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Following on from the House-infused punch of her Peach Discs release in June, Bristol’s Daisy Moon treats us to a shapeshifting debut on Timedance - entering a new era with a splash sure to be felt in most abyssal zones.

‘Shadow Of Silhouettes’ showcases a singular exploration of tough yet scintillating sounds, between wiggy electro, bass-laden grooves and inspired bursts of FWD techno- pop.

In this diverse body of work, Daisy’s vocals are the glue tying things together. They appear like sonic silhouettes, abstracted through sound design and unveiling a taste for the experimental. In other moments they are stripped from their abstract form and float above the surface, revealing Daisy Moon’s blossoming talent for ear-worm melodies.

Dublin’s most dedicated Detroit district has just assembled a fresh set of space shuttles ready to take off. Xistence Records is known best from its true to the cause, hypnotic rhythms forged to the ethos of the classic Motown techno. The label owner Phil Robertson brings three variations for galloping grooves on whirling synth fields, with pulsating percussion here, chimey chords there, and even French Kiss-esque stabs appear somewhere. Last but not least, John Beltran joins the show with a beautiful Transmatic acidic bliss as his reimagination of ‘Lonely Moments’. Mesmerising.

NEW ORDER setzen die Serie der Definitive Boxsets mit dem 1986er Album Brotherhood fort. Das Boxset enthält das Originalalbum remastered auf CD und 180g Vinyl, plus eine CD mi Extras aus bisher unveröffentlichten Demos und Raritäten, sowie zwei DVDs mit den Auftritten der Band beim Festival of the Tenth im GMex, Manchester 1986 und Live in Brixton, 1987 zur Unterstützung des Welt-AIDS-Tages. Die DVDs enthalten zusätzlich Live-TV-Auftritte, Interviews und seltenes Bandmaterial. Im dazugehörigen gebundenen Buch finden sich zeitgenössische Artikel und Linernotes des irischen Radio-DJs Dave Fanning.

Das Boxset wird zusammen mit drei 12"-Singles aus dieser Zeit veröffentlicht: Bizarre Love Triangle, State of the Nation und Touched by the Hand of God - ebenfalls remastered und auf schwarzem 180g-Vinyl.

Mariano Melo, also known as Marian Sarine, is a Brazilian multi-instrumentalist based in Sao Paulo, specialising in percussion and drums. His latest album, Asas Terenas, is his first under this name and started with organ recordings made with Felipe Pato in late 2019 and was completed with additional instruments added in the years that followed. Asas Terenas features a mix of rhythmic improvisations built on modal scales, combining dynamic interplay between notes and percussion. Drawing inspiration from artists like Charanjit Singh, who merged traditional North-Indian ragas with electronic music, and African organists like Hailu Mergia, it combines old and new sounds, merging spiritual elements with energetic rhythms. As Sarine himself says, Asas Terenas is a sonic mixture that moves the feet and lifts the soul, creating an experience that is both pristine in sound and transcendental on the dancefloor.

The first-ever official reissue of the pioneering 1986 ambient work, produced in full cooperation with Hiroshi Yoshimura’s estate !

"If Surround can be listened to as music that’s as close to air itself, allowing us to enter each listener’s sound scenery, or as something that exists within a new perspective, expanding the middle ground between sound and music, and transforming it into a comfortable space, it would be much appreciated.

— Hiroshi Yoshimura

Temporal Drift proudly presents the long-awaited, first-ever reissue of Surround, Hiroshi Yoshimura’s sought-after ambient classic.

Originally released as an album in January 1986, Surround was recorded by Yoshimura as a commission from home builder Misawa Homes, intended to function as an “amenity” designed to enhance the company’s newly built living spaces. A pioneer in the field of environmental music, Yoshimura’s previous works included Music For Nine Post Cards (1982), originally produced to be played back inside a museum space, and designing sound environments for public spaces and subway systems. Surround was recorded almost concurrently with the acclaimed and popular GREEN (1986); the two albums are described by Hiroyoshi Shiokawa in his liner notes as being Yoshimura’s yin and yang.

In his original notes for the album, Yoshimura recommends that Surround be placed in the same family of sounds “as the vibration of footsteps, the hum of an air conditioner, or the clanging of a spoon inside a coffee cup.” And, as he suggests, “with the addition of city noise from outside the window,” you may hear Surround in a completely new way."

Some proper 90's techno vibes going on right here. Carlotta Jacobi, Oliver Roseman, Justyn Nell, Red Rooms with for 4 fierce and fun peak time techno tracks.

Known for his pivotal role in the Acid Techno sub-genre revival through his label, Involve Records, Regal's latest work revisits the genre's essence while infusing it with a fresh, modern twist. Under his ACIDBOY alias, his latest album, 'The Final Chapter', is a nostalgic and forward-looking expression of an artist who has grown and adapted but remains true to his core musical identity.



This eleven-track project blends the high-energy sounds that first defined his career with the depth and maturity gained over years of evolution whilst also honouring an unforgettable era of one of electronic music's boldest and most expressive sub-genres and artists.

'The Final Chapter' is an album that goes against the current flow, bringing to light the sound of the sub-genres of Techno from the last 35 years. It's a clever balance between past and present, the old and new Regal aka ACIDBOY, emphasising his introverted artistic side, a lover of music and production as well as a story intended for a patient and cultured listener. The album defies superficial musical trends, offering a profound sonic experience that invites listeners on a deeper journey, far removed from the quick-hit tracks designed for social media.

The name of this album and Regal's previous EP 'The Last Summer' certainly leaves room for interpretation as these might sound like signs of a farewell to the music scene.

Known for his pivotal role in the Acid Techno sub-genre revival through his label, Involve Records, Regal's latest work revisits the genre's essence while infusing it with a fresh, modern twist. Under his ACIDBOY alias, his latest album, 'The Final Chapter', is a nostalgic and forward-looking expression of an artist who has grown and adapted but remains true to his core musical identity. This eleven-track project blends the high-energy sounds that first defined his career with the depth and maturity gained over years of evolution whilst also honouring an unforgettable era of one of electronic music's boldest and most expressive sub-genres and artists.

'The Final Chapter' is an album that goes against the current flow, bringing to light the sound of the sub-genres of Techno from the last 35 years. It's a clever balance between past and present, the old and new Regal aka ACIDBOY, emphasising his introverted artistic side, a lover of music and production as well as a story intended for a patient and cultured listener. The album defies superficial musical trends, offering a profound sonic experience that invites listeners on a deeper journey, far removed from the quick-hit tracks designed for social media.

The name of this album and Regal's previous EP 'The Last Summer' certainly leaves room for interpretation as these might sound like signs of a farewell to the music scene.

After leaving a huge mark in the techno scene with many high quality EPs on labels like Hayes, Klockworks and Planet rhythm, Portuguese mega talent Vil, finally releases his first long player on dolly's TS series! ''Birds Of Prey'' is a stunning mix of raw, percussive, groovy, distinct house and techno, with an elegant Detroit flavour. 8 tracks that lock you in on an impressive dancefloor journey where Vil shows his diversity as a producer. Switching effortless between the energy fields of deep melodic uplifting bliss and dark, out of the ordinary, groundbreaking drivers!!!

2024 Repress

14 highlights from Aleksi Perala's "Spectrum Analysis" series on this triple vinyl album. Aleksi again conjures up repetitive, minimalistic techno cuts that use clever drum programming and his signature 'Colundi' scales to maximum effect.

his release marks the first complete album reissue on Canopy. Originally released in Nigeria in 1987, “Oppressor” was executive produced by Myke Moul himself and distributed domestically by EMI Nigeria & Tropic Records.

“Oppressor”, the album, finds the sweet spot between synth reggae, boogie, and euphoric Balearic island vibes.

Written by Myke Moul and arranged in collaboration with reggae star Majek Fashek in Nigeria, it was later re-crafted and recorded in France with a host of French musicians. Most notably the contribution of multi instrumentalist Pierre de St Front added engaging synthesiser parts and electronic drums.

Unfortunately the pressing of the album suffered from inherent technical flaws which adversely affected the sound quality and therefore even those lucky enough to find a copy, will not be able to enjoy it without considerable sonic defects. Therefore this remastered reissue will prove welcome to both collectors and new discoverers.

The titular track “Oppressor” stands out as a mid-tempo synth-reggae-boogie jam espousing the turbulent political times in Nigeria that were present in the late 80s. Elsewhere “Shadows in the Rain” is an instrumental cut displaying a jazz-funk sensibility which was unusual for a Nigerian artist at that time, and reflects Myke’s influences outside his home country. “Heading for the Top” is a boogie dance floor gem that shows the popularity of this genre at the time, as evidenced in many Nigerian releases and still sounds just as vital today. “Rescue us. O! Lord” shows Myke’s great song writing and Pierre’s fine musical skills working in tandem to create a reggae boogie tune, displaying the reggae & ska tendencies that were present in pop music in this era, from artists such as Grace Jones, Sly & Robbie or The Police.

All in all, the album demonstrates something fresh & exciting for Nigerian album reissues, touching down in a reggae fusion direction, with some fuller sounding production aesthetics, making the dynamics full and crisp on sound systems while also well suited to home listening.

Central European Techno Succession

traight from the vaults, we’re bringing you a gem that’s been lost in the rave—an old-school breakbeat vinyl that’s guaranteed to teleport you back to the raw, unfiltered energy of the '90s. With its thunderous basslines, slicing snares, and infectious rhythm, this record encapsulates the heart and soul of the underground scene. Dust off your decks, because this is more than just music; it's a journey to a time where every beat told a story, every drop defined a movement, and every spin was a call to dance. Don’t miss out—relive the golden era of breakbeat

The Millennium Bell is the 20th record album by Mike Oldfield, originally released in 1999. The theme of the album is a reflection of different periods of human history. The album borrows its name from the dawning of the 3rd millennium and Oldfield's Tubular Bells series of albums. The Millennium performance of the latter half of the album plus some older tracks was given in Berlin, Germany on New Year's Eve
1999, with an estimated audience of 500,000 people.


Oldfield recorded the majority of the album at his home studio, Roughwood Studios, Berkshire, and then recorded the orchestrations in just one day at Abbey Road Studios, London with the London Session Orchestra.

It was Oldfield's third album within one year, after Tubular
Bells III in late 1998 and Guitars (MOVLP1694) earlier in
1999. The album is eclectic in style, ranging from majestic choruses and soundtrack-esque orchestral passages through New Age sonic textures and ethnic sounds to strong pulse of electronic percussion.

Pianist, Composer, Multi-Instrumentalist Eva Novoa Releases First Album from Her Newly Forged Trio with Sax Legend Daniel Carter and Beloved Drummer Francisco Mela

"It’s not a rumor. Brooklyn’s Eva Novoa has formed a new trio! Novoa / Carter / Mela Trio, Vol. 1 marks their first sparkling album together (which is also Eva’s third with 577 Records). The group performed live for the first time in Cambridge (Boston) in 2022 and at the NY Forward Festival in August 2024.

In an invigorating creative explosion recorded at New York City’s Sear Sound in 2021, the multi-talented instrumentalist unites with sax legend Daniel Carter and beloved drummer Francisco Mela. Prepare to be reawakened when you experience Novoa tickling the ivories, dominating the Fender Rhodes, and wowing with the electric harpsichord and Chinese gongs. Even her whistling will linger in your mind!

As captured in the electrifying tracks “Aire” and “Fuego", Novoa / Carter / Mela Trio, Vol. 1 is inspired by the four elements (earth, wind, fire, and water). “Hasta Mañana Vida Mia” weaves together Cuban tradition with soulful lyrics (sung by Francisco) and high-energy, rhythmic conversations with horns and drums. The musicians’ free interplay approach defines this eclectic trio and their sonic universe.

Born in Barcelona, Spain, Eva Novoa is a pianist and composer who’s been mastering her talents since childhood. Calling NYC home since 2012, she has rocked countless local venues with her thrilling performances and has played with many adored artists all over the globe.

Her new album drops on November 22, 2024, and will be available on vinyl, CD, and digital download. Don’t miss the stunning cover art by Novoa’s friend and collaborator, acclaimed street photographer Richard Sandler, and stay tuned for Volumes 2, 3, and 4!"

Piano, Fender Rhodes, Cinese gongs, percussion & whistling by Eva Novoa.
Tenor, alto & soprano saxophones, trumpet, flute, clarinets by Daniel Carter.
Frums & vocals by Francisco Mela.
Recorded April 18, 2021.
Recorded, mixed and mastered by Jeremy Loucas at Sear Sound, New York City.
Photography by Richard Sandler.
Graphic design by Sergio Vezzali.
Graphic support by Mark Smith.

The making of a maiden album can be a capricious process. One moment of outright musical flow paired with another period of sustained creative struggle are feats experienced by seasoned producers the world over. So when Miraclis was forced to hole away in his makeshift studio - in the midst of a global pandemic - the stage was set for something magical. Now it will see the light of day for the very first time.

Having released two singles on Secret Teachings to critical acclaim already this year, Chilean talent Miraclis will accomplish a milestone achievement in July with the release of his debut album: Origin Of Truth.

Difficult experiences were fundamental to the creation of such work, as were Miraclis’ inherent musical interests. He explains: “Origin Of Truth had its birth during the pandemic. I created it as a way of communicating to myself the sensations and feelings that were spinning around my head at the time. I've always been inspired by Bristol trip hop, as well as classical rock, and these genres definitely contributed to the making of these melancholic tracks. In a way I wanted to fuse all the musical influences that were part of my childhood, up until this point now, so this album really means a lot to me. It was my way of communicating, when there was a lack of social contact and communication itself was hard to come by.”

It's this meditative quality that initially drew Damian Lazarus to the project. “It’s a record that has its roots in electronic music, but it’s a very alternative, very deep, melancholic album. I find it both soothing and stirring at the same time, and that’s a quite interesting juxtaposition in that it feels edgy but delicious at the same time,” says Lazarus. “The fact that this was written in this place surrounded by the most incredible desert landscapes makes this a very important piece of work to me. It doesn’t sit in any particular genre, which is why it feels right for a Secret Teachings release. It hints at so many genres that I as a DJ am quite into, and it feels like a first as it’s unique and unclassifiable. That mystical, esoteric, edgy feel makes this a perfect release for the label.”

Sonnet opens proceedings, with ghostly vocals residing next to raw instrumental elements throughout. Miraclis’ signature guitar riffs soon converge on saddened keys, paving the way for Scienter. It takes the form of an instrument-based, electronic-inspired cut, building slowly before reaching a crescendo midway through via an enrapturing acoustic solo.

Floating Child comes next, brimming with a darker intensity courtesy of broody synth pulses and rhythmic hi-hats, as Shiver arrives next. There’s a rock-leaning sensibility to the piece that gives way to earnest lyrical offerings, opening swiftly into the breakbeat-esque world of Perceptions. Hard-hitting drums act as the focal point, with electric chords adding depth and intrigue, whilst Bright continues in a similarly heartfelt vein.

Introspective pads leave us feeling pensive, ahead of Interstellar taking us on a celestial journey through warped bass tones. Acting as the LP’s penultimate number, it’s a four-and-a-half minute showcase of guitar-based musical goodness and one that perfectly sets the stage for Trapped, a closing saga of suitably emotive proportions.

Miraclis earned his stripes as a DJ under the name Max Clementi in his native Chile, as well as Spain after a stint at the Barcelona SAE Institute. Playing and writing music since his parents gave him his first guitar at age twelve, he found himself inspired by synth wave, electronic pop, trip hop, and psychedelic rock of the ‘80s and ‘90s, drenching himself in music by the likes of Massive Attack, Tricky, Depeche Mode, and Nine Inch Nails. However, it wasn’t until he had to move back to Pucón to take care of his father during the pandemic that he began working on what would become Origin Of Truth.

Serendipity seems to play a large part in Crosstown Rebels’ new label Secret Teachings. Just look at the story of how Damian met Miraclis in the first place. It involved a chance midnight encounter in Pucón, Chile at a woodland campfire after the DJ was locked out of his hotel room. This meeting of minds was the start of a remarkable friendship, where Miraclis invited Lazarus to stay at his house and break bread with his family. The two kept in touch, exchanging music and ideas as a result.

Following a fallow 2023, a rejuvenated Growing Bin return to your turntable with this sublime collaborative LP from Gosha Martynov & Natasha Sinyakova. On their first foray into the physical, the duo expand the spectral ambience and medicated breaks of their earlier work with lithe touches of organic jazz and Cafe Del Mar cool, creating a complex assemblage of dreamy downbeat and emotive electronica that's entirely easy on the ears.

Opener "Pozhaluysta" seduces with smart syncopation and beguiling melody, its flute and fretwork finding ample space to slip around Natasha's voice, equal parts Cocteau operatics and jazz-club coquette, in an expression of a want beyond words. The mood shifting "Osvobodi Menia" sees the solemn, snaking sound of a sampled duduk drift into an optimism of airy pads and escapist mantra, suspended in reverb until the end of time. "Ya Tebia Zhdala" began life as a break-led experiment, gradually evolving into a romantic and naive sketch rich with splashes of piano and dynamic chorus pads. Naturalist hymn "O Dereve" weaves a dark and intimate tale from the point of view of a veteran tree as its buzzsaw guitar loops blossom into multilayered vocals full of emotion.

Awash with sonar sweeps, sumptuous pads and rolling subs, the titular "Imena Rek" channels post-rave bliss into the hypnagogic anthem the contemporary IDM-ographic have been searching for. Infectious hooks and spaced out pads ride the breakbeat rhythm for a dreamy experimental pop banger from another planet. The sombre sway of "Rany", filtered through the fog of a broken cassette recorder, trance djembe and unpredictable bass tones rivals the finest Motion Ward or In:dex releases for crepuscular charm, while "Smeshno" sees serrated drones sink into a slinking rhythm, playing counterpoint to the tender chords and yearning vocals.

"Iskra" closes out the chiasmus with a return to the organic experience of the opener, the flute and acoustic guitar augmented with nuanced hand percussion and a music box refrain. Listening to this album is like a midnight walk through an ancient forest - an experience which both scares and tempts you at the same time. From touching damp moss to feeling the thick fog with your body and watching mushrooms glow in the dark, 'Imena Rek' guides you through the terrain.

Flawlessly arranged and executed, this LP alludes to a long lineage of innovative downbeat, feels absolutely essential in the present and pushes the trip hop revivalists towards a fascinating future - Gosha Martynov & Natasha Sinyakova have created a timeless piece of music,
but what else do you expect from the Bin?

World Clique is the debut album by the dance-music band Deee-Lite, released in 1990. The album's first single, 'Groove Is in the Heart, was a top-five success on both the U.S. Billboard Hot 100 and UK Singles Chart as well as a number-one hit on the U.S. Hot Dance Club Play chart.

Three subsequent singles also hit the top ten on the U.S. dance chart, including Power of Love/Build That Bridge and Good Beat, which also hit number one.

Guest artists on the album include Bootsy Collins (Try Me On... I'm Very You, Smile On, Groove Is in the Heart, and Who Was That), Q-Tip (Groove Is in the Heart), Fred Wesley and Maceo Parker (Try Me On... I'm Very You, Smile On, Groove Is in the Heart).

Dreems returns with his second full-length album, a languid journey through ambient dimensions. Following up his self-titled debut from 2014, these two LPs will stand together as test of time, a snapshot of the atmosphere that surrounded him throughout the decade.

As a versatile club-DJ with a respected catalog of mixed-tempo club remixes, and as half of the ‘Krautback’ / elementally Australian industrial act ‘Die Orangen,’ Dreems merely hints at his musical identity as an album artist, an expansive space in which he truly does soar with the spirit of a true artist, plumbing the depths of his emotional being, achieving catharsis in the shimmering pleasure of sound.

Diamond Bay’s 12 tracks surprise and reward the listener with the great gift of capturing your attention without ever attempting to hijack it. In a world gripped by the algorithmic nightmare of millennial whoops and material hooks, Dreems has charted a course for something altogether different - a peaceful kind of sonic painting. These are pastoral, passing vignettes. They highlight our awareness without forcefully directing our thoughts, except on the vocal pieces which reinforce the contemplative themes, adding not only specificity, but bringing a real sense of intimacy to the record.

Repress!

On 'Boogie Down' Bubbha Thomas and The Lightmen lean away from the jazzier moods that they were best known for, towards a mid-tempo boogie/funk workout featuring wide open drum breaks, analog synths, fat claps and vibey backing vocals.

The original 45, released in 1980, now goes for silly money if you can find one, so we thought it would be nice to make it available again. Dedicated to the extensive musical and educational work of Bubbha, who passed away at the end of 2020.

Remastered from original master tapes, officially licensed from Now Again.

The Peace Chant compilation series is a Temple, a reliquary of sacred harmonious statements made by enlightened artists throughout time. With Tramp Records' latest offerings, "Peace Chant, Raw Deep and Spiritual Jazz volumes 5 & 6, deeper, darker, and even more remote chambers of this already exalted temple are brought to light. The team at Tramp, with their torch of love and with reverence for those builders who came before, have returned from their quest with musical treasures unfathomable. Indeed, some of these tracks sound as if they may have literally been plucked from the ancient hands of some towering golden idol. But this quest was no looting effort, no. The Gods, as well as the artists and their families were fairly compensated through Tramp Records' rigorous and historically conscious licensing efforts.

Some of the treasures herein include, from Volume 5, a German gospel/modal jazz hybrid replete with flutes and vibes (and even a surprise gospel choir) reminding us not to 'speak when we should be silent' called "Ich Rede Wenn Ich Schweigen Sollte"; Indian jazz/rock fusion outfit Jazz Yatra Sextette's literal peace chant, "Shanti" led by Louis Banks (real name Dambar Bahadur Budaprithi), who worked with Embryo and John Maclaughlin; and Ron Wilson Trio's walking meditation and study on the beauty and rhythm of "Zimbabwe" in 3/4.

The Peace Chant compilation series is a Temple, a reliquary of sacred harmonious statements made by enlightened artists throughout time. With Tramp Records' latest offerings, "Peace Chant, Raw Deep and Spiritual Jazz volumes 5 & 6, deeper, darker, and even more remote chambers of this already exalted temple are brought to light. The team at Tramp, with their torch of love and with reverence for those builders who came before, have returned from their quest with musical treasures unfathomable. Indeed, some of these tracks sound as if they may have literally been plucked from the ancient hands of some towering golden idol. But this quest was no looting effort, no. The Gods, as well as the artists and their families were fairly compensated through Tramp Records' rigorous and historically conscious licensing efforts.

Volume 6 ululates with a rich flute and Fender Rhodes-rich microtonal fusion called "Cataracts" by Musica Orbis that even comes with some sparkling Afro-harping moments ala Dorothy Ashby; a 5/4 dreamscape conjured by the Fredric Rabold Crew called "Januschka" with enraptured wailing soprano; and a very interesting and likely heretofore unheard version of a tune that, in Dizzy's words, "... has withstood the vicissitudes of the contingent world and rocketed in an odyssey into the realm of the metaphysical...", A Night in Tunisia, with rich vocals and scatting.

High school band Kashmere Stage Band was formed in Texas by students from Kashmere High School's elite music division under the guidance of leader Conrad O. Johnson. They recorded plenty of albums but they only got sold locally and made in small numbers so now P-VIBE is embarking on a much-needed reissue run. Zero Point came in 1972, right in the middle of the band's activities which ran from the early 60s to the late 70s. It's a funky jazz fusion workout with great echoed vocals and fuzz-tone guitar.

High school band Kashmere Stage Band was formed in Texas by students from Kashmere High School's elite music division under the guidance of leader Conrad O. Johnson. They recorded plenty of albums but they only got sold locally and made in small numbers so now P-VIBE is embarking on a much-needed reissue run. Zero Point came in 1972, right in the middle of the band's activities which ran from the early 60s to the late 70s. It's a funky jazz fusion workout with great echoed vocals and fuzz-tone guitar.

Originally released on Robs Records offshoot Pleasure, followed by a repress on Air Trance in 1995 featuring Francesco Farfa & Kiticonti on remix duty, the debut offering from French/UK outfit Prism - aka Pascal Eloy & Grant Wilkinson - ‘Vapour Trails’ EP eventually gets a much needed reissue on Cosmocities this summer, enhanced with a remix from Bliss Inc.

From its initial sortie on the label run by Rob Gretton, former manager of legendary New Wave bands New Order and Joy Division, onto making it to a then en-vogue Italian trance imprint, this record made waves and opened new portals for many lovers of the burgeoning electronic sound, including - years later - Cosmocities head exec himself, holding the special status of being his first ever vinyl record buy. Harder was the path towards that longed-for repress, but with a twist from destiny - after tracking down one half of Prism - Pascal Eloy - to no avail, the label managed to find him through his father, contemporary composer Christian Eloy, plans were set out to release a first EP, ‘Rain’ (2022), and now ‘Vapour Trails’, which comes as the icing on the cake.

A future-facing slice of fast-track trance bound to have ravers melting in XTC thru and thru, the lead single treats us to a deluge of prismatic arps and multi-faceted synthwaves, ushering us into a vivid, mind-expanding kaleidoscope of throbbing colours and propulsive groove; an absolute killer of a tune that’s lost nothing of its frenzied punch. In the hands of Italian duo Farmakit, the track morphs into a further corrosive churner tailored for peak-time rumble in the warehouse with its calibrated mix of acid-drenched bass whorls, hard house bounce and Tangerine Dream vibrations.

Flip sides and here’s ‘O.N.V.I.’ shifting gears towards a more tribal / spiritual kind of uptempo hoodoo, running the gamut wildly from ethereal choirs to warlike drum programming, via sci-fi-indebted cosmicness and proper 303-infused salvos from outer space. New addition to the bunch, the remix from Bliss Inc. treats us to a more focussed parade of jacking house percussions, hi-NRG acid tropes and Afro funk-minded psychedelia, revving up the engines as the room temp rises from hot to sweltering. No surrender

Leon Dinero returns with "One Way Love", another magical rendition from the James Hunter catalogue. Dinero, along with the Inversions and produced by Victor Axelrod, transforms the uptempo R&B classic into a rocksteady mover whose relaxed groove and soulful vocal give the track an authenticity that may have folks scratching their head as to which version came first. A testament to the incomparable songwriting savvy of Mr Hunter, "One Way Love" is a track that defies the constraints of genre labelling with unfettered elegance and lyrical prowess.

Hybrid is a word used indiscriminately in our daily lives. This record isn't a hybrid; it's beyond hybrid, post-hybrid, so to speak. Does this phrase sound complicated to you, and are you never overly convinced by music theory and its caricatural aspect? Then forget what you’ve just read and listen to both sides of this record. You'll soon realise that these tracks are deliciously deft, drawing their essence from dub while leaving room for some skillful jazz writing. For those of you intrigued by melodies, the art of musique concrète or the exploration of dub music’s deviant angles, this record will easily find its place on your turntable.

The two sides of the record are cut with play, improvisation and effects, while leaving room for themes and ideas. If this record’s first chapter was born from a request to remix and pay homage to Jackie Mittoo, its themes tell another story. They have been declined and even reduced to an explosion point. The tracks are also driven by subtle details of musique concrète, giving the record the effect of an intimate musical production – but, above all, one of uncategorisable beauty.

In Androo’s case, this is hardly surprising. He is a craftsman who is unassailable in every respect, a poetic dynamiter and, for this reason, one of the most unpredictable musicians in Geneva (and beyond). His appetite for dynamite is perhaps an indication of his conception of music as, first and foremost, an experience. His highly personal and inventive tribute to figures from free jazz and contemporary music proves the point. But perhaps it is also an indication of his attachment to Jean-Luc Godard. You'd have to imagine Androo at his mixing desk without a pre-written script. The idea of editing infuses the record. The two sides are very much in this style and spirit: (un-)shot, meticulous, (ir-)reverent. In this respect, this record is a formidable proposition, and perhaps difficult to understand, but not striving to be understood.

Its combination of improvisation and composition is underpinned by a razor-sharp precision and dexterity that's hard to ignore, especially if you're curious about the art of sound mixing and the romantic accidents. It has a dexterity that transforms musical grids into romantic essays and sketches. A romanticism in which Androo takes us on a liberating musical experience that makes us forget the inertia of the ramping formatting of the record industry. In any case, this record is an invitation to (un-)think the category, and will delight any ear curious to wander into territories of intuition where the word hybrid no longer makes sense.

Text by Carl Åhnebrink

Marionette presents 'dessus oben alto up', the first collaborative recording by Andrea Belfi and Jules Reidy. Hailing from different ends of the globe (Australia and Italy) but both longtime residents of Berlin, Reidy and Belfi’s approaches have much in common, bringing together compositional precision and electroacoustic rigour with improvisation freedom, the immediate gratifications of rhythmic pulse, and an overtly lyrical sensibility. Working together during a residency at the sound studio of Berlin’s Callie’s, an arts institution housed in a 19th century machine factory, the pair (with Marco Anulli manning the desk) have conjured up four expansive pieces where the beautifully recorded percussive clarity of Belfi’s drums threads through a sparkling haze of guitars and electronics.

Opener ‘dessus’ begins with Reidy’s distinctive just-intoned guitar figures, shimmering over a delicate substratum of Befli’s brushwork and bass drum accents. As in all of Reidy’s recent work, the guitar is twisted out of cliché by the unfamiliar tuning and electronic processing. Hanging almost inaudibly in the background for much of the piece, a rush of synthetic tones surges into the foreground to end it. ‘oben’ is built from kinetic patterns of picked guitar arpeggios, locking into irregular grooves with Belfi’s drums, which move from elegant rolls and cymbal patter to driving closed hi-hats and explosive rock interjections. Around the traditional instruments and across the stereo field, electronic sounds swarm and swirl, fizzing and popping in a sun-drenched soundscape that at points suggests both vintage analogue synth destruction and glitching harmonies. ‘alto’ begins in similar territory but turned up a notch, eventually settling into a propulsive 6/8 groove of shifting drum accents, manically strummed 12 string acoustic, and burbling synth chords.

The B side is dedicated to the fifteen-minute ‘up’, where the strategies adopted on the other pieces are put in the service of a more relaxed, slowly unfolding epic. Anchored by a steady pulse throughout, the piece combines chiming guitars, dubbed-out bass lines and constantly adjusted percussive details into a complex flux of sound. Change is at once so subtle and so ever-present that, at any given moment, the listener can never be entirely sure quite how they got there.

Diagonal celebrates 13 years in business via a 4 x 12" run featuring label stalwarts and influential collaborators. LP1 includes a new Autechre mix of Russell Haswell's 'Heavy Handed Sunset'. Ae have developed their earlier remix (released in 2016) into a tense, brooding chugger! Turner Prize winner Wolfgang Tillmans teams up with label boss Powell to deliver peculiar pop music. To complete the set, NHK and Viviankrist both turn in moments of beauty whilst Russell Haswell channels Cybotron. This 12" is what Diagonal is all about!

Ursprünglich 2017 veröffentlicht, ist PHANTOM BRICKWORKS ein fortlaufendes Ambient/Drone-Projekt von Stephen James Wilkinson aka Bibio. Das Werk erforscht die menschlichen Echos, die noch immer an verschiedenen Orten in Britannien vorhanden sind. Wilkinson hat diese Orte besucht, ihren allmählichen Niedergang beobachtet und mit improvisierter und komponierter Musik reagiert. Neu im Jahr 2024 ist eine Fortsetzung mit dem Titel PHANTOM BRICKWORKS (LP II), eine 10-Track-LP, gemastert von Guy Davie mit einem Vinylschnitt von Hendrik Pauler. Die neue Platte lenkt die Aufmerksamkeit auf neue Orte – einige sind faszinierende, riesige Narben in der Naturlandschaft, andere überleben nur in lokalen Erinnerungen, historischen Clips und Fotografien. Einige bleiben aus dem alltäglichen Blickfeld verschwunden, während andere nur als Legenden und Geschichten existieren.

CWPT welcomes Acopia to the label with a reissue of the cult Australian bands self-titled sophomore album, available on vinyl outside of Australia for the first time.

Based in Melbourne/Naarm, Acopia’s music is a careful control of tension and release, sparseness and warmth, momentum, and space. Across ten tracks, the band’s three members move across post-punk lamentation, shoegazing DnB, smoldering trip hop and subdued electronic pop, as they carve out their own hazy world of romanticism and restraint.

The highly anticipated follow-up to the band’s stellar 2022 debut, ‘Chances’, this is a deeply emotionally sensitive record, equal parts refined and relatable, and a listening journey that is immediately understood while revealing new layers with each subsequent listen.

Alongside the physical release of ‘Acopia’, CWPT will also release two digital-only remixes of the band, courtesy of Daniel Avery and JD Twitch.

Dennis Bovells produktive und vielseitige Karriere umfasst ein riesiges Spektrum an Musik: von Dub Poetry über Lovers Rock und Post-Punk bis hin zu Disco, Pop und mehr. Seine Produktionsarbeit umfasst so unterschiedliche Persönlichkeiten wie The Slits, I Roy, Maximum Joy, Fela Kuti, The Pop Group, Janet Kay, Saada Bonaire, Orange Juice, Golden Teacher, Steel Pulse und mehr.

Diese Zusammenstellung konzentriert sich auf die Zeit während und unmittelbar nach Bovells Engagement beim Jah Sufferer Sound System und gräbt tief, um deepe Cuts und weniger bekannte Versions zu finden, hauptsächlich aus den Jahren 1976-1980, samt eines umwerfenden und weniger bekannten Dub des ikonischen Tracks "Silly Games". Sorgfältig restauriert und remastered bei Dubplates & Mastering in Berlin, sodass diese Jahrzehnte alten Tracks makellos und dynamisch klingen und so angeordnet sind, dass sie den Hörer auf eine Reise durch Bovells Produktions- und Arrangement-Genie mitnehmen.

Die beiliegenden Sleevenotes sind das Ergebnis eines langen Gesprächs mit Dennis über diese Zeit seines Lebens, mit Erinnerungen an jeden einzelnen Track und faszinierenden biografischen Anmerkungen. Die Vinyl- und CD-Versionen weisen unterschiedliche Cover auf, wobei jedes Format ein einzigartiges Foto von Syd Shelton verwendet.

The busiest beavers in the edits game, the Patchouli Brothers sink their teeth in to some novel material for their second outing on RNT’s lauded white label series. The Brothers’ usual disco fodder gives way to some masterful reworking of 90s house, 80s electro boogie, Euro dance, and Freestyle on this 4 tracker that shows their crates run even deeper than we knew. From the opening chords of Male Dans La Peau, to the arpeggiated soulful pulse of See You Tonight, the over-the-top cheekiness of Mista Hasta La Vista, or the earworm vocal refrain of All Nite, this is a special record from beginning to end and an unexpected surprise from Toronto’s finest edit practitioners.

qebrus (pronounced Ké-brusse) was a project by Thomas Denis, an enigmatic French musician and producer born in 1981 and based in Caen, France, before his untimely passing in February of 2018. His undefinable otherworldly compositions and internet glitch trickery turned many heads catching the attention and support of esteemed artists such as Aphex Twin, Four Tet and Venetian Snares. The appeal of his music to other forward-pushing producers was emblematic of the uniqueness of his productions and led to collaborations with the likes of Tom Middleton, Otto Von Schirach and Mr Bill. His only release on Love Love Records, 'ᐔ ᐌ ᐂ ᐍ ᐚ', proved to be one his furthest reaching, originally released on CD during a flurry of musical productivity during 2017. Those 6 tracks of intricate extraterrestrial electronics now get the vinyl treatment, having been lovingly remastered or this reissue and pressed on green coloured wax.

The qebrus guise was that of an alien stranded on Earth and this concept was consistent throughout. The project gained notoriety almost exclusively on the internet, with many people's first experiences of his persona coming from the use of chaotic ASCII syntax in track titles which at the time 'broke' many of the websites he used to host his music. This theme of incomprehensibility extended to the sonic qualities of his music, foregoing any shred of familiar sounds in favour of an entirely electronically synthesised sound palate resulting in jarring and frenetic works full of near-imperceptible micro-details.

qebrus rarely performed live with one of the few occurrences being at an after-party following the now legendary Day For Night Festival 2016 in Austin, Texas where Aphex Twin played some of Qebrus' music to a crowd of 20,000 as Thomas watched on in what was undoubtedly an otherworldly experience for him.

Despite his vision being entirely self-driven without a care for popularity or recognition, there were many people across the globe that connected with the sheer weirdness of it all. 7 years on 'ᐔ ᐌ ᐂ ᐍ ᐚ' still sounds wholly futuristic and will likely remain so for centuries to come. In a time where it seems everything has already been done before Thomas leaves behind a legacy of an artist who was truly 'doing their own thing'.

Thomas is survived by his two children who will be receiving his proceeds from sales of this release.

“really alien sounding music”
Aphex Twin —

“Did you know that guy, Qebrus? He was on his own shit, he was making some really out there music, his music was incredible”
Venetian Snares —

“Listening to intelligent dance music producer Qebrus feels a lot like entering another dimension, his music stumbling its way through electronic chaos, leaving the listener unsure over what just happened.”
Thomas Hobbs — Crack Magazine

Die Londoner Experimentalisten Kinkajous releasen ihr neues Album auf dem Nottinghamer Label Running Circle. "Nothing Will Disappear" ist Ambient-Maximalismus in seiner subtilsten und zartesten Form. Anklänge an Floating Points und subtile Klangfarben-Shifts á la Jon Hopkins und James Holden sind deutlicher zu erkennen als bei anderen zeitgenössischen Jazzacts. Die beiden Vorgänger "Hidden Lines" (2019) und "Being Waves" (2021) sind Paradebeispiele für ihre Mischung aus analoger, akustischer und orchestraler Instrumentierung und schafften es beide in zahlreiche Jahresendlisten.

Von CLASH als "ein wichtiger Teil der britischen Musiklandschaft" beschrieben, beziehen Kinkajous ihre Inspiration aus Orchester-, Instrumental- und elektronischer Musik und sind für ihren fesselnden und filmreifen Sound bekannt. Angeführt von Schlagzeuger/Produzent Benoît Parmentier und Saxophonist Adrien Cau, können sie mit einer beeindruckenden Besetzung aufwarten, zu der auch Keyboarder Jack Doherty und Bassist Andres Castellanos gehören. Die mutigen neuen Räume, in die Kinkajous vorgedrungen ist, kommen gut an, mit ausverkauften Headliner-Shows im Londoner Jazz Café und King's Place, neben einer gigantischen Zusammenarbeit im letzten Winter mit dem London Contemporary Orchestra im Londoner Earth Theatre und Auftritten bei den Bluedot und EFG London Jazz Festivals.

"In 1971, Dr Tree emerged as a highly innovative jazz-fusion ensemble from Auckland, formed by two of New Zealand's most seasoned session musicians, Frank Gibson Jr. and Murray McNabb - the pair had jammed together since grammar school. Drawing sizable crowds while working the Auckland circuit, the band caught the attention of EMI scout, Alan Galbraith, who wasted no time signing them up for an album. Galbraith, a trained musician and adventurous producer, brought in additional support from Julian Lee, an internationally acclaimed arranger and producer (who had recently returned to New Zealand after a decade Stateside on Frank Sinatra's insistence).

The album's an all-instrumental excursion into territory mapped out by the likes of Return To Forever, Weather Report and Tony Williams Lifetime - all acolytes of Miles Davis's late- 60s explorations. The session combines experimental studio techniques with blazing artistry, juxtapositioning trippy electronic textures and improvised jazz, creating a hypnotic kaleidoscope of sound."

Double LP featuring previously unreleased recordings and outtakes.
Restored and remastered at�Abbey Road Studios by Grammy award-winning engineer Sean Mage.
Heavyweight tip-on gatefold sleeve featuring archival band photography.
Restored and newly remastered at Abbey Road Studios.
Limited edition of 600 copies (300 in New Zealand, remaining 300 worldwide).

Hip-hop debut albums simply do not get more legendary than Eric B. & Rakim’s Paid In Full!!

Paid in Full is the debut album of American hip hop duo Eric B. & Rakim, released on July 7, 1987, by Island-subsidiary label 4th & B'way Records. The duo recorded the album at hip hop producer Marley Marl's home studio and Power Play Studios in New York City, following Rakim's response to Eric B.'s search for a rapper to complement his disc jockey work in 1985. The album peaked at number fifty-eight on the Billboard 200 chart and produced five singles, "Eric B. Is President", "I Ain't No Joke", "I Know You Got Soul", "Move the Crowd", and "Paid in Full".

Paid in Full is credited as a benchmark album of the golden age hip hop. Rakim's rapping, which pioneered the use of internal rhymes in hip hop, set a higher standard of lyricism in the genre and served as a template for future rappers. The album's heavy sampling by Eric B. became influential in hip hop production. The record has sold over a million copies and the Recording Industry Association of America (RIAA) certified it platinum in 1995. In 2003, the album was ranked number 228 on Rolling Stone magazine's list of the 500 greatest albums of all time.