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Pierre Bastien and Michel Banabila return with Nuits Sans Nuit, their second collaboration following their Baba Soirée debut from 2023. Recorded as an intuitive exchange between Rotterdam and Valencia, the album emerged from a simple ping-pong process: Banabila sculpted sounds and atmospheres, to which Bastien responded with his distinctive instrumental palette: flute-augmented cornet, mechanised log drum, and more. Mixed by Banabila, the result is a raw yet immersive work that resonates with a somnambulant, wide-awake presence. Nuits Sans Nuit unfolds through shifting shades of melancholy. "I don"t know how to describe the feeling of these crazy times we live in," says Banabila. "Les plus désespérés sont les chants les plus beaux," Bastien quotes De Musset. Wordless yet deeply expressive, the album invites listeners into a space of contemplation, where meaning emerges through immersion - like ritual music carrying an unspoken message. Echoes of saudade, blues, fado, and soleá surface in the duo"s playful noise, reimagined through their singular vocabulary.

Rognvald, aka Richard Wilson, returns at full throttle with part 2 of 'The New Selecta'. Rognvald's unique future-old skool sound continues to evolve in this release, the third 12" in his WIFE series. You will travel into unknown subterranean territory with 'The New Selecta', exploring the limits of break choppage and granular sound design on a loved and familiar soundscape, as well as 2 dread filled cuts of swampy ambient reductions.

Using a minimal sound palette to maximal effect, Rognvald deconstructs and abstracts the tropes of old skool jungle. Blending blunted breaks with burrowing subatomic sinewaves, euphoric rave vocals lead to a nuclear ruffneck ecstacy.

"Buena Muerte" is a concatenated anthem that explores death as a central theme, highlighting its benevolence towards a human being who cries out in all ways for its inevitable extinction. "Buena Muerte" is, in turn, an experiment in resurgent creativity where a vibe of the 70s, metal and chaos converge, on the dilapidating base of the heavy and crushing doom stoner that OCULTUM sacredly cultivates. Submerge yourself into a pool of acid joy and find the subaquatic tomb where all gone souls dance. Sadness and drugs builds character.

Violet vinyl, limited to 350 copies. "Buena Muerte" is a concatenated anthem that explores death as a central theme, highlighting its benevolence towards a human being who cries out in all ways for its inevitable extinction. "Buena Muerte" is, in turn, an experiment in resurgent creativity where a vibe of the 70s, metal and chaos converge, on the dilapidating base of the heavy and crushing doom stoner that OCULTUM sacredly cultivates. Submerge yourself into a pool of acid joy and find the subaquatic tomb where all gone souls dance. Sadness and drugs builds character.

This double LP features her iconic hits, blending traditional Spanish melodies with ye-yé and sophisticated pop, including works by renowned composers.

On his latest full-length, Low End Activist swerves towards weightless grime and suspended hardcore miniatures to tell a very personal story. The UK-rooted producer continues his habit of zeroing in on a distinct approach for each release, leaving a logical breadcrumb trail of soundsystem science in his wake as he channels decades of bass absorption into 14 atmospheric cuts that prize patience and precision over obvious club functionality.

Municipal Dreams plays out as a semi-autobiographical tour through the Blackbird Leys estate that the Activist grew up on. It’s a lived reflection on inequality and the ripple effect it has in working class communities, using the sonic palette to set the mood and scattering pointed samples throughout to spell out the story.

In sampling the exhaust of a stolen Subaru Impreza, ‘TWOC’ looks back to the recreational car theft which was standard entertainment for the kids in his community. There’s an underlying idea that this ‘council estate sport’ wouldn’t have been so prevalent if there were public services and opportunities presented to the scores of disaffected youth looking for somewhere to direct their energy and frustration.

In ‘Just A Number (Institutionalised)’ LEA alludes to the shattered juvenile detention system, growing up seeing friends and family members locked up at ease with little to no support on being released back into society, just meant that the same cycles of behaviour would play out over and over.

‘Violence’ samples from a short film shot by the drama division of the Blackbird Leys Youth Club to evoke the physical threat which formed a background hum to life on the estate. The industrial mechanics of the local car factory, which served an integral role as a workplace for many in the community, gets sampled in ‘They Only Come Out At Night’ while the ‘Everyone I look up to are either junkies or criminals’ sample in ‘Broke’ looks to a lack of positive role models.

Municipal Dreams isn’t a one-note indictment of life on the estate, ‘Innocence’ captures the simplicity of a child at birth before their environment has time to shape them. The Hope interludes cut through the grim honesty of the longer tracks while a subtle thread of wry humour finds its way into some of the talking heads cutting through the signature LEA murk.

But honesty is the operative word here, and the message feels all the more meaningful at a time when the UK’s social divisions are laid bare in the wake of a devastating stretch of austerity. Returning to Blackbird Leys to shoot images for the photo-zine and album cover, the Activist found the local community centre being demolished. The local pub stands derelict, its faded Welcome sign a grimly ironic portent of the options facing children of the estate in the wider world.

Funnelling his memories, hopes and fears into a singular twist on the bass weight tradition, LEA captures evocative scenes that land somewhere between kitchen sink realism and rave futurism.

Zenwerk is an eclectic tech trancethusiast from Belarus, though based in Warsaw, Poland, where he has already established himself as a leading artist and party promoter.

Ne Quid Nimis:
Ne Quid Nimis is Latin for "nothing in excess" – the track is a perfectly balanced subaquatic blend of peaceful yet progressive trance and muffled bloopy sonics. Inspired by the mountains hikes, this tribal trip into the rainforest creates a drifting atmosphere of a celestial and dynamic ride meant to pass a healing power of nature alongside joyful turbulence and inspiration. Ethereal vibrations & deep sound textures create a dreamy universe of wonder and bright hopes for the future.

A2 ‘Dew Kissed Silk’ is a 4x4 walk in trance delirium across predator footprints which becomes satisfactory – silk is being kissed by dew, though not soaked with. This contemporary vanguard trance/breakbeat hybrid creates a perfect mental equilibrium.

Rising Bristol star JOELY brings 2 hot B side tracks which show how hot a talent he is at such a young age. Hive Mind creates a playful grit which will get a dance floor moving in the early hours of a set, providing a steady rhythm which never wavers. Jungle Walk takes us down a darker, ethereal path which will make any soundsystem wobble with the thick wonky textures that JOELY expertly weaves in. Mind this gap.

Stockholm repper Patrik Eriksson is a proponent for deep and loopy techno, under his Dold moniker the DJ/producer delivers all manner of introverted compositions, moments designed for home and club that resonate with an evocative and redoubtable simplicity. His catalogue of releases on co-run label Arsenik are an ongoing dialogue with live partner Kuf and a selection of well-known peers, stripped down techno that conveys a cogent message with its straight talking approach.

The Revival Recordings (BAS 014) is another vinyl feather in Dold's cap, a five track release that takes the relay from his developing opus and sprints assuredly on. A1 Work Me pairs mercurial hi-hats with subaquatic squeaks, while its successor keeps tempo and switches its leitmotif for hollow, metallic repetitions. The temperature rises with Solid Solitude, the A3 banger that's likely to make its way into many a closing set towards the end of summer. The B side takes a darker turn with Insight (B1), a slower, more philosophical entry suggestive of breezy Scandinavian nights. B2 points its arrow in another direction still, more urban, more clubfloor, shuffling acid beats that tie the record and Dold's many-faceted influences together in a neat package. There's a bit of everything here, and a hint at both Dold's capacity as a producer and what might be yet to come. A promise of compelling techno from the north that's sure to put his star on the rise.

Warehouse Find!

Swedish DJ/Producer Christian Nielsen debuts on Maceo Plex's Ellum imprint with the ‘Love Struck’ EP this May.

The four track EP continues a strong start to 2020 with releases from Raxon and Avision and, true to the label’s form, is all about weighty, characterful cuts from Nielsen, an artist who has previously chalked up releases for the likes of Kompakt, Of Unsound Mind and Play it Down.

The titular opener of ‘Love Struck’ is a swaggering, low slung affair with a growling bassline underpinning a pitch shifted vocal refrain and piercing rave stabs - a mutant beast which fuses techno, Garage and rave aesthetics in anthemic style. The skeletal rhythms and gritty acid flair of ‘For Myself’ follow in a track that, through some nifty builds, manages to pull off a big room energy as much as it does a basement vibe. ’Switch’ is next up and, with a rock solid groove, vocal sample and subaquatic tones, displays just how well Nielsen can create a monster with few elements. The heaviest track, ‘Pulse’, rounds off ‘Love Struck’ with a huge, padding kick drum and resonant percussive lead doing the heavy lifting while counterpointed by judiciously employed warm, cossetting jazz flute licks

Les Disques Bongo Joe are proud to be home of the new volume of DJ soFa's well known curation work Elsewhere series with Elsewhere CC! This ninth exploration of our beloved Bruxelles based cratedigger and producer (Mameen 3, Nyati Mayi & The astral Synth Transmitters, ...) is an ode to summer and groove!

The ninth edition in the Elsewhere series is a real digger’s paradise of tropical gems, from Trinidad to Brazil, Poland, Dominica, and beyond. The compilation is an eclecticmix of outernational, tropical-wave, Calypso, multi-rhythmic percussive beats, lo-fi disco jams, and other such styles that lie somewhere in that magical in-between zone. Compiled by Brussels-based DJ, tastemaker and producer soFa, Elsewhere Vol.9 CC is a perfect collection of Balearic, good-vibe, sunshine rarities, to soundtrack a cocktail session on a reclusive, tropical beach, featuring rare tunes and some of the artist’s own unique productions and collaborations.

Modern day selector, 7” detective, international cratedigger, and self-styled musical activist DJ soFa, aka. soFa Elsewhere, is renowned for his borderless approach to curation. Adapting his unconventional and radical approach to DJing to his acclaimed compilation series, soFa’s goal has always been to expand horizons, highlight scenes, and tell stories. And herein lies the beauty behind the latest edition in the Elsewhere series. Behind every great record, is an even bigger story, and Elsewhere CC, has plenty of them...

DJ Subaru has already made their name exciting dancers with offbeat anthems and obscurities as part of their luminous Pleasuremaxxx parties, alongside similarly inclined soirees in Leeds, London, Berlin and beyond. Making their accomplished production debut on CWPT with 'Lots of Love', DJ Subaru instinctively mines the expressive, outsider strains of disco, Italo and pop pleasures in their record bag, revealing an EP that throbs with the pleasures, pain and potential of a life in strobes and smoke.

Vocalist and muse Tiss Vampiric emerges from London’s shadowy underground to lend their voice to the brooding, disco-Gothic track, ‘My Love’. Stalking a moody paradise amongst DJ Subaru’s EBM-oriented synthesizers, their baroque lyrics conjure an atmosphere that bridges the energies of subversive pioneers such as Soft Cell and Ministry, a sensual maze where denial only leads to more devotion, as well as more dancing.

Keeping the lights dim but brightening the corners, the prolific cosmic disco pioneer Prins Thomas reinvigorates his legendary ‘Discomiks’ approach for a euphoric remix of ‘My Love’. Incorporating DJ Subaru and Tiss Vampiric into a dancefloor canon that also includes Lana Del Rey, Pet Shop Boys and the Chemical Brothers, this classic arrangement has been road-tested to build euphoria, joyfully reflecting menace from mirrorballs.

The latter portion within 'Lots of Love' leaves us entirely in DJ Subaru’s musical visions. The only voice on ‘I <3 You’ is soft and robotic, intoning the track’s simple title over a lush, caramelized groove that’s pure circuits and sentiment. In contrast, the moody pads of ‘Just Visiting’ build to a crescendo of breaks and basslines that capture more urgent early hours energy, while ‘She’ provides a beautifully naive melody and a slightly balearic touch for a wide-eyed kiss goodbye.

What Is Not Strange? is the first full-length album by Los Angeles-based composer Tashi Wada in over five years, comprising his most far-reaching and impassioned music to date. Written and recorded over a period that encompassed the death of his father and the birth of his daughter, the album sees Wada reflecting inward to explore broad narratives - being alive, mortality, finding one's place in the world - through new modes of ecstatic, song-based expression. While the denser forms, stark contrasts, and overt surreality may carry a different weight than Wada's earlier work, which elicited perceptual effects with minimal means, the heart of What Is Not Strange? is still in experimentation and unforeseen outcomes.

Warehouse Find!

With Manuel Tur's Es Cub LP just out and winning high praise from all corners of the electronic music press we present you DJ's and vinyl aficionados with the second part of the two separate 12's highlighting Manuel's brilliant third album. As RA put in their review - 'This is among the most seductive collection of house tracks so far this year.'

In 2012 Manuel spent a year living in Ibiza, the birthplace of his father and somewhere he has always felt a strong connection with despite never having lived there. This period became something of a sabbatical, a year of orientation both privately and musically and despite managing to visit not one single club in his
entire time there the esoteric and cabalistic nature of the island clearly became a big influence.
Here in Part 2 things get off to a suitably raw and bumpy ride with El Soplo where a depth and certain majestic beauty are created from the simple, stripped back, rolling beats and flowing pads. Flux takes things in a more minimal direction with echoing percussion hits and plucked synth line giving a sense of space, the driving, the single note bass reminding us of the more techno side of say Ame or Baikal. Flipping over we have Basilia which picks up the tempo and pushes a single reverberating vocal hit to the front of the mix before we are introduced to the glassy chiming arpeggiations that have become Manuel's signature sound for this LP. Finally, El Dub goes for a subaquatic vibe with a slow pace and dubby FX allowing us to get absorbed in the foggy haze Manuel creates with his thoughtfully conceived
minimalism and minute attention to detail. Expect to be hearing much more from Manuel in the coming months. He has become
in demand for his mixing skills, working regularly with Andre Hommen for Objektivity, Shit Robot for DFA and Marcus Worgull for Innervisions.

Ein rundes Paket energiegeladener Musik: Das neue Album von Kid Kapichi

"'There Goes The Neighbourhood' ist das dritte Studioalbum von Kid Kapichi und wurde von Dom Craik, bekannt durch die britischen Chartstürmer Nothing But Thieves, produziert. Das Album enthält 11 unverwechselbare Tracks, die von verlebter Jugend und Nächten in Kleinstädten handeln. Diese Songs sind gleichermaßen für Proteste und Partys geeignet.

Ähnlich wie der Filmregisseur Guy Ritchie, ein weltweit anerkannter Vertreter, der seinen britischen Wurzeln treu bleibt, sind die vier Mitglieder aus Hastings entschlossen, an ihren heimischen Werten und Überzeugungen festzuhalten und ihre Songs über Arbeiterstolz einem möglichst breiten Publikum zu präsentieren.

Ein rundes Paket energiegeladener Musik: Das neue Album von Kid Kapichi

"'There Goes The Neighbourhood' ist das dritte Studioalbum von Kid Kapichi und wurde von Dom Craik, bekannt durch die britischen Chartstürmer Nothing But Thieves, produziert. Das Album enthält 11 unverwechselbare Tracks, die von verlebter Jugend und Nächten in Kleinstädten handeln. Diese Songs sind gleichermaßen für Proteste und Partys geeignet.

Ähnlich wie der Filmregisseur Guy Ritchie, ein weltweit anerkannter Vertreter, der seinen britischen Wurzeln treu bleibt, sind die vier Mitglieder aus Hastings entschlossen, an ihren heimischen Werten und Überzeugungen festzuhalten und ihre Songs über Arbeiterstolz einem möglichst breiten Publikum zu präsentieren.

Ein rundes Paket energiegeladener Musik: Das neue Album von Kid Kapichi

"'There Goes The Neighbourhood' ist das dritte Studioalbum von Kid Kapichi und wurde von Dom Craik, bekannt durch die britischen Chartstürmer Nothing But Thieves, produziert. Das Album enthält 11 unverwechselbare Tracks, die von verlebter Jugend und Nächten in Kleinstädten handeln. Diese Songs sind gleichermaßen für Proteste und Partys geeignet.

Ähnlich wie der Filmregisseur Guy Ritchie, ein weltweit anerkannter Vertreter, der seinen britischen Wurzeln treu bleibt, sind die vier Mitglieder aus Hastings entschlossen, an ihren heimischen Werten und Überzeugungen festzuhalten und ihre Songs über Arbeiterstolz einem möglichst breiten Publikum zu präsentieren.

repressed !

Diferit Records will focus mainly on young talented producers who will get the chance to perfect their skills, reaching step by step to a higher quality profile set by the CWR standard. Also, they will learn first hand how to sail smoothly through the ruff terrain of the musical industry, aided at all times by dedicated people. Having the necessary tools and the right amount of passion, Diferit Records prepares artists to embrace their careers in a professional manner and take them to the next level. Join the team and tomorrow you just might have the whole world cheering for you !, we support House, Tech-House, Deep-House, Minimal-Tech-House, Techno.

Suburban Architecture continue their series of now highly collectible 4 track EP releases with their 6th offering, 'Inside / Outside'. This new collection of tracks once again draws heavily on influences from the jazzier, atmospheric strains of mid to late 90s Drum & Bass. Putting a contemporary spin on sounds rooted in this golden era of dance music, the latest 4 tracker is split into two parts: Inside / Outside. Each track appears in two parts, delivering similar themes at different tempos.

Opening track 'Inside Part 1' will please followers of Suburban Architecture's previous work - lush pads, deep atmospherics, Jazz fusion flute licks and smashing Amens are all present in the mix. Inside Part 2 lowers the tempo without compromising the energy: Slo-mo Amens interspersed with complimentary breaks sit on top of huge pads, Reece style bass and rousing vocals. Outside also appears in two similarly styled parts. This time Part 1 comes in at the lower tempo, a light vocal-led slow motion rolling number with classic Apache elements, while Part 2 applies the same sonic template to a tough, jazzy roller.

“It was a rainy day at the recycling centre in Leitrim. There, amongst the tangle of discarded kettles and broken-down toasters, I first laid eyes on her…” A few years after her stand-out contribution to our ‘Wacker That’ compilation and following a bunch of purple patch releases for Nyahh Records, TakuRoko, Fort Evil Fruit and Eiderdown Records, Natalia Beylis graces Touch Sensitive with a true landmark album for the label – ‘Mermaids. Recorded both at home in Leitrim and at neighbour Mat Warren’s studio (Studio Moo Moo – a converted cow shed), ‘Mermaids’ was inspired by two salvaged items: a CRB Elettronica Ancona - Model: Diamond 708 E electric keyboard from the local tip and a photo taken by her father found in a pile of old family scraps. Smuggled home in the back of the van and ridded of the nine purple crayons lodged inside, the keyboard sounded perfect to Natalia; “The sounds that come from her when I play always move me like water; swimming in rivers and floating in the murk beneath the surface.” The striking image which would become the cover art features Natalia’s mother and two friends during a dip in the ocean. We see three women hanging out on a large rock – their bad-ass hairdos and poses perfectly framed and saturated in sepia. “There are complete siren vibes coming from the rock. Three women, three girls, three witches, three mermaids. I wish I was one of them. Or friends with them.’ After testing compositions and recordings for months on the rescued keys, the discovery of her father’s image formed the final work: “A confluence of the sounds and the image charged through me, and the album began to flicker into being.” Much like the push and pull of the River Shannon, Natalia’s own local swimming spot, ‘Mermaids’ flow is both organic but unstoppable. Anchored around the album’s hypnotic 17-minute title track, we are fully immersed within this subaquatic suite from the first splash. Alongside the keyboard’s glistening tone, field recordings from Natalia’s expansive archive bring us back up for air; taking stops to check in with the chittering chickens and ducks of Athlone. In keeping with her back catalogue and extensive body of work, ‘Mermaids’ exists within its own imagined universe. This is truly singular work that continues to underline Natalia as one of the finest underground artists of her time. We wholeheartedly encourage you to take a forty-minute sonic dip into a deep, murky, watery world of her own creation.

Hailing from the seaside communities surrounding Enoshima, a small island located 50 km southwest of Tokyo, Maya Ongaku is a ragtag collective of local musicians whose brand of earthy psychedelia transcends widely beyond the roots of their inner souls. The name derives not from any kind of ancient civilization, but rather a neologism defined as the imagined view outside one’s field of vision. The band—currently a trio of Tsutomu Sonoda, Ryota Takano, and Shoei Ikeda—finds sanctuary at the Ace General Store, a beachy vintage shop and salon-like space just hidden from sight from the bustling, touristy riverside Subana Street. Between discussions on music and art, curating the vinyl section and manning the register, and chatting up with locals young and old, the members find time to jam and record their spontaneous ideas in the studio tucked away in the back. It’s in this unlikely setting where Maya Ongaku finds its origins, the culmination of what Sonoda describes as 自然発生 (shizen hassei), meaning spontaneous generation, or the supposed production of living organisms from nonliving matter.

Approach to Anima, the group’s debut album released on Guruguru Brain, finds Maya Ongaku building a foundational groove while tapping into their innermost psyche. Sonoda’s malleable guitar and vocals, Takano’s sinuous bass lines, Ikeda’s floating woodwinds, and a sprinkling of delicate percussion—all coalesce into an aural experience that’s assertive yet abstract, calm but unsettling. The slow building, sax-laden “Approach” serves as an introduction to Maya Ongaku’s world, while the appropriately-named “Water Dream” floats its way toward the gentle finale of “Pillow Song.” It’s a concise distillation of their many interests and influences, from Neo-Dada and Fluxus, to where contemporary art intersects with the development of modern recording technology in the ‘60s and ‘70s.

As the title suggests, Approach to Anima is not intended to be a terminus; it’s merely the beginning of an exploration. The three childhood friends that comprise Maya Ongaku are always looking beyond the confines of the idyllic but rapidly gentrifying enclave of their beloved Enoshima. Feeding off of the energy that still radiates from the triumphant, decade-long journey of their label bosses’ band Kikagaku Moyo, who rose to global prominence from scrappy beginnings busking on the streets of Takadanobaba, they hope to go wherever inspiration takes them, to anywhere around the globe where their music can find a home.

Ultimately, Maya Ongaku’s uninhibited world-building will make it possible for us to see the unseen, expand the possibilities of the naked eye—all through the unbridled vibrancy of their music.

Selected by Jim O’Rourke for his Tone Glow list of 25 albums that “never got their due”, Org was founded in the early 90’s by Espen Jensen and Kjetil D Brandsdal who would later go on to variously record as Elektrodiesel, Noxagt and Ultralyd in the swirl of the highly active Norwegian underground. “Org" was the only album the pair recorded as a duo, pressed in a meagre edition of just over 100 copies which disappeared almost as soon as they were made, lodged in the memory of the select few who have managed to hear it in the years since.

Made up of three long tracks, the near 20-minute ‘001’ opens the album with an extended organ zone-out matched with scraping factory machinery saturated into a dense cloud of harmonic fuzz. There's something transcendental about the sound that intersects with microtonal Alice Coltrane (particularly the unfairly maligned organ-only edition of "Turiya Sings"), as well as Pauline Oliveros and Ramleh. It’s music that pulls you in subconsciously; before you know it, you're fixating on the uncomfortable grind of metal on metal, buried mechanical rhythms and liturgical organ vamps that wind between industrial cacophony and sacred ritual music. For its last few seconds, we go into a full death metal tearout that fades out before it takes full flight, a glorious wtf.

‘002’ connects between minimalist drone styles and shoegaze, distorting fuzzed organ into pliable, dreamlike warbles that end up sounding like Kevin Shields' ‘Loveless’-era glides, or even Sunn O))) at their most devotional. Never losing the numbing overdriven mettle, its a piece that sounds spiritually entwined with Matthew Bower's Skullflower - a minimalist re-reading of high-contrast guitar music that takes all the psychoacoustic power and none of the annoying posturing.

For ‘003’, subaqueous organ is joined by synth and drum machine, sounding like the inspirational spark for Religious Knives' screwed 'n chopped cosmic psychedelia. The choice of sounds links it to Antena's foundational electro samba recordings too, but the overwhelming drone - a constant on all three compositions - connects the music to minimalist spirituals that have simmered beneath the DIY/avant garde for decades.

‘Org’ sits heavy on the nerves with overproof levels of mulched amp worship and ungodly, palms-down organ chords and wheezing, bezonked lines of melodic thought. 25 years out of sight and marinading in the archives, with the benefit of hindsight we can better understand the role these sounds played in the development of music in the contemporary sphere. It’s an important piece of the puzzle, one that makes valuable connections that, over time, have looked progressively more faint.

In March 2020, Jack reached out to Lee “Scratch" Perry to produce a dub remix album based on Jack’s most loved recordings. On 8/29/21 the project was brought to a halt as Scratch departed this physical world. In ‘22 Jack and Subatomic Sound System, Perry’s band of the last decade, connected directly and discovered they had all the pieces to bring Lee “Scratch” Perry’s 3 creations to completion. The LP also features dubs from Dennis Bovell, Scientist, Mad Professor, Nightmares on Wax & more.

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023! Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Songs fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, 20seitiges Booklet, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023! Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Songs fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, 20seitiges Booklet, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023, wie üblich gibt es auch eine rein instrumentale Version des Werkes. Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Tracks fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023, wie üblich gibt es auch eine rein instrumentale Version des Werkes. Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Tracks fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023! Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Songs fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, 20seitiges Booklet, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023, wie üblich gibt es auch eine rein instrumentale Version des Werkes. Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Tracks fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, printed inner sleeve

With Synthetic Hearts, Tubatsi Mpho Moloi, Msaki and Clément Petit issue an invitation to the listener and lover to journey to another place. Here, hearts, experiences, and sounds meet, shift and evolve across an inventive nine track album. Experimental, playful and complex, the project merges voices, instruments and sounds, across geographies and genres, creating sparse, yet lush atmospherics that spin on the universal themes of love. As skilled musical shapeshifters, Synthetic Hearts melds Msaki and Moloi"s folk sensibilities with electronic elements, as Petit teases out distinct textures from his cello across the record. On Synthetic Hearts, love, longing, confusion, sorrow, despondency and queries are opened up and negotiated in songs that vibrate with their naked, honest and tender vulnerability.

Hailing from Bristol and based in London, Ashley Thomas routinely passes the storied music heritage of both cities through his own singular, prismatic filter. As Otik he produces brilliant and complex hues, forming compositions from weightless neon-tinged trails, richly layered melodic webs and inky, subaqueous bass lines.

The prolific artist recently created his own imprint, Solar Body, to accommodate the expanse and volume of his unfettered productions; now with his !K7 Record debut, Otik deepens his sonic explorations for the label he credits as a crucial discovery portal.

“CRYSTAL CLEAR” is inspired by a personal epiphany, and it shines through with sparkling clarity. With the unmistakable signifiers of dancehall in its bassline and drum programming, Thomas turns these references outwards and upwards, finding a new expression with glistening drops of cosmic colour, gauzy pads, and soft crescendos of cymbals.

Despite coming in hard and fast with a bruising 130BPM bass rhythm “RAINBOW RHYTHM'' evokes a positively disorienting kaleidoscope for Thomas, courtesy of its sugary, euphoric synth sounds. It is a balance of hard and soft, leading heavily with drums throughout, contrasted with the track’s delicate and sweetly warped melody.

REPRESS!

Returning for 2019 with our first 12-inch release, Made in Green Records concludes Rooteo & Mahura’s opening salvo, with reinterpretations from the artists themselves and the label head putting their marks on already-outstanding material. Leading off the release, we find the original ‘Caxixi’ from their debut LP, Mettā, with its tablas and vocals rubbing against billowing clouds of bass and dubwise effects; Made in Green boss Vasco Ispirian turns in the first rework, a thickly layered, relaxed tempo dub techno trip. Barely- recognizable remnants of the original’s percussion and vocal lines occasionally surface out of the subaquatic haze before surging kick drums push them back beneath the surface. Appearing here under his recently-birthed 4NYØN3 project, Rooteo, best known as Marcos In Dub, closes the release with a pounding techno remake that utterly transforms his own & Mahura’s work. Squashing the original’s ambient sonics into unstable delay traps that reappear prominently in the breakdowns, he grafts this into stringent techno, adroitly wrought and with details to spare, the scrambled fragments of sound emerging between heavy drums and contributing to the dark and downcast mood that pervades the piece.

Tape

In Macrospace“. The monolithic album debut by Hamburg-based DJ x producer x electronic music activist baze.djunkiii, the essence of 25+ years on the scene and continuous research in sonic fields reaching far beyond your regular club music.
A dark and threatening journey through the realms of brooding DeathAmbient, cold, hostile sci-fi atmospheres and an innate feel of darkness, doom, desolation and industrial wastelands covered in toxic fumes and the aftermath of a nuclear apocalypse.
Generated solely and exclusively by a process of extensive vocal synthesis the ten tracks on
„In Macrospace“ represent a sonic manifestation of vantablack dystopia and mind threatening, braincell eroding claustrophobia, an ode to both minimalist sound structures as well as a
maximized psycho-acoustic impact that might overwhelm even those used to stare into and listen to their innermost void for extended periods of time.
Not for the faint-hearted. Listener discretion is advised.

Introducing Cutcross, created to champion the melting pot of bass-centric sounds teetering around 140 bpm. Heading up the concept is Sicaria Sound, a DJ duo who since their inception set out to explore and expand on the possibilities of these sounds whilst spotlighting underground artists. Cutcross is therefore their next step in supporting the forward-thinking music that they've drawn for when curating sets.

For CXT005 we've curated another compilation EP - "With The Sonant" - stitching together a collectively hazy set of tracks yet each with their own vocal deviations. Epoch's long coveted "2-Door Subaru" is the explosive opener, followed by two distinct approaches to trappier terrains via Woven Thorn's "Loveless" and "Try Me" by zns before descending into the dub-diving murky waters of Soukah's "Don't Care".

The first Subaltern release of 2022 sees three outstanding producers coming together to deliver a bass-blessing for all connoisseurs of the finer frequencies.

Raw
The name says it all here, a rough and raw slice of sub science.

No Runnin’
This time Ome teams up with Berlin-based Busted Fingerz to conjure a heavy roller that’ll have you running for cover.

Talkin’ Mathematics
For the second collaboration of this EP Ome invites Yoofee for the ride, and it’s a bumpy one! Get ready for some serious sub equations.

Anechoic produced a concept EP inspired by the orbit, and the gravity from a smallest subatomic particle to the largest star.

This 4 tracks vinyl EP + a bonus digital track is carefully constructed to represent the repeating path that one object can take around another one. The gravity represents the harmony of the tracks that keep them playing without intersect. Each track has its own eccentricity - this is the amount an orbits path differs from a perfect circle.

So imagine all of the five tracks playing together, everyone has an eccentricity different from zero to the centre, each one has its own path, and a certain amount of time to make one complete orbit, this is the analogy with the concept EP 'Geosynchronous Orbit'.

The Croatian humanoid with a Detroit electro soul called N-Ter, with five high voltage tracks filled with bass sequences, analog beats and contrasting melodies that take you on a journey to the unknown. ''Ezzential Electro'' is the biggest project Electro Records has done so far. It consists of 36 vinyl records produced by artists they consider essential for the current underground electro movement. The first six parts of the series come in beautiful white silkscreen printed sleeves on recycled cardboard and include a real puzzle piece on the front cover, indicating which part of the series you have in your hands.

Fresh Afro-Soul Music - Ghana’s Highlife going by the heartbeat of 70s Soul Music. Jembaa Groove is a multicultural band founded in late 2020 by bass player and composer Yannick Nolting, and singerpercussionist Eric Owusu.

Speaking the same musical language, they quickly realized the fruitful
outcome of their musical encounter and decided to spend a couple of
months composing their original music. Digging deep into both their
backgrounds and musical identities, they came up with an organic result both like to label as Afro-Soul.

After seeking for the right companions for the upcoming journey and
stumbling on a few of Berlin's finest musicians, they finally formed Jembaa Groove, a 7-piece band that combines fresh sounds from Berlin's underground music scene with traditional West-African sounds from Ghana and Mali, such as Highlife, Adowa and Wassoulou. Their aesthetic vision is inspired by soul music from the ‘60s and ‘70s and avoids overly-produced commercial arrangements while merging driving bass grooves and steady drum patterns with fresh horn lines and catchy melodies. Produced by Yannick Nolting. Composed and arranged by Yannick Nolting. Vocal
arrangements and lyrics by Eric Owusu.