Search:the collaboration ep

Incl. Schacke Remix

Having been extensively road-tested this past year by DJs including Daniel Avery, HAAi and Gerd Janson, Highdive arrives with tangible anticipation. The work of less-than-shadowy figures Gramrcy and John Loveless, the pair have passed lockdown and beyond remixing artists such as WH Lung, Discovery Zone and Ghost Culture. Debuting their first original material, closely following Gramrcy’s recent appearance on Loveless’s own Hot Concept imprint, Highdive is a long-anticipated explosion of energy.

Built around a sonic-boom breakdown, glossy rave chords and pounding post-punk drums, Highdive feels immediately at home on Phantasy. Having worked closely alongside founder Erol Alkan in recent years to shape the imprint's diverse output, Loveless' collaboration with the Peach Discs founder nods to the electro landscape of the label's earliest days. Having never left dance floors since, Gramrcy & John Loveless take a golden opportunity to plunge dancers into the sublime and the ridiculous.

While a stripped-down ‘Beats Mix’ sees the pair adopt a less-maximal approach, leave it to Schacke to stretch Highdive into hardcore rave heaven. The already-influential Copenhagen artist underscores his refreshing funk in the ‘fast-techno’ scene through which he has risen, turning the screws and upping the tempo with intense but elastic results.

“Babygirl” is the new album by CTM out on Posh Isolation. In its composition channels a sensuous consciousness. The music is like a prism reflecting tactile perceptions, light, movements and memories. Relations between the composed structures and the undetermined of the improvisations, the cracks in the form and the digital glitches, create a poetic and open elsewhere. With a sensibility of pop, the musical landscape moves from nostalgic popballads through the austere pomp of a deconstructed baroque menuet for solo cello, to lingering piano ornamentations and distorted guitars. There is a soft and wild intimacy to the music. Common collective musical languages are weaved effortlessly into the musical canvas, while the form and perspective change and move. With a profound emotional resonance in the music, tenderness and devotion are reflected in the narrative. The sense of nostalgia comes like glimpses of pastimes revisited, when life cycles reveal themselves repeating in the now. Babygirl continues in the track of her latest album “Red dragon”, exploring feverish dreams and personal material through a digital ephemera. Digital effects splinter the intimacy and transform into something more than human, shaking the balance between the codes of the popsong and the unexpected digressions, guided by the voice of CTM that is central throughout the album. The album is produced by Holger Hartvig, Malthe Fischer and Cæcilie Trier. It features vocal and instrumental contributions by Ydegirl, Coco O., Johan S. Wieth (Iceage), ML Buch, Jakob Littauer (Yangze), Emil Elg, Claus Haxholm among others. The album, containing bits and pieces of recordings and compositions made over several years, is like a musical platform with expressions of many voices, and with relations and time weaved into the compositions. Trier is a Copenhagen based cellist, singer, and composer, with her classical training apparent across her many and varied projects and collaborations. Having received critical acclaim from the earliest moments of her career, Trier's previous album 'Suite For A Young Girl' was nominated for the prestigious Nordic Music Prize in 2017.

The Logic of Chaos is the latest release of Elisa Batti for the label One Instrument that gathers music composed over a period of 3 years. Fascinated by the idea of developing pieces with strict and limiting guidelines, the confined environment gave her the possibility to explore and expand the creativity and the freedom of composing. Each single piece has a specific story and is recorded with a different instrument.

“Asa” is produced together with Sebastian Josef Brunnlechner while composing the sound design for an installation. The piece comprises repetitions of a few simple loops layered and arranged over a carpet of long notes played with a bow. The bow has been intentionally played slowly in order to obtain as many overtones as possible. The short pizzicato melodies consist in small and simple repeated loops that appear and disappear dissolving with the other sounds. The intention behind this track is to let the beautiful sound of the instrument speak for itself evoking a dreamy atmosphere.

“Slow Fall” sees the collaboration with the pianist Marko Ivic and has an improvised approach. While Ivic was playing the piano Elisa Batti was processing the sounds on the fly. The piece is based on a minimalistic procedure, where continual loops create a scenographic effect.

“Taiga” includes different patches of the Moog Mother-32 and is an emotive landscape where sounds rise and disappear again, leaving space to thoughts and images.

The EP ends with “Ecstatic” created with the Korg Minilogue. It was part of a commissioned dance piece that afterwards has been readapted for the release. The final outcome sees a more complex and erratic behaviour.

Elisa Batti’s work induces a state where time stands still whilst simultaneously being in motion. Her sound palette is broad and expresses a high artistic achievement.

Third pressing on transparent pink vinyl. At the 2018 edition of Roadburn Festival - a congregation of all things obscure, heavy and experimental in Tilburg, the Netherlands - two generations of Japanese Krautrock genius took to the stage for a live collaboration that was just as hypnotic as it was inevitable. The artists in question were Tokyo's Minami Deutsch and the legendary ex-Can frontman Damo Suzuki. With Minami Deutsch's heady metronomic jams providing the backdrop on which Suzuki was left free to deliver his distinct improvised vocals, the Live At Roadburn LP is challenging, raw and, at times, totally alien. Divided into three parts, from start to finish the LP is consumed by an unrelenting motorik rhythm section that never lets loose for a second. At the flick of a switch, intricate guitars veer from hypnotic and meditative to skewed psychedelic freak-outs drenched in fuzz. Where Minami Deutsch's playing is sharp and meticulous, Suzuki's stream-of-consciousness ramblings steer the music into whatever direction he sees fit. The result is equal parts disorientating, sporadic and totally all-consuming - the only thing keeping you grounded being that distorted and seemingly-endless 4/4 drive. Repetition. Minimalism. Improvisation. Transcendence. That was the ideology of seminal Krautrock pioneers Can, whose 1970-1973 work with Damo Suzuki at the helm unleashed something in music that would change it forever. Some 45 years since Can's final record with Suzuki - the inimitable Future Days - and the spirit of that era still lives on. Not least because ever since then Suzuki has embarked on an endless one-man tour, traveling around the world and taking to the stage backed by countless different bands. Crossing paths at Roadburn, Suzuki's ensuing performance with Tokyo via Berlin-based group Minami Deutsch is now available to relive on wax.

Propelled into the industry at just 19, Foxes was at
the forefront of the pop stratosphere with her
critically acclaimed debut album ‘Glorious’,
Grammy-winning collaboration ‘Clarity’ with EDM
giant Zedd, big name support slots and six singles
in the UK Top 40. In 2017, she decided it was time
to press pause and focus on connecting with
herself.
 ‘Friends In The Corner EP’, available on
transparent vinyl, is ultimately about facing up to
tough experiences that led her to pressing that
pause button, and the effects of having your
confidence and agency diminished.
 The EP features previously released singles ‘Love
Not Loving You’ - her bold, buoyant comeback
single that transports you to the light at the end of
her time away; ‘Friends In The Corner’ on the
fragility and hidden nature of mental health
struggles; ‘Hollywood’, revealing some of the most
challenging experiences she’s had to date,
chasing her dreams to Los Angeles as a young
songwriter; ‘Woman’ with its universal message of
standing up to the unacceptable; new single
‘Kathleen’, an ode to her grandmother and
unheard tracks ‘Courage’, ‘Dance’ and an acoustic
version of ‘Kathleen’.

Club Glow co-founder Denham Audio is no stranger to linking up with friends. Running the label alongside fellow breaksmiths Mani Festo, LMajor and Borai, the rave-focused producer has established the imprint as one of a leading name in acid hooks, lairy basslines and whiplash-inducing breakbeats, and here - on Cheeky Sneakers - he readies the release of five varied cuts of lowend pressure and sky-high euphoria alongside Swankout, Thugwidow and Coco Bryce.

'Good Time' does what it says. A cut of happy-hardcore inspired breaks beamed straight from the Midlands; there is just enough headsy energy to keep the chin-stokers entertained, whilst inspiring an emotional, smiling release for those whose infatuations lie closer to ravey keys and Bangface Weekenders. Swankouts second collaboration - 'Keep On' - is a growling slab of screw-face electro and breaks, highlighting both producers' knack for finding the sweet spot between varying forms of UK music - fast, hardcore and dutty, it's a surefire party starter. Thugwidow is introduced on 'Testing My Patience'; the producer has been making a name for himself with some excellent releases on Sneaker Social Club and Circadian Rhythms, and here he and Denham Audio combine on a chugging steamroller of malfunctioning, soulful riddims.

It's a dreamy meet on 'Close 2 Me' - Coco Bryce recently collaborated with Amy Dabbs on an excellent jungle EP which received support from BBC Radio 1 and more, and here the Netherlands produce brings his native hardcore spirit to the surface on a pitched-vocal cut of jungle-techno.

Seeing out the release is a remix from emerging producer RAVETRX, who has recently enjoyed sessions on Rinse FM and NTS alongside Roni and Hooversound Recordings co-label head Sherelle.

Leicester born Kevin Hewick is still considered a truly representative force of the post-punk counterculture. His first ‘proper’ gig was on a bill with Joy Division, A Certain Ratio and Section 25. He released a couple of records on Factory in the early 80's, then moving to Cherry Red in 1982. His collaboration with The Sound stands truly as his own masterwork. Recorded and mixed at Elephant Studios, Wapping, London on November 3rd, 4th & 5th 1983, this EP still is a refreshing example of their combined effort. The four tracks move along a sort of outsider folkish post-punk, being perhaps his most accessible work ever.

Baby? are Erin Allen (Violence Creeps, High
Castle) and Max Nordile (Preening, Violence
Creeps, Uzi Rash).

 This collaboration sprang from a singular epic
recording session. “Even though we hang 11 times
weekly, shouldn’t we remotely pile on overdubs ad
infinitum for havoc injection?” Did they really say
that? Did they really do all this on purpose?

 For fans of Wild Man Fischer, Minutemen, Electric
Miles, Contortions, The Fugs, Preening.

 Punked-up no-wave improv skronk to get you
going all night.

 Includes poster insert.

Clear Vinyl

I met Thomas Roussel in 2017 at a Pigalle fashion show in Paris. As always with Stéphane Ashpool, the designer of Pigalle, casting is perfect and the clothes are modern and groundbreaking. But my eyes and ears were intrigued by this retro-futuristic instrument next to me, the Cristal Baschet. French composer and conductor Thomas Roussel wrote the soundtrack of the show.
He add this magnificent instrument in his "not very classical" orchestra, this is what I immediately loved with him!
He invited us into his world of classical music with a fresh twist, simplicity and audacity.
At the same time I was scratching my head to find something different to celebrate the 15th anniversary of Ed Banger records.
For a long time I had this idea of mixing both electronic and classical music together. Exactly like my heroes Metallica did in 1999 with the Symphonic orchestra of San Francisco! Thomas Roussel seems the perfect man for this crazy idea. We did Ed Banger 15 together and we became friends.
Thomas Roussel grew up in Dijon, spent his days at the conservatory and his nights at L’An-Fer, one of the most respected Techno club in France. Probably the reason why he ended up working with Jeff Mills, on two projects mixing Jeff’s 909 and a classical orchestra.
By experimenting new ways of using an orchestra, by creating state-of-the-art scenography and producing more ambitious music he quickly became the man in charge of everything "classica". The list of his collaborations is too long and will ruin this little introduction.
It could sounds like this : Chanel, Apple, Cartier, Kenzo, Nike, Dior…
Performing from Paris to Macau, from Monte Carlo to Dubai and from New York to Beijing!
In 2017 Thomas Roussel released his first album as Prequell with Universal Music.
A successful collaboration that really allows Thomas Roussel to become an artist.
In 2022 Ed Banger records is proud to release Thomas Roussel "LATE METAL" a 3 tracks EP.
Where uplifting orchestration and electronic music composing collide. The perfect soundtrack of a block buster movie mixing George Lucas & Christopher Nolan generations. It’s also a marker of our time, music boundaries are explosing. It’s time to hear the London Symphony Orchestra’s strings battling with a Drum’n’Bass beat, a way to DEIFIED classical music.
It’s also a record for your eyes. Art director Andy Picci created an algorthym and gave life to a mercury abstract form. This collaboration
marks the need for Thomas Roussel to always push the boundaries and take his project to another LEVEL.

Diabolical Death Metal titans BELPHEGOR unleash their twelfth studio album!

With “The Devils”, long-running Diabolical Death Metal titans BELPHEGOR unleash their twelfth studio album upon the masses, which proves to be one of the strongest and most elaborate records in the group’s career. Produced at renowned Fascination Studios with Jens Bogren (Kreator, Rotting Christ, At The Gates), “The Devils” sounds absolutely crushing and dynamic, sonically pushing the immense variety of the eight tracks to new heights. Blending German and English lyrics, lead single ‘Totentanz – Dance Macabre’ is as ferocious as it gets with its insane barrage of blast beats, spiteful lyrics, and sinister guitar melodies. ‘Glorifizierung des Teufels’ (= ‘Glorification of the Devil’) and ‘Virtus Asinaria – Prayer’ offer epic, mid-paced grandeur and chanted vocals and choirs adding new shades of black to their stylistic palette. The title-track or ‘Damnation – Höllensturz’ prove to be more complex pieces, shifting moods and tempos with ease and expanding BELPHEGOR’s blasphemous onslaught with fascinating twists and turns. Rounded off by impressive artwork created by Seth Siro Anton (Septicflesh, Nile, Paradise Lost), “The Devils” marks the band’s third collaboration with one of metal’s most prolific designers. Ultimately, “The Devils” is an album that musically builds upon BELPHEGOR’s trademark sound, in essence a combination of traditional death and black metal, deeply rooted in the 90’s, yet boasts with intricate compositions and detailed arrangements underlining their outstanding position within the international extreme metal circuit. Known as tirelessly touring band, BELPHEGOR currently presents a few of the new songs during an European tour with I Am Morbid and Hate before hitting South America in May/June 2022, and an intense festival season including Wacken Open Air, Bloodstock, Sweden Rock and many more.
Mix and mastering by Jens Bogren at Fascination Street Studios Örebro, Sweden. Drum engineering by David Castillo at Fascination Street Studios in Stockholm.
Guitars, Bass and Vocals recorded by Jakob Klingsbigl at Studio Mischmaschine Oberalm, Austria.
Artwork by Seth Siro Anton

In their first outing since They Can't Be Saved, released on Skam in 2020, they enlist British rapper King Kashmere, who features on two tracks. Where James Ruskin has appeared
on Tresor Records for his seminal albums Point 2, Into Submission, The Dash and his recent Siklikal EP, the only appearance of Mark Broom on the label is a 2002 remix of
The Golden Apple by Eddie “Flashin” Fowlkes.

The duo unveiled this new work and collaboration with King Kashmere in a live show for a 30th Anniversary event for
Tresor Berlin televised on Arte, performing amidst a battery of lights and fogged-up refraction. It demonstrated their
rough-hewn fundamentals, roving melodies and investigative power, newly advanced by voice.

Death Switch is the first appearance by King Kashmere, savaging questions on segregation and suering, encoding
into our brains the much-repeated refrain - “You wanna know, why they wanna flip the death switch“. Spinning Globe
captures Kashmere in a gritty flow over a swaggering beat, bouncing and resonant. This unsanded voice lends an
enhanced texture and tension to the highly-processed sonic palette of Broom and Ruskin, accumulating with innate mettle.

Elsewhere, Appi dredges depths as widescreen beats lurk, digital artefacts pave the way to a hauntingly melancholic
coda. Lacovset features singer Ella Fleur who has worked with Mark Broom on his solo release Fünfzig. It enacts a
pointillist gated vocal alongside dolphin-like percussive communications. On LFIVE, the duo embalms their sonic textures with digital eects that flutter austerely with
syncopation in the crosswind of a beat that recalibrates at points.

An urgency slowly draws in on title track Slinky through fizzing electronics and fractured drums all corroded. Eem
locates a semblance of euphoria, with a tranceinducing release led by swirling arpeggios. Closer KZAP finds
the calmest moment on the record, with its wafting, nebulous synths and swamped hip hop beat.

Slinky finds an ever-evolving project, The Fear Ratio shapeshifting by bringing in the voice into their work and
continually pushing with their incredibly-eected rhythmic styles and peculiar, wandering synthesis.

Two years after his first EP Bagarre Bagarre, French artist Julien Granel brilliantly signs the soundtrack of the summer and continues his chromatic odyssey with Cooleur, his solar and bewitching first album. With its orchestral melodies, its pop and funky accents and its explosive collaborations, Cooleur appears as an ode to colorful joy and will certainly shake the heads of cool kids. Julien surrounded himself with Pedro Winter, the boss of the Ed Banger label, the Montreal duo Chromeo and Jean Charles de Castelbajac. Through this deliberately cool album, stuffed with irresistible grooves, burning jams and feel-good nuggets, Julien Granel rolls out the red carpet for us for a super cool summer.

Choki Biki Records is proud to present: Coakley Collabs Vol.1! A new collaboration EP curated by DJ and Producer Josh Coakley; a Dublin based DJ & Producer. Coakley Collabs Vol.1 consists of six Techno orientated collaborations between Josh Coakley and other Irish talent including; blk., Sharpson, jxck, KIRK, Karl Seery and Black Traffic. Each track varies between a blend of Acid, Electro, Trance and Breakbeat, under the umbrella of Coakley’s signature Techno sound. Josh Coakley & Karl Seery – W.O.T.U You might be familiar with the introductory track: W.O.T.U by Coakley and Dublin producer Karl Seery, as it has already received serious airtime on BBC Introducing thanks to Jaguar. This techno banger features an array of rave stabs and classic hardcore breaks, which perfectly represents the collaboration between Coakley’s signature techno sound, and Choki Biki’s Nu-Rave aesthetic. Josh Coakley & blk. – Detroit Next up is Detroit featuring prolific techno producer blk..This dubby – techno track features the iconic acapella of Fedde Le Grande’s iconic ‘Put Your Hands Up For Detroit’. Its use of 808 programming gives an authentic replication of the early Detroit techno productions. Its contemporary hard-hitting nature is influenced by the likes of FJAAK, which blends nicely with its clear influence from Jeff Mills. Josh Coakley & Black Traffic – Fade To Grey Fade To Grey comes from Josh Coakley’s Collaboration with Scott Prendergast AKA Black Traffic. The pair have composed a track that tows the lines between Trance and Melodic Techno. Black Traffic’s signature use of rich textures and melodies contrast with Coakley’s ‘in your face’ techno drum programming. Fade To Grey is already making the rounds in Irish clubs as it was featured in Four Four Magazine as track of the week. Josh Coakley & KIRK – Illusionist Illusionist is an Acid Techno track from Coakley and Carlow based producer KIRK. Illusionist steers away from the direction of the ‘retro’ Detroit sounding Techno and moves towards the more atmospheric sounds of European Acid Techno producers such as A.S.Y.S. & T78. Its arpeggiated 303 programming and use of psychedelic vocal samples creates an atmosphere that would be right pounding throughout a club in Amsterdam. Josh Coakley & Jxck – MYB Next up is MYB, an Electro-Breaks collaboration between Coakley and Jxck. This syncopated belter is sure to make you do exactly what it says on the tin; Move Your Body! Featured by the one and only HOUZ, this Break track has already seen serious support from Techno and Electro DJs alike. With a return to a ‘4 to the Floor’ beat halfway through, this heavy hitter is sure to keep an audience on their toes. Josh Coakley & Sharpson – Who’s In The Garden (feat. Wax White) The Final Track of Coakley Collabs Vol.1 takes a total turn with Who’s In The Garden?. This track is a double collaboration between Coakley, Choki Biki label boss Sharpson, and Irish Hip-Hop group Wax White. This high tempo breakbeat track has a cheeky, lighthearted nature to it thanks to the use of happy hardcore sounding synths and Wax White’s hilarious Dublin Mannerisms thrownout throughout the track. The track comes to a screeching halt with an Electro Breaks breakdown supplied by Sharpson. Coakley’s intricate arrangement and production skills really shine through in this final track, as its numerous ideas fit tightly knit together.

YUNG DUMB Records and Model Future present Wade Galaxy. A collaboration between Toronto-based AZARI, Butr, and vocalist Jeremy Glenn. The trifecta comes forward with an EP that will bring you through a modular soundscape of love, lust, and distrust inside the hypercube. The A-Side is a hazy fusion of R&B and slowed electro, accompanied by Jeremy Glenn's ethereal vocals. The B-Side provides a room shaking cerebral 2-step remix of 'Phaze' by James Bangura of Black Rave Culture via Washington, DC

‘Mehldau can truly translate his thoughts and feelings into complex and lasting music. He is one of those people whose brain and fingers and musical ability is all one beautiful entity.’ – Jamie Cullum

Nonesuch Records releases Brad Mehldau’s Jacob’s Ladder on 2 x 140g black vinyl on June 17th . The album features new music that reflects on scripture and the search for God through music inspired by the prog rock Mehldau loved as a young adolescent, which was his gateway to the fusion that eventually led to his discovery of jazz. Featured musicians on the album include Mehldau’s label mates Chris Thile and Cécile McLorin Salvant, as well as Mark Guiliana, Becca Stevens, Joel Frahm, and others. The album’s first single, ‘maybe as his skies are wide’, builds off an interpolation of one portion of Rush’s classic ‘Tom Sawyer’.

Mehldau explains, “We are born close to God, and as we mature, we invariably move further and further away from Him on account of our ego. Jacob’s Ladder begins at that place closer to God with the voice of child, and then moves into the world of action. God is always there, but in our discovery and conquest, and all the joys and sorrows they bring, we may lose sight of him. He sets a ladder before us though, like in Jacob’s dream, and we climb towards him, to find reconciliation with ourselves, to stitch up all those worldly wounds and finally heal. The record ends with my vision of heaven – once again as a child, His child, in eternal grace, in ecstasy.

“The musical conduit on the record is prog,” Mehldau continues. “Prog – progressive rock – was the music of my childhood, before I discovered jazz. It matched the fantasy and science fiction books I read from C.S. Lewis, Madeleine L’Engle and others at that time, aged ten through twelve. It was my gateway to the fusion of Miles Davis, Weather Report, Mahavishnu Orchestra and other groups, which in turn was the gateway to more jazz. Jazz shared with prog a broader expressive scope and larger-scale ambitions than the rock music I had known already.

“The prog from Rush, Gentle Giant, and Emerson, Lake and Palmer here only hints at the genre’s conceptual, compositional and emotional range. These bands and others have continued to influence newer groups that bring prog impulses into the arena of hard rock and screaming math metal, like Periphery, whose music is included here, and also inspired the screaming vocals on ‘Herr und Knecht.’ I tried to avoid a direct tribute approach to all the songs, and opted in some cases for excerpts, or reworking of themes.”

Although Brad Mehldau is best known as a jazz composer and improviser, he has made several albums that fall outside of the mainstream jazz genre, including his 2001 Largo, produced by Jon Brion. Wide-ranging in texture and big in scale, it features woodwind or brass ensembles are on several tracks, as well as a heavy emphasis on powerful drums. In 2010, Nonesuch released his second collaboration with Brion, Highway Rider, which includes performances by Mehldau’s trio – drummer Jeff Ballard and bassist Larry Grenadier – as well as drummer Matt Chamberlain, saxophonist Joshua Redman, and a chamber orchestra led by Dan Coleman. Mehldau also orchestrated and arranged the album’s fifteen pieces for the ensemble.

Mehldau’s 2014 collaboration with Mark Guiliana, Mehliana: Taming the Dragon featured Mehldau on Fender Rhodes and synthesizers and Guiliana on drums and effects, playing twelve original tunes – six by the duo and six by Mehldau. His 2019 album Finding Gabriel featured performances by him on piano, synthesizers, percussion, and Fender Rhodes, as well as vocals. Guest musicians included Ambrose Akinmusire, Sara Caswell, Kurt Elling, Joel Frahm, Mark Guiliana, Gabriel Kahane, and Becca Stevens, among others.

AUF TOGO is the long-time collaboration of Sasa Crnobrnja
(from In Flagranti and Mytron & Ofofo) and Clement Cachot-Coulom
(from The Fabulous Penetrators and Big Girls).

After multiple singles and EPs on Leng Records and SaS Recordings, including two collaborative EPs with the tentacular outfit Becker & Mukai, acclaimed by fans and DJs alike, most of their time has been spent writing, recording and bringing to life the 8 amazing tracks that form their debut album “Movements”.

“Movements” follows in the steps of Auf Togo’s previous releases and won’t disappoint the early fans, but it also offers a completely new proposition. Their signature blend of slamming percussion, driving bass lines, psychedelic guitar hooks, fat analogue synths are expertly mixed with new musical ventures across the tracks: from the louche Hawaiian jazz of Along The Dotted Line to the psych-funk of Pan Con Tomate, the electronic wanderings of Mexico to the cinematic intensity of Radical Departures.

The result is a spell-binding summer album, one to listen to on a coastline somewhere under the Mediterranean sun, and one that is not afraid to wear its many influences on its sleeve, from 70s psych-rock to Balearic Beat, Space Disco and Afro Beat. The scope of “Movements” is wide and proves a captivating and gratifying listen.
Debut album from supergroup with members of In Flagranti and Mytron & Ofofo Pressed on 12” vinyl with artwork drawn and designed by Award winning animator Erica Russell UK/EU marketing campaign led by Neighborhood and specialist press/DJ by Your Army, with previous support from Mixmag, Trax, Ransom Note, NTS, Bill
Brewster, Andrew Weatherall and more.

Marc Brauner makes his return to the label, this time collaborating with fellow Berliner, Ulrich Harrison - better known by moniker Tender Games - on five summertime sweeteners.

These two producers are no stranger to working together, co-running their own imprint, Nostalgics Records in their home town of Berlin. This collaboration then came together naturally, and represents the ideal blend of Marc Brauner's syncopated rhythmic tendencies, and Tender Games' musical antecedents in soul music and penchant for instrumentation.

'Concrete Jungle' epitomises this fusion: a two-step rhythm carries a deep bassline which cruises beneath a blissed-out trumpet melody. 'You Keep Me Up' and 'Listen' are skippy old school bangers, the former complete with anthemic piano stabs a la Manix and Inner City and the latter peppered with blithe whispers of a saxophone. 'It Makes Me' follows suit, substituting hi-hats for a focus on funk-inflected low ends before the UKG-leaning 'Violation' draws things to a close with MC vocal chops and bass womp ruffage.

Concrete Jungle EP drops 17th June 2022 via Shall Not Fade

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.

Fresh from delivering standout performances at Berlin’s renowned Panorama Bar and Amsterdam’s DGTL, Theo Kottis presents his first solo release on Permanent Vacation, the sparkling ‘On Your Mind’ EP, released on 1 July (vinyl & digital).

The creation of the six tracks on ‘On Your Mind’ EP, provided moments of escapism for Theo Kottis, during the depths of lockdown 2020. His nods to synth pop and italo fun, inspired by bands of the new wave era, are intended to bestow upon the listener those same blissed out moments. There’s more to these tracks than meets the ear, particularly stand out ‘On Your Mind’, the product of relentless pursuit. For Theo, the collaboration with Permanent Vacation was long awaited and is a memorable mark within his thriving career.

Theo Kottis said: “Thrilled to finally share these tracks, I worked on them 2 years ago and was fortunate enough to find them a home at Permanent Vacation, which has long been one of the labels I've admired most. As these tracks were a solo lockdown project, I've loved collaborating with PV on the release - particularly the creation of the vinyl. Next up - I can't wait to play them out IRL in parties this summer.”

Edinburgh-born and now London-based Theo Kottis is set for a big summer with a host of high profile worldwide festival and club dates, with forthcoming dates including his Beautiful Strangers label Off Sonar showcase party in Barcelona with KiNK, Saoirse, & a B2B with Ryan Elliott, Warehouse Project, El Dorado Festival, Ijland Amsterdam, Pikes Ibiza and Lost Village Festival.

In 2018, artists Haroon Mirza and Jack Jelfs spent two months in residency at CERN, the European Centre for Nuclear Research, and home of the Large Hadron Collider. From this collaboration the artists created the fictional reality of 'The Wave Epoch', a sprawling multimedia artwork drawing influence from science, mysticism and the nature of belief. ‘The Wave Epoch’ project spans live performance, film, art installations and their critically acclaimed 2020 album of the same title.

'one1one' is the latest transmission from this same universe, a magical incantation spoken by Jessica Barter, with words filtered through Google Translate to produce what the artists describe as “algorithmic mysticism”. This release presents remixes by Fracture and Jack Jelfs, alongside the original album track by Mirza and Jelfs, here on vinyl for the first time.

Experimental drum n' bass artist Fracture has transformed Mirza and Jelfs’ raw materials into a heavy 160 BPM workout that harkens back to the Blue Note-era Metalheadz sound of the mid-nineties, a crunching minimalist construction of metallic breaks and analogue sub bass. Accompanying his track is an AR (augmented reality) work by Scott Utting and Mirza.