep each other sane, and inspired, through it all. Film School devotees will find plenty to love; so will fans of the Police (Stewart Copeland being one of Skye's major

influences), the Cure, Spiritualized, and Elliott Smith. The album's opener, "Dream State (I'm Vanishing)," is a wistful synth-driven indie gem about disappearing into an alternate universe where worries don't exist. "Doing Time," with its massive washes of 12-string guitar and sophisticated syncopated beat, is a shoegazey meditation on holding onto a child's sanguine outlook in the face of adversity. If dream pop track "Take Me Up Again" is the album's bounciest, its counterpoint is "Faded," whose bittersweet melody and gentle rhythm bely themes of physical and emotional frailty.

Ultimately, not only did working on Vanishing help the duo cope with a uniquely challenging situation, but just being stuck at home helped stoke their creativity. "Music was the only thing I did during the pandemic, besides online school," Skye says. "It gave us all this time we didn't have before to make the album." For Nyles—knowing they might never have that kind of time again—to be able to put out a record with his son is, simply, "a dream come true."

Vanishing was written, recorded, and produced by Nyles Lannon and Skye Lannon and mixed by Dan Long, with additional contributions from Zach Rogue (Rogue Wave), Nichole Kreglow (backup vocals), lyricist Neil Rodenmeyer (Lupa Rosa), and Ian McDonald (FUTRVST).

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.[1][2] Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one
of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.

Indies only release on 180g baby pink vinyl, printed inner-sleeve, download card included. Marrying psychedelic pop with folk and a touch of country, 'Earthling On The Road To Self Love' is the sublime debut album by Brisbane, Australia-based artist Baby Cool – the latest side project by Nice Biscuit co-front woman Grace Cuell. Cuell says of the record, which follows her debut single 'Magic' and tours with Babe Rainbow and The Lazy Eyes: “The songs on this album are deeply sentimental. I have a lot I need to sing about to help me make sense of this earthly pod I have been gifted. If in singing these words out loud, I can help others find solace in knowing that we’re all out here flailing about in the cosmos, then it feels good to me.” Recorded with Sam Joseph (Family Jordan), the songs on 'Earthling' were brought to life with the help of Jess Ferronato (Nice Biscuit), Nick Cavendish (Nice Biscuit) and Drew Heyden (The Flamingo Jones): "I had such a beautiful community of friends that helped bring this whole thing to life. There was magic and love in every part of the process of creating this album.

Originally Released in 1999, this much sought after package is back with new art and a suave ass gatefold jacket! The early paisley garage Dwarves are represented here tearing through their first LP (Horror Stories) and early singles and unreleased tracks that predate their rebirth as punk icons. Thrill to tambourines, Farfisa organs and background vocals with attitude! Hits include Living Sickness, Don't Love Me, Get Outta My Life. "Lick It is everything right on up to the Horror Stories LP. What it plays like is blacklight fractured genius. Part Nuggets adulation, a healthy dose of Cramps style un-repentant psychosis, all lathered with helpings of oozing sexual whatsis. This one's got thirty-four flavors so it's kinda tough picking particular stand-outs. ... I mean, there're plenty of glances towards the future here to clue anyone in as to what was coming." (lollipopmagazine)

Spanish producer Univac returns to 30D Records with his second outing on the leading Spanish techno imprint. This time he appears on the ExoPlanets sub, the more futuristic branch of the label. Univac follows this vision and delivers four excellent cuts of forward thinking electro on his MagnetFunk EP. It's an exciting pack reaching high energy levels from dark and dooming vocal chopped new-wave to razor sharp elektroid jams. An excellent collection of spacious and punchy electro goodness.

Guiding weary travelers through an enchanting interdimensional odyssey, Work The Peripheral’s debut long player ‘Like Lava’ finds a treasured home on Companion. Building on the foundation of four exceptional self-released EPs, WTP continues his exploration into the world of ambient trance. ‘Like Lava’ unfolds across nine tracks that expand and contract through imagined astral landscapes, showcasing WTP’s deft ability to create deep and absorbing techno trips. Hypnotic in manifold ways, ‘Like Lava’ is a release made for getting lost in. Each track referencing the next, this hour-long journey glides through blissful realms of trance, ambient techno and house - deep basslines, muted breaks and spacious subdued percussion are unified by WTP’s characteristic ubiquitous and sparkling atmospheres.

This is an expert expression of the Companion ethos. By drawing inspiration from the likes of Robert Leiner, Speedy J and Index ID, WTP wields the language of tripped out 90s electronica to allow spellbound listeners the time to contemplate, space to travel and a place to dream.

Trumpeter, composer, bandleader & producer, Nick Walters delivers his 2nd studio album within the last year for his D.O.T. Records imprint. Padmāsana is an exquisite mix of jazz fusion and traditional Indian sounds, inspired and constructed from experiences and samples he encountered whilst travelling around the Indian subcontinent. The album was pieced together at his studio in East London, featuring live contributions from Tenderlonious on flute, Kieran McLeod on trombone, Tim Carnegie on drums, and Walters himself on trumpet and synthesisers. Padmāsana was mixed by Sam Interface at More Time Studios.

K.O.G's Zone 6 Agege album was recorded back in November 2020 and it pays homage to a small coastal suburb in Accra, the Ghanaian capital where he grew up. Now it gets revisited for a series of superb remixes alongside a couple of the original standout tunes. Poirier, Captain Planet and Aroop Roy all bring the class here. Each one is a fresh fusion of Afro-jazz with compelling rhythms at their heart. Originals 'Shidaa' and 'No Way' are still fresh, too.

Back in 2010 Caribou's Dan Snaith hosted a remix competition for his track 'Sun' from his then-new album Swim. The winner was an unknown producer called altrice.

Hailing from Tucson, Arizona of Iranian/Mexican descent, altrice took the bright euphoric highs of the original and crumbled them into rumbling lows, the crystalline edges becoming rough and undefined. Along with a bursting goody-bag of prizes, Snaith also provided altrice with the stems for the rest of Swim and the offer to remix the whole album track-by-track, creating 'stem'. Aside from a further dream-come-true remix of Radiohead, this is largely the last we heard from altrice in the past 12 years.

A year and a half ago though, having kept up correspondence with Snaith over the years, altrice began sending new material. With encouragement from Snaith he eventually wound up with an EP which has since become essential DJ material for Snaith and the cohort of friends he's shared it with, as well as appearing in Leon Vynehall's Radio 1 Residency, KH (Four Tet)'s recent Essential Mix and more.

With three tracks already released from the EP receiving further DJ support from Avalon Emerson, Floating Points, Yu Su, Sofia Kourtesis, Mano Le Tough and more, today the EP is released in full officially via Snaith's own Jiaolong label. compciter is a collection of music that for the first time is entirely altrice's own sound, alluring and off-kilter, a wealth of sounds and styles that are tied together by an irresistible warmth.

Speaking of the EP, altrice says:

"This EP is the result of allowing my stylistic boundaries to be nudged in a new direction, putting away a self-inflicted notion that I’m only fluent in certain subgenres of electronic music. I made some production choices that, for better or worse, will make this project stand out. I’ve been overwhelmed by the reactions in clubs and at festivals, and individuals reaching out with kind words about the music. It’s surreal."
From the huddled and obscured yet comforting vocal samples - described by Pitchfork as "a beacon of light in an uncertain landscape" - of 'bda creature' to the swinging 90s eurodance drums of 'places faces' and the way the welcoming guitar melody and soulful vocals of 'eyes' gives way to a full on bass pummel, the tracks that have been released so far from the EP are already causing a stir both on and off the dancefloor. Today, the chopped up vocals and vast roomy sound of 'yoni' along with '1609km' - which would almost be straightforward house if it didn't pull the rug out to make way for delicate piano and harmonica flourishes - complete a set that fulfils a promise 12 years in the making..

Originally released in 2012, the second album by the São Paulo-born composer Rodrigo Campos marks a turning point in both lyrical and aesthetic inspiration. “Bahia Fantástica” is the result of the absorption of a then recent influence of soul music (especially Curtis Mayfield) and is in the middle of this path marked by an unlikely geography in the lyrical part (São Mateus, Bahia, Japan) and by an expansion of sound ( from samba to the indefinable, with a passage through black American music).

The album turns ten years old in 2022 and exudes vitality. The soul reference takes on a different aroma when it passes through the filter of the composer and his band – formed by Kiko Dinucci on guitar, Marcelo Cabral on bass, Maurício Fleury on keyboards, Maurício Takara on drums and Thiago França on sax: it has Brazilian sauce, hints of afrobeat and a very particular seasoning. The lyrics bear the artist's mark: they project scenes in the listener's imagination and design the characters and environments with their own style of subjective chronicle. Bahia is both imaginary and intimate in Rodrigo Campos’s music.

Eli Brown steps up to unveil his highly anticipated debut release on Drumcode.

The UK artist hailing from Bristol has long been on Adam Beyer’s radar. He made his debut on Drumcode’s sub label Truesoul in 2019, teaming up with Will Clarke for their standout EP, ‘Our Love’. Since then, Eli Brown’s sound has continued to evolve and develop, with his signature dark and subversive sonics exhibiting on labels such as on Filth On Acid, We Are The Brave and his Arcane imprint earning high praise in techno circles.

His maiden contribution to Drumcode is in the form of his high-octane four track EP ‘Deep Down’. The title track ‘Deep Down’ has been a go-to weapon for Adam Beyer who’s been slaying it at Awakenings, Ultra Europe x Resistance and Loveland. It’s a dynamic, vocal-led production driven by a squelchy psy-laced synth line. ‘Nazareth’ is a pumping acid-infused stomper that galvanised the masses at Tomorrowland. Brown draws inspiration from Detroit for ‘Can’t Stop The Feeling’, a track that delicately balances an exuberant soul vocal with a nostalgic rave vibe. The EP rounds out with the thrilling highlight, ‘Pressure’, as 90’s house chords and gritty synths combine with a luring vocal hook for an ecstatic conclusion to the EP. It went down a treat when Beyer played it at Drumcode’s Off Sonar party in June.

Parenthesis was born out of the creative exchange between Yarni and GMM. The project wasn't intended to become an album. More so a general swapping of ideas in the hope of composing some music and sharing each other's experience in their musical fields. What started out as a few unfinished demos became the focal point of reflection.

Not that the pandemic became the subject of the record, more so a coincidental catalyst that projected their initial muses to become completed bodies of work. The idea of a Parenthesis casting over the paused pieces became the core concept in which it flourished.

* Hypnotic and seductive, Emika crafts Earthy Melodic Techno track 'Breath Cuts' using her breathy vocals, kick and devilish sub bass.

* Pleasure and pain, the euphoria Emika knows how to create sonically in order for her to lose her mind through the music and escape reality, composed and produced during the darkest chapter in her life, she mixes in the inevitable pain of a once locked-down Berlin.

* Breath Cuts is a journey-style dance track, for song-lovers or DJs that like to tell stories on their dance-floors. Emika reveals a poem in the middle of the song, a dream about being free again; 'I like to look out the window.. I like to imagine the clouds..'

* Norman Nodge, Berghain resident by night and lawyer by day, pulls out and enhances the lush ethereal vocal elements, remixing them further into an angel-like chorus, one can imagine the dancefloor in Berghain - people rushing from the sound while spirits float above them looking down.

* The two producers decided to provide listeners and DJs with a functional kick-less mix for advanced mixing pleasure.

What is the sound of feeling?
In physics, we conceive of sound as waves. Vibrations, undulations, physical manifestations: heard but not seen. Borne by the body but interpreted in the brain.
Within ourselves, we perceive emotion as waves, too. Rolling in, rolling out: tidal, even. In moments of violet intensity, the depth of our feeling crashes upon us like surf, rip currents on a corporeal beach.
Worlds apart, but waves in kind. For musician and composer Jo Johnson, the veil between is diaphanous indeed. What you hear is what you feel. Listen and uncover.
Jo Johnson has releases on Further Records, Going In (a sub-label of The Bunker), Verdant and Apartment

Perth-based artistic hub 823, led by producer / creator-extraordinaire Taku, joins forces with producers Idealism & Lucid Green for “Undone,” a genre-melting LP that bridges sonic comfort, textured tones and lush timbres into one serene, 10 track experience. LP arriving February 3rd, 2023 via 823 x Jakarta Records.

Finnish-born producer and pianist Idealism (1.5mil Spotify Monthly Listeners - SML) and French transplant Lucid Green (568k SML) are no strangers to each other’s subtle, yet potent productions. Having worked together on a number of past releases, their upcoming, fully collaborative LP “Undone” is a natural journey into the beautiful ambient, downtempo, lo-fi worlds they’ve each created. Through visits to Lucid’s flat in Paris and ideas being exchanged remotely, the duo experimented with different sounds, instruments and aural environments, in the process crafting a natural partnership that sits in a comfortable, melancholic pocket. With lulling guitar and poignant piano progressions that provide a pillow to rest your ears, and downtempo percussions that keeps you ebbing and flowing along on a subtle current, unsure where one wave ends and the next begins, only the albums progressions dictate the head-nod. Featuring the likes of Yutaka Hirasaka (220k SML) and Charlie Kurata (aka Charlie – 200k SML; Duumu – 109k SML), the album soars, reminiscent of life’s simple, yet wholly memorable moments that bring you a nostalgic pause.
As with all 823 releases, the project is a visual one as much as it is a musical project. The first singles visualizers are a fusion of Hopes & Dreams Club & 823’s design aesthetics with personal super8 footage captured by Idealism & Lucid Green, beautifully expressed from Hopes & Dreams Club member Mindi Ossi. Each visualizer and single art will easily stand on its own, transporting you to worlds familiar, yet undeniably groovy and sonically comfortable.
823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (852k SML). With an astute attention to detail and an ethos that appreciates the everyday things in life, 823 doesn’t stick to any particular genre. Past 823 releases include “So Far To Go” EP via Cabu (753k SML), Ta-ku and matt mcwaters’s duo project “Black and White,” featuring Masego collaboration “Flight 99” (17mil streams on Spotify), the “All Things Considered” compilations, a curated, collaborative series featuring both budding and wellestablished artists around the world and have included Idealism, Wun Two, pastels, L.Dre, Flobama, SwuM, Jinsang, Tenderlonious, among a host of others, as well as multiple sold out clothing capsules.

SubDan effortlessly composes within the chillout genre running the gamut on style and feel in his music. For his vinyl debut Dan flexes his drum & bass background with this luscious 4-track EP.

AQUA BLUE CLEAR SWIRL VINYL
Enter the wonderful world of the amazing TROPICAL FUCK STORM! Submersive Behaviour is our favorite Australian art-punk combo's take on the tried and true "covers record" concept. Over the course of 36 minutes, TFS puts their deranged spin on classics by Jimi Hendrix, Middle Aged in the Middle East in the Middle Ages, Men Men Menstration, Compliments to the Chef, and The Stooges. Guest starring their old kangaroo mates and collaborators Dan Kelly, the Bard of Beenleigh and Aaron Cupples, the Earl of East Gippsland on octopus like strings-man-ship, falsetto and apocalyptic vibes.

Carolina’ is the Brazilian virtuoso Seu Jorge's debut full-length album from 2002. Originally released under the title ‘Samba Esporte Fino’, its release and subsequent international acclaim dovetailed with Seu Jorge’s ascent into movie stardom. He is probably best known outside of Brazil for his work on Wes Anderson’s 2004 film 'The Life Aquatic with Steve Zissou’, in which he played a starring role and his Portuguese covers of David Bowie records were a highlight of the soundtrack. Having initially found fame thanks to his standout performance as Knockout Ned in the revered movie ‘City of God’. ‘Carolina’ would cement his global fame and launch an illustrious musical career that has earnt him a Grammy nomination.

Co-produced by Mario Caldatto of Beastie Boys and Planet Hemp fame, the album presented a vibrant, contemporary combination of samba and funk, backed by guitar, bass, drums, percussion, and horns. It kicks off with one of Seu's most loved tracks 'Carolina', an anthemic feel-good classic with timeless energy, ending in a sing-along crescendo. Other highlights included the Brazilian-Funk of 'Mangueira' reminiscent in places of Tim Maia with its 80s inspired vibe, and the catchy jazzy-samba of 'Tu Queria' which always ignites the dance floor.

Hidden Worlds are everywhere around us. Some may emerge,
materialize in waveforms.... and let you look a little deeper. 3
Ambient and Dub influenced Deep House and Electronica
tracks. Mastering and Cut at Dubplates & Mastering, Berlin.

2023 Repress

After his amazing EP on Omerta Records, Bristol based Artificial Red delivers 3 tracks for 3AM Eternal 04. Side A "Mystics" brings the vibes right away! Ambient soundscapes mixed with Hardcore amens and deep subs. Energetic yet meditative B1 "Imy From The Fruit Farm" goes even deeper. Lush ambient pulling you in over subtle breaks, flowing atmospheric jungle. B2 "Dragnet" is another full on amen choppage tune but with subtle guitar licks and wavey atmospherics.

Tensor Norm is back. In this ocassion, we visit differents locations of the world geography to bring you an EP full of electro, breaks, acid and IDM.

Side A goes into the coordinates of dark electro in different ways. "Cell Reprogramming" by Clone Theory (one of its members is Heuristic Audio) is a spatial track with smooth percussion, a heavy, oscillating bassline and minimal melodic design. On "Automorphism", Sigma_ALgebra resorts to smooth percussion and a drone-like oscillating bassline to generate a floating feel, over which choppy, lightning-like melodic profiles occur. Finally, north american LectrO cOd-E, speeds up the tempo to expose the military round bass, synth twitches and vocoder transmissions of “Morphology”.

Side B is incided in borderline spaces with the incorporation of acid sounds as main elements. After an opening that programs the rhythmic structure and adds pad atmosphere, "Amenacid" by Liðvarð aka DJ VLR ratchets up the tension through a brief acid line modified steadily but subtly. The EP closes with "Phanaire Luses", a track with typical IDM resources with which, through the accumulation of bleep-like emissions, acid figures, sparks and amorphous sounds, Jaquarius builds a psychedelic track.

REISSUE

Color Changes is considered by many to be one of the finest albums by trumpeter and pioneer of the flugelhorn in jazz, Clark Terry. Rather than the usual jam session, Terry utilized specific arrangements by Yusef Lateef, Budd Johnson, and Al Cohn for this 1960 date. At the time of this recording, he had recently finished a stint with Charles Mingus" group and one can hear the subtle influence that association had on these sessions. The result is an album which ranges through many moods and many textures, which is why the album was titled, Color Changes. This brand new reissue is available on CD and LP (180g) and has been remastered from the original Candid Records master tapes by Bernie Grundman.

WRWTFWW Records is proud to announce a brand new album by Irish producer Gareth Quinn Redmond, following his amazing Satoshi Ashikawa-Inspired Laistigh Den Ghleo released in 2019. Umcheol, his ambient-meets-Irish-traditional-music soundscape is available as a limited edition LP (500 copies worldwide) housed in a 350gsm gatefold sleeve with a superb triptych of paintings by Irish artist Conor Campbell. The album comes in digital format as well.
A splendid pairing of Irish folk instruments (harp, tin whistle, fiddle, harmonium) with synthesizers, Umcheol tells the tragic yet beautiful tale of two legendary figures of Irish mythology, Cú Chulainn and
Ferdiad. The 40+ minute ambient narrative is a subtle and touching alliance of past and present, tradition re-contextualized and retold with a modern approach.
Gareth Quinn Redmond explains: "For the longest time, I have desired to blend elements of both ambient and Irish traditional music. Umcheol - Cú Chulainn agus Ferdiad, is the first in a series of works that seeks to coalesce these two palettes of sound. The primary focus of this album was to begin using traditional instruments such as the harp, tin whistle, fiddle and even the harmonium, which in recent times has become commonly used in Irish folk music. By pairing these instruments with synthesizers, I hope to create a soundscape that gives new agency for the stories of my culture to be realized and retold."
Very personal and delicately visceral, Umcheol is a contemplative journey that will resonate with fans of Japanese environmental music, minimalism, folk experimentations, and mythological soundtracks.
Gareth Quinn Redmond’s previous album, Laistigh Den Ghleo, an ode to the work of Satoshi Ashikawa is still available on WRWTFWW Records - perfect time to re-visit!

Following up on reissues of the 2000 compilation »Multila« and 2001’s »Anima,« Sasu Ripatti has thoroughly revisited the classic »Whistleblower« for its first ever vinyl issue on the German Keplar label. Ripatti created entirely new mixes of previously unheard-of alternative versions of the tracks that first appeared on CD through his own Huume imprint in early 2007. He thus shines a new, different light on a record that was as much an expression of reaching a turning point in his life as it also showcased a new, more direct and perhaps more abrasive side of his Vladislav Delay project. »Whistleblower« was marked by the insertion of more noise and disruptive elements into Ripatti’s slowly moving take on intricate electronic music that heavily leaned on dub techniques. Fittingly for an album written at the threshold between one life and the other, »Whisteblower« seems at once melancholic and forward-looking in both tone and style.

»Whisteblower« was the follow-up record to 2005’s »The Four Quarters« and produced in the German capital. »I had quite a hard time in Berlin towards the end and I'm sure the track titles and the music reflect some of that uneasiness,« Ripatti says 15 years later. Changes in his personal life had a profound impact on him when making the record. The fifth track, »Lumi,« was dedicated to his daughter who was born shortly after the album was finished. »I had to reconsider what my life had been,« he recalls this watershed moment in his biography. Having already previously embraced a sober lifestyle—hinted at with the last piece’s title, »Recovery IDea«—Ripatti started questioning his life choices more thoroughly. This is also expressed in »He Lived Deeply,« a track inspired by Miles Davis’s love for Duke Ellington whose title can be read as an implicit question that Ripatti nowadays paraphrases thusly: »Had I been living fully, or fully not living?«

The seven tracks also marked a musical turning point in Ripatti’s work as a producer, not only because it was the last one for which he primarily used analogue and vintage equipment. They are also more straightforward on a music level, more demanding and at times more concerned with subtle rhythms than with the thick textures that were so integral to his earlier work. »Whisteblower« represented the first step in a process of focusing less on sonic abstraction and more on direct (self-)expression. While Ripatti admits that he found working on the album difficult back then, he also points out that he was surprised to hear how »gentle and peaceful« it sounded when he started revisiting the original files he used as a basis for these newly mixed versions. »It probably proves how much more comfortable I had become with sound.«

Having spent the past few years supplying low notes as bass player for a who’s who of UK Soul and Jazz talent (including Tom Misch, LoyleCarner, Berwyn, Jordan Rakei, Poppy Ajudha, Jamie Isaac, Puma Blue, Jorja Smith, Alfa Mist & Charlotte Dos Santos) Rudi Creswick steps into the spotlight with his first full length solo offering ‘Different Forms’ on Alfa Mist’s Sekito imprint.

Hailing from Newcastle-Upon-Tyne, Rudi was immersed in club culture from a young age, the low end sonics of which guided his playing, and led him to discovering his own style In the years that followed, Rudi continued to hone his craft, melding the sub rattling sounds of Hip-Hop producers such as J Dilla, MF Doom and Knxwldge with the technical sensibilities of influential Jazz players such as Pino Palladino, Derrick Hodge and Thundercat.

With this record serving as a chance for Rudi to stretch his creative legs, the aim was to showcase the many musical sides of his creative spirit. The first single lifted from the project ‘Sometimes’ enlists the vocal talents of the incredible Emmavie - who dives into self-reflective and cutting, honest lyrics. She explains: “No one ever leads with “often temperamental, quick to anger and generally hot and cold” when describing themselves. Something about Rudi’s laidback production and bouncy singing bass line pulled this reflective and apologetic yet playful subject out of me. “

On the LP, Rudi says: ‘This whole project is thanks to Alfa , Barney Artist and the team at Sekito who’ve helped me realise my dream. They had faith in me for which I’ll always be grateful. The project’s kind of all over the place because there’s so many corners to anyone’s being, inspirations and their musicality, so I wanted Different Forms to reflect that’



Throughout the record, Rudi’s musical prowess and vast influences are laid bare for all to see. From the gliding melodies and twinkling keys and hazy fanfares of second single ‘Peace Of Mind’ (Feat. Manny & The Coloured Sound) through to the sparse and haunting tones of ‘Charlotte’ the LP traverses high peaks and deep valleys, channelling a sense of beauty of textured mystique throughout. Sporting an impressive roster of collaborators including Alfa Mist himself, Trumpeter Sheila Maurice Grey (Kokoroko), Chelsea Carmichael on Tenor Sax, Barrel Jones (Drummer for Nubya Garcia) and Vels Trio’s Jack Stephenson-Oliver (who played synth for the track ‘With Want You’). The lush instrumentation provides an incredible backdrop for esteemed performers such as Barney Artist to drop bars over the crisp drums and laid back strut of ‘Holding The Fence’, meanwhile Berwyn supplies sombre lyrics of the vast expanses of ‘96BPM’. An emotive and engaging listen from start to finish, ‘Different Forms’ is a truly stunning debut.

Anfang Februar 2023 legt Knorkator nach: Nummer 5 von 10

Der amerikanische Sozialpsychologe und Professor für Psychologie am Knox College in Galesburg Frank T. McAndrew behauptet, dass sich mit zunehmendem Alter die Fähigkeit des Gehirns verschlechtert, subtile Unterschiede zwischen Akkorden, Rhythmen und Melodien zu machen. Die Alten raunten stets, dass sie mit moderner Musik nichts anzufangen wissen. Darum hat sich Knorkator entschieden, dem vorrangig alten Publikum auch das vor 15 Jahren erschienene 'Das nächste Album aller Zeiten' als großartig klingendes, herausragend anzusehendes Vinyl zu veröffentlichen.

La Tène"s boundary-blurring fragmentation of traditional music is a propulsive and pulsating trip drawing upon Terry Riley and the minimalist masters. La Tène named themselves in reference to a cultural period spanning a few centuries of the late Iron Age, first defined in the mid-19th century after a flurry of archaeological discoveries near a Swiss lake. That"s not a superficial hat tip, either. La Tène"s long, hypnotic, wordless pieces are built from traditional folk instrumentation, wild percussion and blurred, subtle electronic embellishments, and feel as ancient and earthy as those millennia-old artefacts - with all the metal, wood, dedication, and craftsmanship they entailed. Ecorcha / Taillée, their fourth release and third for Geneva"s Bongo Joe label, is the sound of three musicians playing together as intuitively as if hooked up to a central, pulsating brain.

Scaphandre' is the story of an image found in a lost time on the internet a few years ago. It inspired two sound pieces conceived so that one can dive into it as into the sea.
Once their composition was finished, I looked for the origin of this image. It is one of the very first submarine pictures in history, taken by Louis Boutan in 1893 in the bay of Banyuls-sur-Mer... my home town. The original photo as well as a fantastic series of archives documenting this event can be found at the Arago Laboratory, where I often went as a child, after school, amazed by what the researchers were showing me. They just had never told me this story.
This is how this record found its scenery.
Gaspar Claus


The two pieces Gaspar Claus brought together on Scaphandre form an abstract and mysterious B-side of Tancade, released in the fall of 2021. Both composed during the long, initial period of his first album's conception, this mini album's two episodes, each tinged with minimal and noisy abstractions, unfold more than 10 minutes of total immersion into the abyss of experimental music on the first, and drone for the second.

In their own way, these tracks are a form of raw, unadorned escape, a film negative of the cellist's surface creations, which we know are bathed in sunshine and fresh air.

'Inside' is a moment of distraction while Gaspar worked on a film soundtrack. The title took time to mature in the musician's head, abandoned then picked up again and modified until it found its signature progression of strings where time seems suspended. The reverberations dress its fourteen-minute sound canvas in a way that is reminiscent of endless, sub-marine darkness.

'Beyond' was recorded in three takes during a writing session for his first album with David Chalmin in the Basque Country. The post-production phase required a long process of refinement to obtain this invasive sound material that cuts the listener off from their real environment and films them with a hypnotic feeling of depths and apnea.

Taken in 1898 by Louis Boutan a few dozen kilometres from the beach of Tancade in Banyuls sur mer - Gaspar's family village - the photographs of Scaphandre seal the vinyl sleeve with a unique auditory experience presenting the submerged side of the cellist. Obscure, dense, haunting, excitingly weightless.

Repressed On translucent blue vinyl! Too many people sleep on Tougher Than Leather, Run-DMC’s fourth album. But hear us out as we plead the case for this amazing LP. By 1988 there was a lot more competition in the rap game – Public Enemy, Boogie Down Productions, Eric B. & Rakim, Ice-T and many more had given Hollis, Queens’ prodigal sons lots of competition. But Joe, Darryl and Jay were still at the top of their game, and hip-hop fans should never let this classic – chiefly produced by their Queens neighbor, DJ and multi-instrumentalist Davy DMX – get lost in their crates. For starters, the album’s first single, “Run’s House” b/w “Beats To The Rhyme” is arguably the most powerful one-two punch of the trio’s career, showing contenders to the rap throne that they could still destroy a beat, tag-teaming with power at any speed. Not to be lost in the shuffle, fans were also reminded on both sides that Jam-Master Jay remained one of the world’s best DJs, flexing the pinnacle of what would be called “turntablism” a decade later. Both songs show a musical telepathy between all three that has rarely been equaled. The second single, “Mary, Mary,” driven by an infectious Monkees sample, took a different approach, shrewdly ensuring that pop fans who jumped on the Raising Hell bandwagon had something to chew on. But, like “Walk This Way,” the song wasn’t just bubblegum – there was an edge to it, and the lyrical gymnastics were very real. It wasn’t selling out, it was allowing fans to buy in. “Papa Crazy,” driven in concept and by a sample from the Temptations’ “Papa Was A Rolling Stone,” followed a similar pop-leaning path. Overall, the lyrical content on the album was a step up from the group’s first three LPs. It’s easy to infer, looking back, that they were feeling the heat from their younger competitors in the rap game. The genre was changing fast, and they were up to the challenge. On cuts like “Radio Station” they bring substance to the grooves, by attacking Black Radio for its continual denigration of rap. “Tougher Than Leather” reminds the world that they were still the Kings of Rock, with hard guitars to drive the point home. And “They Call Us Run-DMC” and “Soul To Rock And Roll” both bring things back to their early days, with sure-fire park jam rhymes and killer cuts. Tougher Than Leather, which went platinum up against a lot of competition, perfectly bookends the ‘80s output of one of the decade’s most important groups. It encompasses the full range of the trio’s capabilities, and reminds us that Run-DMC should never be forgotten as both pioneers and party-rockers. And so, we say, long live Joe, Darryl and Jay! A1. Run's House A2. Mary, Mary A3. They Call Us Run DMC A4. Beats To The Rhyme A5. Radio Station A6. Papa Crazy B1. Tougher Than Leather B2. I'm Not Going Out Like That B3. How'd Ya Do It Dee B4. Miss Elaine B5. Soul To Rock And Roll B6. Ragtime

Mercury Prize and Brit Award winner Arlo Parks first came to the attention of music press with her debut single ‘Cola’. It’s a breath-taking, tender, poetic and confessional introduction to an artist just eighteen at the time of its release.

The then London based singer demonstrated soul beyond her years and with 'Cola' the submissive tones of her powerful voice are laid atop slow guitar melodies that beckon you to stop what you're doing and just listen. The track is written about bad love - in Arlo’s words, "Cola is a reminder that betrayal is inevitable when it comes to pretty people that think flowers fix everything".

‘George’, an ode to poet Byron was released in 2019 just weeks before signing to Transgressive Records and set Arlo on the path to being one of the most critically acclaimed artists of the year.