Search:the flash

Underground hip-hop icon and Miami rapper Pouya kicks off 2025 with his seventh studio album, Suicidal Thoughts in the Back of the Cadillac, Pt. 3 - serving as an unofficial spiritual successor to his 2024 album, THEY COULD NEVER MAKE ME HATE YOU. After a successful run as direct support to $uicideboy$’ Grey Day 2024 Arena Tour, it’s clear that Pouya has cemented himself among the top artists from the alternative / cloud-rap scene from the mid 2010s. With a rabid fan base primarily built from the ground up, and without the flashy mainstream features or press looks, Pouya has established himself as a staying power in a lane that typically sees artists rise and fall in accordance with today's modern attention span. Continuing to super-serve his fans, Pouya will be embarking on a nationwide tour in North America in 2025.

Spacey Jane are an Australian indie rock band formed in Fremantle in 2016. Following a year-long hiatus from live performances, Spacey Jane announced in January 2025 that their third studio album, If That Makes Sense, would be released in May. It was announced alongside the release of lead single "All the Noise". If That Makes Sense explores the difficulty and uncertainty that arises when articulating any feeling across the full spectrum of human emotion. Having total knowledge that nobody is able to truly comprehend the complexities that life has presented to you, but still trying to get the words out anyway. If That Makes Sense is an emotional flip book through time, a set of flashbacks and vignettes, an attempt to rearrange the disorder into something ordered. Where you are today is the result of all these fragments and experiences. -Caleb Harper

Remember: you could be dreaming. Sinking or flying, sound-catching or singing. Witnessing a distant storm in silence, how it exposes purple clouds in unpredictable flashes. Hearing a submarine eruption and finding natal comfort in the warm, fragrant smoke that only wants to sheathe all your edges. The circus has left, only placards remain. And the snow. Look how the flakes sway to your feet without effort - any distance is misleading, illusory. There’s only dream and memory – the two wings of a bird that flaps with an ocean wave, blinks with an eye of a lighthouse. Fragile, you could be dreaming not alone, holding hands with the core of things. The molten core, like touching ice. You could be dreaming. Dreaming in perfect memories of shapes imperfect. Dreaming of the earth raining from the sky, of the wind inside the sea, of the lighthouse & the ship kissing, of exotic fishes in the bay of your ear. Everything is real. If you play. If you dare to ignore the margins. Echoes go on forever. They play with themselves in a stream of mirrors. Echoes of a forgotten language, of a language unwritten - a soothing, indifferent creole that reconciles feeling with understanding. Bathe in the fountain at the source of resonance. Bathe in the clouds on the eyes of intimate strangers passing. Disappear. Disappear and be seen, like the moonlit mist behind your eyes. And sway between hope and wisdom.

All songs written, performed and produced by Sasha Vinogradova and Alina Anufrienko
Recorded in Garnet village, Dmitrovsky region, Russian Federation (February 2020)

Contemporary Belgian techno powerhouses Charlotte de Witte and Amelie Lens come together on a groundbreaking new “One Mind” EP.

Between them, this pair have very much refined the sound of techno over the last few years. Both hail from Belgium, and both came up through the clubbing scene with their own unique interpretations of techno and its many different nuances.

Charlotte de Witte, a global techno icon and founder of the KNTXT label, has released numerous EPs with a focus on acid and techno, blending in trance and ambient into compelling club cuts. With millions of fans, she also has a history making presence in underground clubs, at electronic music festival main stages like Tomorrowland and Ultra, and crossover festivals with her recently completed production tour "Overdrive". She’s also been crowned DJ Magazine’s World’s Number 1 Techno DJ five years in a row. Through KNTXT, she innovates with ventures like the archival Époque label, immersive pop-ups and spontaneous street parties. Poised for a groundbreaking 2025, she remains at the forefront of revolutionizing the electronic music landscape.

Amelie Lens, the leading figure in modern techno, is known for her exceptional productions and performances. Beyond music, she is a proud mother, record label owner, and activist. She founded Exhale and LENSKE, two globally recognized labels and event platforms celebrated for their inclusivity and unique on-site experiences. Exhale focuses on nurturing fresh talent, signing its youngest artist at just 16 years old. Amelie made history as the first woman with a residency in Ibiza and is now collaborating with Vogue Collective, becoming the first techno artist to do so. Her strong relationships with top designers like Chanel further highlight her creative vision beyond music. From festival appearances at the biggest festivals in the world to performances at iconic venues like The Sphere in Las Vegas, Amelie consistently pushes boundaries, shaping the future of electronic music.

To enhance the unified concept of the EP, both Amelie and Charlotte’s voices are subtly layered into the tracks, together, as one.

The brilliant 'One Mind' kicks off with rock solid, earth rattling kicks and intimate vocal whispers that draw you in close. Flashy, strobe lit synths soon electrify the groove and ensure hands will go skywards as acid lines bring extra drama. 'Where Do We Go' is another fantastic, turbocharged and acid-laced trance-techno gem with high-speed drums and synths racing along under icy spoken words that bring spine tingling sensuality.

This is a super coming together of two of modern techno's most potent creative forces.

Cutta Chase is a UK-based rap artist known for his deeply introspective lyrics, spiritual overtones, and conscious hip-hop sound. Blending raw emotion with poetic flow, Cutta Chase often raps about inner struggles, personal growth, and the pursuit of higher truth, setting him apart from mainstream rap trends. His delivery is smooth yet intense, often laid over ambient, lo-fi, or boom-bap-inspired beats that complement his reflective style.

With the new album "Insomnia" we see Cutta Chase team up with Brighton based producer Bay 29. Together they produce music that feels more like a journey into the soul than a simple listening experience. Ideal for those who seek meaning, mindfulness, and authenticity in their music.

Team TD take a break from re-scoring Colin McCrae Rally to pay our own oddball homage to some of our DJ deities in the form of Talking Drums Volume 8.
Keeping things diverse-yet-disco, this little mover grooves through Muzic Box pump, Lofty symphonics and a Ku-curveball with a smile on its face and a pep in its step.

The A-side erupts in a flash of sexy Euro-NRG, twisted and lifted to give any sweatbox a massive Hardy-on. Sequencers throb, swell and burst, horns wail and not one, but two, killer basslines blast the floor with erogenous urgency. Chuck in a coquettish vocal, delay madness and a fist pumping breakdown and you've got pure peak-time play folks.

The B1 belongs to the sumptuous strings, loose funk and live disco strut of 'Too Hot'. Low slung, low tempo but plenty punchy, this classy cut builds and builds through Merc-y repetition before blooming a fully fledged groover. Taut funk breaks sit beneath a floor-filling vocal and twinkling Rhodes, the wah guitar works overtime, and it all adds up to take the dance floor temperature sky high. Enjoy on a hi-fi sound system with plenty of spiked punch.

The curtain call comes via the alfresco flamenco-frenzy of Ronseal-approved 'Maximum Balearic Dancer', which does exactly what it says on the tin. The TD troupe takes a tiny snippet of Swiss fusion and fleshes it out into the fully fledged floor-filler it always deserved to be. Blessed with a buoyant bassline and balmy mood, this beauty sways along through some weird but wonderful synth riffs, holding you close for that soul-soaring piano solo.
Sometimes you gotta wake up on a beach naked.

Limited Press - Numbered Insert - Drum Fun Guaranteed. .

LA-based composer/producer/guitarist Dustin Wong returns to Hausu Mountain with Gloria, his third album on the label since 2018. Wong has established a multifaceted career over the last two decades that encompasses his solo work centered around guitar performance and live looping, roles as a guitarist in Baltimore-based bands Ponytail and Ecstatic Sunshine, and a wide catalog of collaborations with artists including Takako Minekawa, Good Willsmith, and Patrick Shiroishi. In composing his solo music, Wong has always transmuted his own life experiences into the thematic source material for emotionally resonant works rippling with fine-grain details and intricate looping architectures. With Gloria, the composer channels specific memories and pieces of his family history into a deeply personal narrative arc focused on his grandmother Gloria Violet Lee Wong, who passed away in January 2024, just shy of her 96th birthday. Using a road trip they took together down the west coast of America in 2023 as the direct inspiration for the individual scenes and flashes of imagery that form the album’s continuously unfolding structure, Wong presents Gloria as a memorial to her storied life and a celebration of the warmth and kindness that characterized their close relationship. A moment-to-moment travelogue that zooms out in its full scope to evoke a multi-generational memoir that spans decades and continents, Gloria gives Wong space to open his heart and uncover his roots — all while experimenting with new techniques in live performance and sound design that lead his music into territories that he has never before explored.

***
A death fog veil
covered the masks
I left behind
My breath was iced,
blind.
***

Next up in the Mr Bongo Cuban Classics series is an outing by the mighty Juan Pablo Torres from 1978. Released on Cuba’s state-owned Areito imprint, Algo Nuevo showcases trombonist, bandleader, arranger and producer Juan Pablo Torres' unique scope of sound. A melting pot of an album that weaves together jazz-funk and traditional Afro-Cuban genres with tripped-out synth touches and dancefloor grooves.

The opener 'Pan Caliente' is a fiery celebration, combining a driving groove with Latin percussion, feverish horns and infectious “la-la-la” vocals. The wild, squelching cosmic synthlines give an otherworldly touch to proceedings that sit nicely on a modern dancefloor. 'Guajira 2001' is perhaps Juan's future-focussed take on the vibrant style of Cuban dance-led music called guajira. Blistering bongos, congas and claves moving together with trumpets, trombones and twanging acoustic guitars that you can’t help but bounce to.

Other highlights include, 'Cacao', a Cuban cosmic funk strutter that places the claves upfront, with a scatting vocal line and percussive climax reminiscent of George Kranz electronic disco anthem 'Din Daa Daa' from 1983. Elsewhere, 'Elvira' further showcases the psychedelic essence of many of the album’s tracks. A deep Latin workout where tasty percussive breaks and scorching keys blend with trippy vocals and rumbling synths.

A varied album encompassing a variety of Afro-Cuban genres and rhythms entwined with flashes of mind-bending cosmic influence. Algo Nuevo is a further jewel in Cuba’s musical crown of riches, with plenty of dancefloor treats and downtempo numbers held within

A sprawling patchwork of the artist’s dreams and fears, Parannoul’s third album After the Magic explores the enigmatic solo artist’s life in the wake of his second album’s overnight success.

Expanding on the shoegaze-shaded emo that made Parannoul’s To See the Next Part of the Dream so beloved by lo-fi and indie rock fans alike, After the Magic sees the anonymous auteur striving to write a follow-up as worthy of acclaim as the last.

Across the album’s ten songs, Parannoul plunges yet deeper into his diverse pool of influences, coming back to the surface with a record that captures and extends the magic of its predecessor. Unexpected flashes of orchestral ambient and glitched-out electronica meld seamlessly with Parannoul’s signature passages of noisy, distortion-laden shoegaze, offering a real time glimpse into the maturation of one of indie rock’s most exciting artists.

In the artist’s own words, “This album is not what you expected, but what I always wanted.”

Brown Horse are excited to announce their second album, ‘All The Right Weaknesses’, out April 4th 2025 on Loose Music. The group returned to Sickroom Studios in Norfolk following a multi-month European tour. Road tested and road worn, the band tracked these eleven songs in a whirlwind week of live takes. Building on the stark twang of their debut album, ‘Reservoir’ (9/10 Uncut, **** The Times, **** Mojo), ‘All The Right Weaknesses’ sees an energised Brown Horse meld slacker-rock, folk, and alt-country – equal parts Lucinda Williams, Jason Molina, The Breeders and Silver Jews. Weary, wry and disarmingly honest, these songs flash a smile at the dark and strange. With contributions from the band’s multiple songwriters, the record is a patchwork far greater than the sum of its parts.

Fraufraulein, the San Francisco duo of Billy Gomberg and Andy Guthrie, are master world builders. Their work is immersive — it wraps around you like a warm coat, guiding you deep into a trance-like state. Time moves in slow circles, folds in on itself, and unspools like caught fishing line. It’s tempting to say Guthrie and Gomberg construct a new reality with their work, but I think they’re revealing the contours of familiar territory, gluing together a complicated mirror more than constructing a quotidian diorama. Their music reflects a truth that we all share in some way. It’s the pauses between thoughts, the little observations that color a day, the beauty of how others’ lives imbricate for brief moments before pulling apart completely. Fraufraulein’s music feels beamed from inner space, the soft parts of our consciousness that glow like a flashlight beneath fingertips.

It’s also tempting to call Greater Honeyguide, the duo’s new record — and first in four years — a tool for fostering presence. Each composition can serve as a meditative space, and observing the quietly unfurling layers of sound — a footfall and a quiet breath, scraps of overlapping melodies sung like notes to self, synthesizers droning lightly in the distance — can be a very calming, grounding experience. But I also love to let these pieces guide me through the sulci of my brain like a slot canyon, emerging at some long-forgotten memory or idea. Think of it as a passively-active experience, like looking out of a train window, watching the scenery blur together. At the end of the album’s 37 minutes, I feel transformed. Not necessarily different, just in tune with something else. Something beyond. Something within.

Los Angeles-born music producer, artist, and DJ DF Tram is thrilled to announce the release of his highly anticipated new album, Bittersweet Afternoon on Orbscure Records. Orbscure Records, founded by Alex Paterson of the legendary electronic act The Orb, continues its tradition of championing innovative and boundary-pushing artists with this remarkable release. DF Tram is a leading figure in the global downtempo electronic scene, celebrated for his meticulously crafted audio-visual performances and immersive storytelling through sound. His work seamlessly blends ambient, sampling, spoken word, vocals, and psychedelia into genre-defying sonic journeys, offering listeners a unique and transformative experience.

Wie Hip-Hop nach Hamburg kam
Die Compilation ist als Zeitreise zu den Anfängen der Hamburger Hip-Hop-Kultur konzipiert und umfasst über 100 weitgehend unveröffentlichte Songs und Skits. Begleitet wird das Triple-Vinyl von einem 96-seitigen Booklet, das von den frühen Jahren von Hip-Hop, Rap und DJing in Hamburg erzählt. Präsentiert wird das Werk von den Herausgebern des Buchs und den Kuratoren der Museumsausstellung EINE STADT WIRD BUNT.

Kennt eigentlich noch jemand Easy Business? Was wie ein Ratgeber Video auf YouTube klingt, ist der Name einer der ersten Hamburger Rap-Gruppen. Die vierköpfige Formation aus Steilshoop gründete sich schon in den späten 1980er Jahren und begann bald erste englischsprachige Texte zu schreiben. 1989 nahmen sie gemeinsam mit Mario von Hacht den Song „Money“ in einem Jenfelder Jugendzentrum auf.
Als House-Produzent verfügte Von Hacht über ein vergleichsweise schon recht ansehnliches Produktions-Equipment. Selbst die legendäre Roland TR-808, analoger Drumcomputer und Allzweckwaffe von Hip-Hop-Produzenten, war bereits 1989 Teil seines Maschinenparks. Nur hatte er sie eben nicht für Rap genutzt – bis Easy Business anklopften. Und so öffnete ein Musik-Nerd und Technik-Freak dem Hip-Hop eine Tür in Hamburg. Von Hachts Offenheit für den neuen Musikstil sollte sich auszahlen: 1995 produzierte er mit „Nordisch by Nature“ den ersten Chartstürmer von Fettes Brot.

Es sind Geschichten wie diese aus der Gründerzeit des Rap in Hamburg, um die sich die 3-Vinyl-Compilation EINE STADT WIRD BUNT dreht. Unter den über 100 Songs und Skits aus den frühen Jahren des Rap in Hamburg finden sich neben dem Song „Money“ von Easy Business auch ein Mitschnitt eines Auftritts der Gruppe in der Fabrik im Mai 1991.
Von frühen Aufnahmen von MC Africa True, der später unter dem Namen Nana einige Hits landen würde, bis zu den Britcore-Veteranen von Readykill, von 2 Ruff, deren Mitglied Simple Simon zu den ersten Hip-Hop-Produzenten der Stadt gehörte, bis zu den Reim Banditen, die als eine der ersten hiesigen Bands mit einem Majorlabel-Vertrag als Hamburger Antwort auf die Fantastischen Vier positioniert werden sollten, vereint das Triple-Vinyl eine einzigartige Sammlung musikhistorischer Zeitdokumente. In Kombination mit dem begleitenden Booklet vermitteln sie ein authentisches – und überaus unterhaltsames – Bild von den Anfängen des Rap in Hamburg.

Nach dem preisgekrönten, 2021 erschienenen Buch „EINE STADT WIRD BUNT. Hamburg Graffiti History 1980-1999“ und der gleichnamigen Ausstellung, die bis Anfang Januar 2024, als eine der erfolgreichsten aller Zeiten, im Museum für Hamburgische Geschichte gezeigt wurde, folgt mit der Compilation nun also eine weitere Dokumentation Hamburger Subkultur Geschichte der 1980er und 1990er Jahre. Im Fokus diesmal: die Pioniere des Rap in der Hansestadt.
Zum Team hinter dem Triple-Vinyl gehören neben den vier Herausgebern von EINE STADT WIRD BUNT. Oliver Nebel, Frank Petering, Mirko Reisser und Andreas Timm drei ausgewiesene Kenner der deutschen Hip-Hop-Szene. Oliver Herbst, einst DJ der Hip-Hop-Band City Nord, betreibt heute ein Musiklabel, auf dem die Platte erscheint, und konnte im Zuge der Recherche an viele alte Kontakte anknüpfen. Ebenfalls mit an Bord: der langjährige Chefredakteur des Hip-Hop-Magazins Backspin Dennis Kraus und der Musikjournalist und Moderator Falk Schacht.
Über einen Zeitraum von über zwei Jahren hinweg hat sich das Team auf Recherche begeben. Sie nahmen Kontakt zu Bands, Rapper*innen, DJs und Produzenten auf, die in den 1980er und 1990er Jahren in und um Hamburg aktiv waren. Sie sichteten und archivierten unzählige Stunden von Radio-Shows, Tapes, Demo-DATs und Live-Mitschnitten und führten Interviews mit Hip-Hop-Pionieren aus der Hansestadt. „Unser Ziel war es, ein kaum beleuchtetes Kapitel Hamburger Subkulturgeschichte zu erzählen“, sagt Mirko Reisser.
Begleitet werden die Platten deshalb von einem rund 80-seitigen, reich bebilderten Booklet im Vinyl-Format, das in aufwändig recherchierten Texten nachzeichnet, wie der neue Musikstil ab Mitte der 1980er Jahre in Hamburg langsam heimisch wurde. Zu den zentralen Themen dieser Erzählung gehört die Abwesenheit von technischem Equipment – und der Umgang der jungen Szene mit diesem Mangel.
Ein Vierspur Kassettenrekorder musste für die ersten Aufnahmen im Kinderzimmer reichen. Und wer DJ werden wollte, übte Scratchen mit dem Plattenspieler der Eltern. Anders als heute, wo man mit einem Smartphone in der Hand theoretisch ein Millionenpublikum erreichen kann, stellte die Aufnahmetechnik damals eine große Hürde dar. Wer jedoch über die technischen Voraussetzungen verfügte, Songs aufzunehmen, wurde schnell zur Anlaufstelle für die junge Rap-Szene.
Parallel zu dieser Ära der Technik-Autodidakten, öffneten die Rapper*innen der frühen 1990er Jahre ebenfalls ein Fenster in eine neue Welt: Indem sie anfingen, auf Deutsch zu rappen, grenzten sie sich bewusst von den amerikanischen Vorbildern ab und schufen ein ganz neues Selbstbewusstsein der jungen Subkultur. Und ganz nebenbei auch ein ganz neues Bewusstsein für die Möglichkeiten der deutschen Sprache. „Hier wurde etwas gänzlich Neues erschaffen“, sagt Oliver Herbst.

Viele Künstler, die auf der Compilation vertreten sind, dürften heute nur noch echten Hip-Hop-Nerds bekannt sein. Doch es finden sich auch bekannte Namen auf der Tracklist. Jan Eißfeldt etwa, der heute solo als Jan Delay oder als Teil der Beginner Konzerthallen füllt. Oder Fettes Brot, die von einem Hip-Hop-Trio aus dem Hamburger Umland zu einer der erfolgreichsten deutschen Popbands der Gegenwart heranwuchsen. Oder Deichkind, die zu einem massentauglichen Universal Kunstprojekt avanciert sind.

Wie schon das gleichnamige Buch und die Museumsausstellung, so blickt auch die Compilation EINE STADT WIRD BUNT. hinter die Kulissen einer jungen Subkultur – und erzählt parallel spannende Kapitel Musik-, Technik- und Stadtgeschichte aus der Hip-Hop-Hochburg an der Elbe.

INTERPRETEN
Fettes Brot, Absolute Beginner, Deichkind, Das Bo, Ferris MC, Mr. Schnabel, Sleepwalker, Kastrierte Philosophen, Mellow Mark, David Fascher, Easy Business, Reim Banditen, Readykill, TobiTob, I.L.L. Will, City Nord, MK Cram (Poets of Peeze), Dialektik, 2 Ruff, Nina, Flashmaster Ray, Dennis Deutschland, 2BIAS, MC Africa True alias Nana, Vers Chaoten, Die Erstausgabe, THC (Ter Hartchor), R.A.F. (Reimende Antifaschisten), Direkt Aktion, Fogmoor, Syren, Mental Disorda (Crime Code Barets), Dennis the Menace, Selma, 08/15, Hamburg Royal, Skunk Funk, B-Low, Gizmo, AJ, SMG, Phantom Black, Leon Le Pro alias EL’OMC, Paolo 77, Monti, Hanseknaller, Schlechta Umgang u.v.a.

ZITATE VON
André Luth, Jan Eißfeldt, Mathias Arfmann, Ale Dumbsky, David Fascher, Fatih Akin, Carsten Bohn, Schiffmeister (Björn Beton), Pasha Kamber (DJ MPK), Boris Ekambi, Sleepwalker, Mr. Schnabel, Nana Abrokwa, Simon Vegas u.a.

PRODUCER
Mario von Hacht (Super Mario), Sleepwalker, B-Base, Bubblez, TobiTob, X-Ray, Simple Simon

16 GB Flash Drive, golden key USB.
Includes all the tracks on DUPLOC released since DUPLOC100 up to and including DUPLOC140.
183 unique tracks in WAV.
Individually numbered (edition of 300) with wooden box.

LIVE set in 2 parts (A side / B side)

Industrial and uncompromised experimental zone melting Speedcore to Ambizent Industrial Msuic.
Abstract... pushing the flashcore out of itslef !
A record bringing something unheard before !!

Superb printed sleeve, Green Vinyl.

Here for the year 2025 the new EP Voume 3 by producers Marco Fratty, Marco Flash, Alex Time.
Following the footprints of the previous volumes 1 and 2, this album also retraces Afro - Funk - Electronic Music sounds.
the production was taken care of in the sound by Marco Fratty (FPI Project).

Some record crates deserve a sub-category called 'play it again, Sam'. tracks that spin on the turntables without a push. Funk Kraut, Zombie Zombie's second LP on Born Bad, is of this kind. This well-proportioned classic is a fine example of the style the trio has been embodying: instrumental for synths and drums music played live. This time it was a quick affair, recorded by Laurent Deboisgisson in the studio of Cheveu's singer. A pretty straightforward job, and a far cry from their previous concept album. Let us praise Krikor Kouchian's mix: drums have been resampled with some restraint, and that Linn Drum kick lightens up the overall mix. It marks a notable evolution in the band's sound, and adds some dynamic. The album kicks off with 'No cruise control', a big bad sedan that effortlessly eats up the distance at 120 BPM. Kraut as can be, with a twist. And as far as funk goes, it's not Bootsy Collins, but there's a whiff. Space is structured by synth patterns, for optimized drumming : forward, straight and fluid, top-notch suspension (Cosmic Neman / Dr Scho?nberg take care of business on drums). They treat themselves to a diversion via Darmstadt to take some musique concrete on board : mechanical birds chirp, the odd atonal piano here and there. Nerds will appreciate liner notes detailing the equipment used : about twenty synths and they still describe it as minimal. With 'Densite?', we've just passed a polyphonic milestone: outright chords ! Long, suspended pads, pierced only by fat claps. Clapping hands are not far off. The band shows it has mastered concise pop formats. That same vibe can be found in 'Jungle the Jungle', paradoxical tune, catchy and moody at once. You'll get some brass riffs in 'Helix', which takes off on a synth moving from one speaker to another to herald the crash of syncopated drums to come.Zombie Zombie sounds ready to write themes for niche TV series.'Aurillac Accident' documents a haphazard soundcheck which, once in the studio, became a bitter ballad, breaking apart into dubby gravy. Live with two drummers performing, this aspect showcases in 'Snare Attack' and 'Double Z', with its jogging hi-hats and creepy little toy piano motifs. Cardio levels are high on 'Dodorian', perfect track for depraved spinning classes, with its moving filter, disco arpeggios and flashes of synthetic brass. 'Magnavox Odyssey', a nostalgic but bouncy synth lasagna, brings this album to a majestic close. The cover by Dddixie sets the tone with its 'Motorik Vibes & Stereo Grooves' sticker. Motorik, absolutely, it's autobahn time for 45 minutes. And when it comes to stereo grooving, the acoustic image is as wide as the canyons of Mars. DO NOT MISS THIS ALBUM (or the previous Vae Vobis)!

After a year-long creative process fueled by collective composition and live jam sessions, Gin Tonic Orchestra returns with "Let The Children House" on Floors Records. The EP is a testament to their ever-evolving sound, deeply rooted in live improvisation and the spirit of club music.

Recorded in the heart of the Alps at "Maison des Artistes" in Chamonix, the band surrounded themselves with legendary analog synthesizers—ARP 2600, ARP Odyssey, Clavinet D6, Fender Rhodes MKII, Jupiter 4, Jupiter 8, JX-8P, Korg M1, Moog Subsequent 37, OB-X, Oberheim SEM, Roland MV8000, Wurlitzer—to sculpt a sound pulsating with the hypnotic grooves, euphoric synths, and raw underground spirit of '90s house music. Each track was shaped with care, influenced by the group's diverse influences and their shared vision of an immersive dancefloor experience, embracing the hypnotic trance of repetitive music that blurs the line between consciousness and surrender.

Much like children lost in play, Gin Tonic Orchestra embraced chaos, letting their creativity flow freely, drawing inspiration from their mentors, and the stories passed down through club culture. The result is an EP that not only embodies their musical identity but also carries a bold statement: "Let The Children House" is a call to let artists create without constraints, a message of artistic freedom in an industry often driven by formulas.

With a background that includes a debut EP on Mother Tongue, a standout performance at Nuits Sonores ranked in Resident Advisor's Top 5, and collaborations with UK jazz-funk legend Kaidi Tatham, deep house master Ron Trent, and the H2H project led by Chez Damier & Ben Vedren, Gin Tonic Orchestra continues to push boundaries between live music and electronic culture. Their new release is both a tribute to the past and a step into the future—a journey where house music is not just played, but lived