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Brutal Nature Redux is a continuation of Rhys Fulber’s “Brutal Nature” album and art concept, featuring remixes by carefully curated artists. Years of Denial’s take on “Rogue Minority” injects some emotion and humanity into the stark and aggressive original while preserving the driving bass riff and lifting it into the sound of a futuristic tribal gathering. Berlin’s Sarin is up next, leaning into the future EBM style he also shares with Fulber but amping up the intensity and apocalyptic dance floor elements of Central State Institute. Night Render is given a darker and more sinister sheen by up-and-coming Bulgarian producer, Evitceles. The nature elements of the original are replaced by a cinematic dystopia, akin to salvaging lost technology in a ruined city. Orphx add their rhythmic sophistication to “Stare at the Sun, tripping and refining the original down to its base elements while tuning Sara Taylor’s (Youth Code) screams across what appears to be several channels of short wave radio. Qual’s radical re-interpretation of “Pyrrhic Act” brings elements of Fulber’s past history in EBM right to the fore, creating a groove that’s both retro and very modern, slowing it down so the tension hangs heavier in the air. Lastly but certainly not least, Vanity Productions highlights the “nature” of “Fragility”, accentuating it with delicate clouds hanging in an air of contemplation; darkness and light coexisting in thick emotional textures. A fine way to close out this collection of cohesive individualism.

Portland, OR-based multimedia artist William Selman returns to Mysteries of the Deep with his third album for the label. Drawing on influences such as David Toop, Beatriz Ferreyra, Elizabeth Waldo, and David Behrman, “The Weather Indoors” melds live and synthesized instrumentation, field recordings, and digital processing techniques in a new, more melodic and approachable direction.

Immersive site recordings open into melodic woodwinds, orchestral instrumentation, bass guitar, gongs, and vibraphone. Borrowing from the anthropologist Tim Ingold’s concept of “inversion,” this widescreen staging cuts immediately to the core of the project: the way human beings use the faculty of imagination to aestheticize their built surroundings with architecture, images of distant locales, and domesticated flora and fauna to contain the anxiety for the natural world that surrounds human life.

A clear peak in Selman's extensive catalog, “The Weather Indoors” captures his work at a moment expanding his musical and aesthetic project: Neither genre ambient nor musique concrète, but a unique sound world dense with conceptual play and moments of more traditional harmonic beauty.

“We are contaminated by our encounters: they change who we are as we make way for others. As contamination changes world-making projects, mutual worlds—and new directions—may emerge. Everyone carries a history of contamination; purity is not an option.” —Anne Lowenhaupt-Tsing, The Mushroom at the End of the World

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'A Soft Degeneration' was featured in a mix from Mysteries label boss, Grant Aaron, entitled 'Sundays are for' – hosted by Delayed.

William Selman has releases on Mysteries of the Deep, Critique of Everyday Life, Going In, Hausu Mountain.

Cyphon is proud to bring you brand new music from one of Europe’s pioneers of techno and IDM, Stefan Robbers aka Terrace and Florence. His early releases for Djax-Up-Beats and his own Eevo Lute Muzique in the early 90’s were hugely influential striking a sweet spot between stark minimalism, majestic analogue lushness and dance floor grooves. In more recent years his own reinterpretation of the Detroit sound can be found on the highly regarded Dutch label Delsin.

Here on his ‘Thermionic EP’ Terrace sings out with such intensity that minds are blown. Listen to the brutal, exhilarating sequences of ‘Territorial’ which leads the new EP, and you will receive that message loud and clear. While the music is as much about the consequence of soulful depth, it is also about edgy machines communicating intimately. Sweet chords fuse and then contrast with grainy acidic sonics, leaving the tempo poised at an irresistible pace like all our futures depended on it.

As you move next onto the more subtle electro pulse of ‘Thermon’, shimmering keys dance around a frame-by-frame remembrance of robotic disco in the 23rd century. The uplifting brilliance of ‘Woodward’ follows filling the void with an explosion of colour that is all about life-affirming instrumentation, hitting you fast and loose with a cascade of arpeggios, tough drums plus an incendiary surge of melodic distraction causing the airwaves to crackle with celebration.

Completing this stunning release from Terrace are the fierce, hotwired grooves forged by ‘Ritual’, conjuring up endless combinations of an analogue model rediscovered. The sheer dancefloor animation found within each of Terrace’s productions on this EP purposefully point to and enhance Cyphon Recordings own mission to explore, propelling the emphasis forever forwards.

DJ Support:

Sean Johnston, Kevin Reynolds, Vince Watson, Gareth Sommerville, Daniele Baldelli, Dj Rocca, Massimiliano Pagliara, Craig Smith, Jason Kendig, Rarish & Yoshi Horino

"Bills past due, what you gon do?"

2lanes is part of the latest resurgence in Detroit's techno underground whose infamy is built via amorphous live appearances / DJ sets, collaborations with contemporaries like AceMo and John F.M., and a steady, hilarious and blunt presence on Twitter. PGS is proud to present 2lane’s 2nd piece of wax, the AA side "Baby's Born To Fish'' / "Impish Desires'' following the "Giving & Receiving" EP on NYC's Ceramic Records, February 2020.

2 Lanes first appeared in Detroit ~six years ago and quickly made a name for himself in the local scene, promoting shows with international artists and friends from NYC, all while making an effort to respect the city's unique musical identity and history. He carries the tradition of Detroit's electronic pioneers who pursued new ideas in production and gear, bringing perfection to the craft, and developing unique twists in his process.

Participating in the contemporary electronic music world required splitting your time between 2 places at once: Online, always-on, in constant engagement with friends + foe alike; In Real Life, physically traveling city to city, DJing and collaborating, all while maintaining a sense of self. And now, all that's different.

"Lately, I've been, going, going through some changes"

Releasing a club-ready 12" in the midst of a global pandemic? That's the 2 Lanes. We heard an earlier version of "Baby's Born 2 Fish" what feels like 10 years ago, rinsing "Impish Desires" when there were still gigs. Do you remember the Apollo Masters plant fire in early February? How long were pressing plants closed, again? How long have we been living in this new reality? 2lanes hopes that the messages of this music; fear, isolation, friendship, love and how we exist at this intersection comes through for the listener.

"Baby's Born To Fish" / "Impish Desires" is a heavy hitting AA side, rejuvenating, explosive, off your face. They're ready for the eventual return 2 the dance floor, and sooner for your streaming DJ set. We don't know when we can see you IRL, but we know it'll be in mixes for decades to come.

"You’re gonna cast your reel out and you don’t know if you’re gonna get a fish that day, but you’re still gonna cast it out." - 2 Lanes

GRAMMY NOMINATED AFRO-FUSION SINGER, SONGWRITER, AND PERFORMING ARTISTE The Nigerian singer-songwriter, Burna Boy, was born Damini Ogulu on the 2nd of July, 1991 in Port Harcourt city, Nigeria to Bosede and Samuel Ogulu and he is the only son and eldest of three children.

He started producing music when he was ten years old. After graduating from college, Burna relocated to London to attend university. After two years, he dropped out and moved back to Nigeria to pursue his passion. Coming from a family where music was loved but where a greater premium was placed on education, he spent most of his summer holidays in the UK and in language immersion summer camps in France, Togo and Cote d'Ivoire, before finally moving to the UK where he picked up the Brixton Patois accents which have become a signature in his music.

Young Damini attended Montessori International primary school in Port Harcourt (1993-2002) and Corona Secondary School, Lagos (2002-2008). It has always been music for Burna Boy as observed by his mum when he was still a teenager. She recounts that he was always hanging around his Grandfather, listening to classical music; little wonder his role model later became the man his grandfather managed, Fela Anikulapo Kuti.

His quest for knowledge took him outside the shores of Nigeria to the United Kingdom to study Media Technology at the University of Sussex (2008–2009) and Oxford Brookes University (2009–2010) to study Media Communications and Culture.

Thereafter, he did a one-year internship with Rhythm 93.7 FM Port Harcourt before officially launching his professional music career when he was signed on to Aristocrat records - prompting a permanent relocation to Lagos.

Burna Boy has released a series of EPs, singles, mixtapes, and albums including 2018’s extraordinary “Outside”. The award-winning collection led to Burna’s U.S breakthrough, debuting at #3 on Billboard’s “Reggae Albums” chart, which was partly fueled by the blockbuster single/video, “Ye”. His most recent album, “African Giant”, released in July 2019 has garnered praise from both Nigerian and international media.

Furthermore, the “African Giant” album got nominated for the 62nd Annual Grammy Award in the Best World Album category. Burna is among the contemporary African music’s brightest stars and also the pioneer of an enigmatic genre he simply dubs “Afro-fusion”. The gifted singer-songwriter got featured on American songstress Beyonce's curated Lion King soundtrack, “The Gift”. He also recently took home the 2019 BET Best International Act Award and 2019 MTV Europe Music Award for “Best African Act”.

This new album compiles several songs made in the years following Black To Comm's classic "Alphabet 1968" album. Originally released on the seminal Type label in 2009 (and to be reissued on Cellule 75 this year) "Alphabet 1968" combined the sound of vintage shellac and vinyl loops with broken electronics and field recordings, the press release mentioning disparate influences "ranging from Moondog to Basic Channel by way of Bernard Herrmann". In a beautiful one-page review in The Wire magazine (later reprinted in his book Ghosts Of My Life) Mark Fisher compared Richter's music to JF Sebastian’s miniature automata in Blade Runner ("with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister"), ETA Hoffmann's inventor-magicians and Auguste Villiers de l'Isle-Adam's 1886 tale of Thomas Edison's (fictitious) construction of an artificial human.

Now titled "Coh Bâle" (inspired by a strange dream) these recordings were supposed to become a follow-up to said album but for reasons unknown it never materialized and the album seemed forever lost. At the time Richter started to dive deeper into several strains of (so-called) world music aka the folk music of Southeast Asia and Eastern Europe as well as liturgical and medieval music, the Kraut-Electronica of Harmonia and several certain Mediterranean experimentalists from the 1980's who started to merge their mostly electronic and field recording based compositions with traditional musics from all over the world by way of new sampling technology.

Many of the songs for the album were recorded while travelling and at various residencies around Europe: a detuned piano in a Thessaloniki basement (Richter played at a children's birthday party there), vintage synthesizers in the GRM studios in Paris, decaying acoustic instruments found in an old Black Forest mansion, childrens' voices at a workshop in Karlsruhe's ZKM Institute; then mixed on headphones in the ICE trains running between these places and his hometown Hamburg.

"Coh Bâle" is taking inspirations from old Nonesuch Explorer and Ocora LP's, Crammed Records, 80s Mediterranean Ambient (Nuno Canavarro, Roberto Musci) combined with the DIY spirit of Deux Filles and Flaming Tunes and the playfulness of Asa Chang & Junray. The songs are both mysterious and transparent, intricate and frugal, vibrant and patient. One of the album's unexpected climaxes is a gorgeous (artificial) berimbau version of the Welsh traditional "Iechyd o Gylch".

No two songs feature the same instrumentation and many acoustic sources (pianos, flutes, wood percussion, viola, tablas, autoharp) were disassembled and later coalesced into new configurations or used as virtual instruments; later combined with samples, field recordings, electronics and (on a few tracks) autotuned vocals reminding of recent works by the likes of Claire Rousay or More Eaze.

We had to wait for a worldwide pandemic for Richter to dig deep into the vaults and finally bring these recordings to light. This is the 2nd release from his archives after the "Diode, Triode" LP which presented Musique Concrète/Acousmatic recordings made at INA/GRM and ZKM. Another massive Double-CD (MM∞XX Vol. 1 & 2) was released last year featuring collaborations with 33 artists such as Andrew Pekler, Richard Youngs, Eric Chenaux, Maja Ratkje, Radwan Ghazi Moumneh of Jerusalem In my Heart, GRM boss François Bonnet (Kassel Jaeger), Felix Kubin, Timo van Luijk (In Camera, Af Ursin), Luke Fowler and many others, showing Richter's versatility and his willingness to reinvent himself for every new release.

Marc Richter is widely known under his Black To Comm moniker, having released (at least) 12 albums under this alias in the last 20 years. He is currently signed to the Thrill Jockey label. Richter composes soundtracks for film and has worked with visual artists such as Mike Kelley and Ho Tzu Nyen. He also records as Jemh Circs and Mouchoir Étanche for his own Cellule 75 label (named in tribute to the late Luc Ferrari).

Death metal overlords DYING FETUS once again raise the bar of sonic extremity with their 8th studio album and first new material in over 5 years, Wrong One To Fuck With. The seasoned veterans manage to further stretch their creative and technical boundaries across 10 complex tracks of pulverizing death metal, filled with more dynamic intricacies, brutal breakdowns and varied vocal patterns than ever before. Now over 25 years into their distinguished career, DYING FETUS cement their legacy with Wrong One To Fuck With and uphold their position as the most dominant force in death metal today.

Combining an innovative mix of technical virtuosity and catchy song structures, Dying Fetus creates the ultimate blend of death metal, hardcore, and grind.

In 1983 there came a sound from the depths of the Brazilian rainforest that was primal, ground-breaking, and completely ahead of its time. The roaring of amplifiers and the beating of drums was the sound of Max and Iggor Cavalera creating their debut cult-classics 'MORBID VISIONS' and 'BESTIAL DEVASTATION', and now it seems that after many years, the Cavalera brothers will be returning to their raw upstarts with a full re-recording of these beloved yet obscure albums.
When 'MORBID VISIONS' and 'BESTIAL DEVASTATION" were first spawned it was done in ramshackle conditions in Belo Horizonte, where the duo grew up. Max and Iggor were 14 and 13 years old during the original recording, and they had all the tenacity and energy of a pack of wild dogs. Only, their sound was not quite refined at that time, their adolescence bled through on those early records. It is well known that Max's guitars were completely out of tune on those sessions, and Iggor's drums often swung around tempos crazily. There's an air of youth and passion that could only be achieved by two teenagers that wanted to shock the world. Four decades later and it is plain to see that they certainly did gather the world's attention.
Despite the production being rough around the edges and the band still carving out their direction, there was a noticeable level of craftsmanship to the song structures and a clear indication that given their desire to thrash like maniacs, these kids from Brazil were going to tear the place up night after night. These albums still hold a dark, mystic and at times eerie quality to them that many have come to love over the years. For some, the music does not have to be delivered with perfect technical precision, the spastic live delivery is something to be cherished, and even with their guitars out of tune, they played like the gates of hell were opening. The crossroads of a shamanistic spiritual summoning at a back-alley metal show in downtown Belo Horizonte.
It is a task of heavy magnitude to try and cross the gap between the accomplished artists that they are today to the scrappy boys that they were when they first wrote these songs, but the duo have executed the performances flawlessly. The perfect bridge between the unbridled energy of the original sessions and the high-quality sound of a 21st century production. It is truly astounding to hear Max once again growl like a monster during "Troops Of Doom" and riff at insane speeds through "War" and "Crucifixion". Iggor's barbaric drumming on "Anti-Christ" is like the galloping hooves of a death-rider. Accompanied by bassist Igor Amadeus Cavalera (HEALING MAGIC, GO AHEAD AND DIE) and lead guitarist Daniel Gonzales (POSSESSED, GRUESOME) the quartet is a force to be reckoned with.
How this re-recording attained such a familiar tenacity is almost a mystery, like some spell that brought these albums back from the grave. Within the first few beats you can hear that the Cavalera’s have lost no momentum, attacking the songs at maximum speed and ferocity. In fact, it seems that the brothers have only empowered their connection through music over the decades. You can feel the spark that those two create, a dynamic sound rich with subtleties and ear-grabbing hooks. As Iggor counts in each song with his drumsticks, and Max's guitar feedbacks loudly as he approaches the microphone, there is palpable apprehension. It is apparent that when these two icons get together to play, they are going to electrify the room with their presence.
Few have had the incredible careers that Max and Iggor have achieved through their music. Even fewer had faith in the young boys that wrote 'MORBID VISIONS' and "BESTIAL DEVASTATION' all those years ago. Yet here they still stand ripping through their earliest works with decades of experience under their belts. For them, it is a breath of fresh air to finally give these songs the desired production that they deserve. They both feel that the fans also deserve a fresh look at these albums, a chance to appreciate them in a completely new light.
From start to finish 'MORBID VISIONS" and "BESTIAL DEVASTATION" are a torrential whirlwind of riffs, beats, and screams. A blast from the past that is sure to take every last listener back to the raucous live shows of the eighties.
Mysterious clouds form above an old cathedral, the summoning of dark magic is upon us, and the troops of doom march forth to announce the arrival of 'CAVALERA'!

RAR001 was featured in Resident Advisor's Best music of July list

RANT & RAVE
An enigmatic new sound is oozing out of your speakers. Seemingly self-tasked with reviving the essence of the techno rave style, Rant & Rave Records presents the world with an updated vision that sounds exactly like it should. Based in Berlin, the techno epicenter, It's a dangerous new label, unafraid to stir things up and break the rules. Run by Tresor resident and Sonic Groove recording artist Maedon, the label intends to inject some hard-hitting fun back into the techno underground. About to be revealed; EPs from Maedon, Lady Starlight, JoeFarr (of Turbo fame), and veteran industrial techno guru Mark Crumby, (aka Codex Empire, Konstruktivitis). Look for Rant & Rave records this summer at all fine record shops.


RAR 001
Berlin-based American expat Maedon (Tresor, Sonic Groove) ushers in the arrival of Rant & Rave Records with a slickly produced debut EP entitled 'Cease and Desist'. '1989' opens with booming kicks, driving mechanical percussion, and hallelujah samples interspersed throughout. The droning rave synths sound eerily akin to kamikaze dive bombers heading directly for your brain. 'Grandstand' and the title track 'Cease and Desist' continue in this direction, abundant with hypnotic electronics and relentless energy. On 'The Worlds So', Maedon shares her thoughts on the state of world current events with looped vocals 'The worlds so fucked... all we can do is dance'. Gritty, dark rave tracks for peak time workout that provide a nice blueprint of what to expect from this label. No prisoners taken.

***AUGMENTED REALITY COVER***

Merak EP by Sev Dah marks the debut release on the Berlin-based label Dust in Grooves. Heavily influenced by the grit and zeal of Berlin, Detroit, Birmingham, and, his own, Sarajevo, Sev Dah unleashes his distinctively punchy and deviously structured spheric sound across this 4 track EP.

Opening with a stomping dancefloor tool that sets the energy high with playful and nostalgic loops, "Audio Grape" showcases the dynamic range of the techno proletarian. The dexterity of "Butter Knife" cuts intensely through the air with unexpected tones and drums, evolving into a steamy big-room journey made of sinister spins all the way through.

On the B side, "Dense Fog" permeates the space with a thick grip, softly engulfing all the senses in a labyrinth of sound, steadily building up anticipation with gleaming pads and elevated melodies as the story unfolds. The final track "Meraki" glistens with cold, robotic, fast-paced beats, roaring with otherworldly chords, like omens from the dystopian future, and melancholic subtlety that leaves a feeling of bitter hope.

From start to end, the EP Merak is an expression of the thriving and techno-revolutionary spirit of Sev Dah, crafting powerful narratives through a minimalistic approach. As a founder of DIG records, Olivia Mendez aims to bring precisely this signature sound, and a dedication to vinyl culture, which puts Dust In Grooves at the forefront of the contemporary techno scene. Further bridging classic and current formats, is the dynamic augmented reality cover designed by visual artist Bileam Tschepe. To unlock its motion, follow the riddle on the back.

All tracks are mastered by Nihad Tule.
Words by Lora Mateeva, MONUMENT

In 1990, a friend was thinking about acquiring a synthesiser...

Synthesisers... mysterious keyboard instruments with lots of knobs that made strange sounds. Something we’ve always known about but never really had an opportunity to experience up close. Most of the music we grew up listening to and loved featured synths.

So we trawled through the Trading Post and found an old Roland JX-8P going cheap. I had a car, my friend had the cash - now we had a synth! We wanted to make electronic music, but something was missing...

Shortly after, a drum machine was acquired. Like the synth, we had no clue about them but very soon a Roland TR-707 was acquired. Pooling our remaining funds, we purchased a 4-track tape recorder and began to learn how to use these instruments to compose music.

Fast forward to 1991, SWLABR was born. I'd fallen down the techno rabbit hole and amassed several more electronic devices... synths, samplers, sequencers and began composing tunes with a techno flavour in my bedroom studio - some of which feature on this EP in all their original glory, tape hiss included!

If "Forgiveness of Blood" | KR3.009 was marked by a modern vision of techno voiced by Tensal's sound, this remixes EP chronicles the tension that shapes the sound of the artists involved: SHED, Anthony Linell, Alessandro Adriani and Tensal himself. Static and hypnotic waves of strain recur, even though the 4 tracks represent 4 different major expressions of what techno explicitly and implicitly stands for.

Forgiveness of Blood Remixes - is a distillation of the modernist and nostalgic sound capable of impacting both on the dancefloor and mentally.
Four strongly evocative tracks that narrate not only the artists' but also the label's path.

2023 repress !

After his debut on PoleGroup last year with a track 'Hate' selected for the compilation release Unknown Landscapes - EP 1, Kwartz makes a proper return to the label with Form and Void EP. Hailing from Madrid, DJ and producer Kwartz started his career in 2011 and within fairly a short time he has developed and refined his own hypnotic, dark and enveloping techno. Amongst notable releases to date is his first vinyl EP Fenomen (2013), a joint release with Pole Group artist Exium on their Nheoma imprint.

Form and Void EP features two strong originals and two equally powerful remix supports from the label mates and core members of Pole Group, Reeko and Exium. The title track 'Form and Void' kicks off with straight forward 4/4 rhythmic groove that gradually builds up layer by layer in to the darker shade to meet the mysterious break, followed by heavy brooding bass tones slashing through the kick drums, deepening the atmosphere with the hollowing echoes. Reeko's remix elevates the dark mood of original while pumping in even more energy with rolling kick/hat combo and psychedelic swirling chaos of synth that intensifies throughout the entire length of the track.

'Breakage' on the flip side possess much more hardened groove, pounding out the drums packed with blinding force. Exium's remix takes the tension-filled doomsday feel of original to another level and gives a new dimension to the heavy merciless percussion by adding haunting howling echoes that growls like that of ghosts combined with more muted drums and subtle layers of stabs of kicks and effects.

Kwartz holds nothing back with Form and Void EP, delving in to the darkest and deepest realm of subterranean pulses that fit perfectly for the dance floor with dimmed light and big sound system.

Habibi Funk is excited to share “Marzipan” - our first full length contemporary release courtesy of Beirut’s multi-instrumental phenom Charif Megarbane, also known as the man behind prolific Cosmic Analog Ensemble. The LP is a journey into Charif’s styling, one he terms “Lebrary”: a vision of Lebanon + Mediterranean expressed through the kaleidoscopic sonics of library music. Drawing from artists that encapsulates the HF sound, such as Ziad Rahbani, Ahmed Malek and Issam Hajali, Charif translates these influences into an LP that is equally at home in ’23. We always wondered why Charif’s music stayed under the radar for so long, that all changes with “Marzipan”.
Charif Megarbane, the staggeringly prolific producer, instrumentalist, and all-around musical mastermind returns with full LP “Marzipan.” Following his previous release of EP “Tayara Warak” in 2022, “Marzipan” is a sonic journey that seeks to capture the full scope of Megarbane’s habitus. As a composer and producer, Megarbane touts hugely versatile, sometimes volatile musicianship — his 100+ catalogue of projects (including legendary groups like the Cosmic Analog Ensemble, Free Association Syndicate, Monumental Detail, etc.) features a huge domain of sonic direction. This collection was previously developed in Megarbane’s own Hisstology label which hosts a wealth of collaborative efforts. Now, Habibi Funk represents Megarbane under his own name. Megarbane finds a sonic through-line in his surrounding soundscapes as he draws on the chaotic energy of the crowded Beirut metropolis (“Souk El Ahad”), the warm atmosphere of the Lebanese countryside (“Chez Mounir”), or the lushness of a Mediterranean beach resort (“Portemilio”). Reflecting the aural composition of his direct surroundings into kaleidoscopic instrumentation provides a unique insight into how one musical phenomenon transposes sight into sound. Habibi Funk is thrilled to share “Marzipan” and finally throttle this under-theradar phenomenon into the solo spotlight. Despite the magnitude of his catalog, Megarbane’s LP sounds as fresh—as resolutely inspired—as a debut record. “Marzipan” continues down the winding path he trod on EP “Tayyara Warak” (released Decmber, 2022) which features solid footing in the hectic city sounds Megarbane hears as home. Despite his obvious musical acumen, Megarbane’s greatest talent seems to be his open ears. In many ways, “Marzipan” is a cartographic feat — it travels and traces a journey across many dimensions (both sonic and physical). Megarbane’s instrumental catalogue is vast: toy glockenspiel, harpsichord, pedal steel, a classic Wurlitzer, et al are used liberally on the record. The resultant sound is as sprawling as the musician’s instrumental dexterity. “Marzipan’s” closing track “Bala 3anouan” can be translated loosely to “without address” — a fitting final word. Despite the entire record being a sincere testament to Megarbane’s environmental approach to music-making, the record is not bound to any particular coordinates, or any particular sound for that matter. The vastness of his influences — beloved artists like Ahmed Malek and Issam Hajali (both Habibi Funk veterans); West African funk deep cuts; European cinematic scores; et al — result in a record of somewhat unparalleled expansiveness. Floating melodies and frantic rhythmic interludes both find natural homes across “Marzipan.” The record is tinged with psychedelic elements—fuzz-drenched guitar, sliding microtonal interludes, hypnotic rhythmic breakdowns. Reflecting on his creative process, Megarbane cites a stream of consciousness approach: “It’s a very spontaneous, playful, and diary-like approach and workflow…I trust my instinct because instinct is based on experience.” Lead single “Souk El Ahad” opens the roll-out with a raucous energy, out June 12. Megarbane abstracts busy city sounds into a psychedelic framework, casting technicolor hues on everyday experience. Following is second single “Pas de Dialogue” out June 23. The track jerks the listener towards a more meditative state with lulling harpsichord and expanding, cinematic sound. “Marzipan” will be available physically and digitally everywhere on July 14, 2023. Be sure to listen for focus track “Chez Mounir” that captures the warmth of community in a joyful, laidback groove.
Uncover greater insight into the world of Charif Megarbane in the booklet accompanying the LP

After amazing releases on Withhold, Beyond Electronix and his own Braindance label FTL brings 4 amazing tracks to 3AM Eternal.

Deep, meditative vibes mixed with ruff and energetic breaks. Beautiful, melodic, atmospheric, synth heavy but still 100% dancefloor material.

Rollover Milano is back with another killer release from Lorenzo Morresi entitled ‘Isla’ EP. The label is still kicking up the cosmic disco dance dust at their longstanding weekly party at the Apollo Club, Milan.

This glam affair has hosted a long list of luminaries, which is mirrored on the labels roster and output of dark disco, deep house, and Italo space funk. Lorenzo Morresi, a producer, and DJ who is constantly searching for new sounds, blending genres, merging analog and new technologies. With releases on 22a Records, Fly by Night Music, Roots Underground, Wall of Sound, INRI, and SuperEclectic, his sound spans other worldly vibes, jazz-funk sonics, and blazing electronica as a DJ and live performance. Isla is one of the main protagonists of the movie ‘The Holy Mountain’ by Alejandro Jodorowsky.

She is a companion of the Alchemist who tries to find the Holy Mountain to find the secret of immortality. This whole EP is inspired by Jodorowsky’s work. Morresi imagines transforming the dreamlike atmospheres that accompany Jodorowsky’s dystopian vision into music, bringing them to the club, primed to be played at high volume, in dark light, on discerning dancefloors. 'Jodo' is recorded live, and flows between electronica and experimental jazz, but with a dark and ritualistic core.

'Odissey Venezia' originates from studio recordings that Lorenzo made while playing the Loutar – a Moroccan stringed instrument - combined with a deadly dancefloor backdrop made up using a Roland TT303. 'Isla' is based on slower rhythms, organic percussion, and decontextualized voices of old sampled records. The 'Outro' uses some quotes from Jodorowsky’s books, robotic and digitally generated phrases combined with a rhythmic beat that encapsulates the meaning of this EP, being Lorenzo Morresi’s life long focus on the fusion between dance rhythms, psychedelia, and musical transcendence.

Die dreifache Grammy-Gewinnerin Hilary Hahn präsentiert ihre neue Aufnahme von Eugène Ysaÿes sechs Sonaten für Violine solo op. 27. Inspiriert durch J.S. Bach schrieb der legendäre belgische Geiger und
Komponist Eugène Ysaÿe im Juni 1923 das erste Werk eines Zyklus aus sechs Sonaten. 100 Jahre später hat Hilary Hahn, „eine der wichtigsten Geigerinnen unserer Zeit“ (The New York Times), diesen Zyklus aufgenommen – angetrieben vom bevorstehenden 100-jährigen Jubiläum.

„Ich staune immer wieder über mein Glück, in dieser musikalischen Traditionslinie zu stehen“ sagt Hahn.
„Vor 20 Jahren waren mir diese Stücke irgendwie fremd, sie schienen Geheimnisse zu enthalten, die ich niemals enträtseln würde. Jetzt denke ich, ich kann diese Sonaten in seinem Geiste spielen und mir dabei trotzdem absolut treu bleiben.“

Eugène Ysaÿe (1858-1931), der weithin als einer der ersten modernen Geiger gilt, schuf technische und künstlerische Maßstäbe für sein Instrument, die bis heute gelten. Koryphäen wie Franck, Debussy und
Chausson komponierten bedeutende Werke für ihn. Im letzten Jahrzehnt seines Lebens konzentrierte sich Ysaÿe mehr auf das Komponieren. Er begann mit dem Schreiben der sechs Sonaten für Violine solo, nachdem er den ungarischen Virtuosen Joseph Szigeti Bachs Partiten und Sonaten für Solovioline spielen hörte. Hilary Hahn fasst ihre Bedeutung zusammen und beschreibt sie als „legendär, sie haben Generationen von Geigern geprägt und sind eine wunderbare Hommage an das Instrument“.

Demonstrates the deep blues feeling and technical mastery Archie Shepp has on the tenor saxophone. Comprised of four standards - "Things Ain't What They Used to Be," "Body and Soul," "Pannonica," and "'Round Midnight" - this set is one of Shepp's most enjoyable ever.

The reasons are myriad, but it is in large part due to
the fluid, loping bass of Richard Davis. Recorded in a club in front of a live audience, Shepp digs deep into his own history of influential tenor players and comes out not wanting, but on par with them, from Eddie "Lockjaw" Davis to Sonny Rollins to John Coltrane.

His playing here is big, meaty, and warm, full of subtle emotions as well as bleating cries. Davis' sense of time and melody is nearly incredible on the title track and on "'Round Midnight." The interplay Shepp shares with him is tasty, coming from fragmentary elements in Monk's changes; Shepp and Davis move around the lyric and cut to the heart of the tune's colour and ambiguity...a major addition to the saxophonist's catalog." - Thom Jurek, All Music Guide

New York, NY (May 09, 2023) - Techno powerhouse, Charlotte de Witte releases her highly anticipated EP, Overdrive as the anchor to her larger Overdrive Campaign within the KNTXT Label. Following de Witte’s breakthrough to the top of the electronic music scene in 2019 with her signature sonic approach that refuses to be boxed in, Overdrive is a reflection of this ethos. The EP aims to showcase street style that is both rough and energizing, while delivering high-energy tracks meant to pull listeners into the fast-paced thrill that unlocks one's turbocharged version of themselves. Listen HERE.

“While making Overdrive, I didn’t fully realize how applicable the lyrics are to my philosophy of life,” said de Witte. “The fast-paced tempo, which goes full force without looking back, is all about the feeling of being on the edge and living life to the fullest.”

Best known for her “dark and stripped-back” brand of techno and underground music, DJ, record producer, and label head de Witte pushes the boundaries of the electronic genre with music that has a distinct and unforgettable sound that is uniquely her own. De Witte’s innovative ability allows her to seamlessly blend genres and styles that have won her a dedicated fan base and critical acclaim.

“Overdrive is a love story between hip hop and techno, it’s inspired by both genres, but coated in a techno jacket,” said de Witte. “It’s meant to be played loud while driving at night and watching the city lights pass by, and where better to experience that than in New York City?”

Overdrive marks de Witte’s first release since her single “High Street,” and first EP on her KNTXT label since her last EP, “Apollo” which was released in October 2022 as well as her collaboration with fellow techno artist Enrico Sangiuliano on the “Reflection” EP in March 2023. De Witte had previously worked with Sangiuliano on their remix of “The Age Of Love”, which amassed over 40 million streams on Spotify and achieved certified gold status in Belgium. De Witte’s other recent releases include her “Universal Consciousness” EP in 2022 and her “Formula” EP in 2021, which featured the chart-topping lead track “Doppler”.