Suche:the head

First vinyl drop from UKG cult Posh Defects. A much-needed side branch of Frits Wentink's ever-reliable Swap Shop Institute. Six cuts of pure dancefloor heat: wobbling basslines, razor-sharp snares, and a heavy dose of two-step NRG. An essential pack of garage-house bumpers, written, produced, and curated by the artist of many names.

Named after the Latin word for the humble house spider, Oonops started his career as a club DJ in the early 2000s and has been collecting and playing strictly vinyl ever since.

In 2013, he started his own radio show » Oonops Drops«, a monthly mixtape-style show featuring a host of international top DJs, broadcast on Brooklyn Radio in New York City. This show inspired the first volume of this compilation, which was released in early 2018 on Agogo Records, alongside the album and 7-inch releases featuring artists from his radio network. Then, exactly five years ago, Oonops finally founded his own sustainable music label bearing the eponymous name. Now, just in time for the 200th episode of his Brooklyn Radio show, Oonops returns to Agogo Records with Vol. 3, which is packed with favourites and rare gems discovered through his extensive community of like-minded collaborators. As you would expect, it includes many unreleased songs that were previously only available digitally or were incredibly difficult to obtain on vinyl – true rarities from the crates. Expect a broad selection of genres, ranging from Japanese jazz and head-nodding beats and hip hop to samba-esque funk, rare groove, reggae and Brazilian-influenced styles. Get ready, enjoy and rewind!

Some tracks don’t age, they just wait for the right dancefloor to hit again.

Originally released in 1985, Main Attraction by Toronto-based duo Yoh-Yo is one of those high-energy sleepers that quietly tore through clubs while never fully crossing into the mainstream canon. Produced by maestro Allan Coelho (Tapps, Click) and driven by the instantly recognizable vocal of Carlos Borges, it’s a pure shot of mid-80s Hi-NRG euphoria. Tight, glossy, and unapologetically emotional.

Fast forward to now, and Vintage Pleasure Boutique digs deep into the archives of Boulevard Records to deliver the ultimate collector’s package, bringing together all six officially released versions from the original 1985–86 pressings across Europe, Canada and Mexico. But this isn’t just a reissue, it’s a full-spectrum reconstruction of a club weapon.

From the Original Version, still hitting with that raw, uplifting drive, to the Sandy St. Alban Version, adding a slightly different vocal flavor for the heads who know, each cut reveals another angle of this underground anthem. The Instrumental and Hi-NRG Dub Version strip things down into pure mixing tools: extended grooves, pulsating basslines and synth hooks that lock dancers into a trance. The Remix pushes things further into peak-time territory, while the real gem for DJs lands on the B-side: the long-sought Hot Tracks Extended Edit by Gregg Denewith — originally exclusive to the US market and finally resurfacing in proper, playable quality. A true secret weapon for selectors who like their sets with a touch of authentic 80s heat.

This release is a love letter to Hi-NRG, to analog excess, and to the global club network that kept these records alive long before algorithms caught up. For fans of neon-lit nostalgia, sweaty dancefloors and that unmistakable Italo-adjacent pulse. Main Attraction is exactly what the name promises. Pure energy. No compromise.

For the first time in more than a decade, Paul St. Hilaire (AKA Tikiman) presents a solo album – 100% Tiki.

Over his 30-plus year career, St. Hilaire has become one of dance music’s quietly legendary figures. Born and raised in Dominica, he moved to Berlin in 1994 and has lent both his voice and his musicianship to some of the most iconic electronic music from the German capital – and beyond. Renowned for his collaborations with Moritz von Oswald and Mark Ernestus (AKA Rhythm & Sound), he has also appeared on records with Deadbeat, Rhauder, Larry Heard aka Mr. Fingers and Stereotyp (G-Stone Recordings), amongst others.

However, few know the extent of St. Hilaire’s compositional and technical mastery. From his home studio in Kreuzberg, which includes an extensive collection of vintage hardware, self-built instruments and notebooks scribbled with endless lyrics, he has created a vast archive of material spanning ambient dub, avant-jazz, lush techno and lovers rock.

Tikiman Vol. 1 is a heady, downtempo tour de force of patois metaphors on education, displacement and personal vs. global histories, as is evident on slippy album opener “Bedroom in My Bag”: Mister, mister / Where are you going? / I’m heading for a faraway land / What are you having in the bag in your hand? / Help us to understand / He said, I’ve got my bedroom in my bag.

Overall, the album’s lyrics reflect on life between Berlin and Dominica, specifically St. Hilaire’s hometown of Grand Bay, where he has worked with various musicians famous for the island’s different genres of carnival music. St. Hilaire himself always favoured the island’s more “discrete” music, developing a sonic synergy between two different geographical strains of groove and minimalism, and combining them with foundational Caribbean mixing techniques, which provide the basis for his songwriting and distinct
baritone.

Tikiman Vol.1 offers a rare insight into St. Hilaire’s complex artistry, from the eyes-down grooves of “Little Way” and the guitar-heavy digi dancehall experiment “Keep Safe,” to the subtle hypnosis of “Ten to One” and the softly crashing synth waves of closer “Three And A Half”, evoking not only beaches but also coasts and borders. It’s a fitting expression of both the breadth of St. Hilaire’s work, as well as his history as one of the few black, Berlin-based artists who, despite remaining largely overlooked, has influenced the city’s electronic music culture since its beginnings.


Credits
Written & Produced by Paul St. Hilaire
Mastered by Stefan Betke
Artwork by Grant Gibson

Kynant Records was founded in 2015 by Richard Akingbehin, a British-Nigerian radio programmer (Refuge Worldwide), music writer and DJ. Originally specialising in deep techno and featuring artists such as Cio D’Or, Terrence Dixon and Donato Dozzy, Kynant has since launched a sub-label Kynant EX which focuses on ambient, dub and experimental electronics.

Italy via Atlanta, say hello to Titino and “Sun Splicer”, the latest release on The Comfort. Three separate ideas connect this EP across 4 tracks. It toys with the expectations of its listener — core features morph as tracks progress, stable kick patterns turn to breaks and in reverse, simple stabs progress to melodic junctions. Acid permeates this record, not as a clear motif but a tinged essence. And it’s sincere, both to the setting of these pieces and where they’ll be listened to and what it honors.

“Shblasted” — a back-and-forth groove machine filled with dub sirens and stepped up acid. Clubby introduction meant for sacred dance floors.

“Ouachita” on the A2 is controlled chaos, snares fly around, synth lines seem to want to escape their own confines and it just bursts onto the listener. Then the keys come in, the groove stabilizes, pads become bigger and new life is given.

The B-side is playful. “Sun Splicer” is perhaps most aptly categorized by a now notorious idea of ‘electro house’, and the pure aggressive euphoria this track carries just might be that, but as we all know the Italians do it differently — it’s a heady dark excursion. “Existenz” is all-smiles no matter how menacing its first contact, a hook of a track that reimagines the weirder side of Italian trance — think Interactive Test at its most wonderful. The dusty snares feel like a balancing tool instead of an homage.

Red light therapy, Fiona Zanetti’s debut ep is a body and mind driven sonic collection of memories: music from and for the club, the nervous system, the physical and the mental. Built on no nonsense grooves, haunted bass pressure, rolling percussion, breakbeats, and hypnotic vocals.

The record delivers functional dance floor tools with emotional depth. From the addictive affirmations and sultry bassline of trust the process to the sensorial, ambient slowdown of skin deep, the EP traverses house, techno, breakbeat, downtempo, and experimental club.

Engineered for heads down sets, late night hedonism, and those suspended moments when you plunge inward on a crowded dance floor, it balances inner and outer listening, unifying depth with playfulness and introspection with fun.

Superonda’s debut release, Aurora Spectralis, introduces the latest project from Mahatmos, a duo emerging from long-established practices in electronic music, sound design and composition for moving images. Released on 12” vinyl and digitally, the EP unfolds across four tracks of electronic ambient music shaped by atmosphere, con1nuity and restrained propulsion. Ambient textures open a broad emotional and spa1al field, while slow, insistent rhythms provide steady forward motion.
Superonda has created a space for Mahatmos to sharpen their focus on sound as material. Modular synthesis, analogue instruments and live processes techniques are balanced with precision and restraint, resulting in music that moves between progressive and hypnotic forms, informed as much by underground club culture as by cinematic composition.
Mahatmos is a Rome-based duo with complementary and deep-rooted practices. Gianluca Meloni brings a long-standing presence in techno and experimental music scene, with international releases and performances (as Laertes and as part of Modern Heads). Maurizio Loffredo contributes an extensive background in composition, production and sound engineering across popular music and film, with a refined sensitivity to timbre, structure and sonic narrative.
Superonda is a Rome-based label founded by artists engaged in deep sonic research and advanced technical exploration. Operating as an open platform, it connects collaborators working across recording, synthesis and composition, approaching music as a process-driven practice rather than a fixed genre. Each release stands as a distinct exploration, linked by shared sensibilities rather than formal constraints.
The physical edition of Aurora Spectralis is conceived as an extension of the work itself. Alongside a standard black vinyl pressing, a limited run of color and marbled copies has been produced, each one unique. Variability and tactility are embraced as part of the object’s identity, reinforcing the record as something to be experienced gradually, over time.

Fresh wax from Lance Desardi, on his own Legwork imprint.

The Gods Must Be Angry comprises 3 tracks that have been doing the rounds with some of the heaviest-of-the-heavy house DJs, available for the first time on vinyl. We’ve combined these into one release and added a new track - What I Know - as a vinyl-only exclusive. Across all four tracks there’s a balanced mix of headiness and body-jerking funk.

You wait positively yonks for a new Amit record and what do you know, two turn up pretty much at once. Not that we're complaining, especially as this is quite a different beast to its dubby downbeat predecessor on the Slough producer's Amar label. A double sided collaboration with Bedford's Outrage, 'Trigger' showing the pair taking the most well worn of ingredients - crackling Amen breaks and disorientating synths - and turn them on their head, reshaping them into something you've never heard before. On the flip, 'Zulu' is another hardstepping big hitter with precision beats, plenty of drama, truly disgusting bass pressure and beats that evoke ancient memories of Digital at his most individual. There's drum & bass and then there's 'proper' drum & bass, and it doesn't get much more proper than this.

"Wired" ist ein harter Neustart für Basement. Es markiert das erste Album der britischen Band seit acht Jahren, eine Wiedervereinigung mit ihrem ursprünglichen Label Run For Cover Records und eine Rückkehr zu jener ungebändigten Leidenschaft und kreativen Intuition, die schon immer ihr bestes Material ausgezeichnet hat. Seit ihrer Gründung im Jahr 2009 besteht Basement aus denselben fünf Freunden - Sänger Andrew Fisher, den Gitarristen Alex Henery und Ronan Crix, Bassist Duncan Stewart und Schlagzeuger James Fisher - und derselben alchemischen Verbundenheit. Das Einzige, was sich in den letzten Jahren verändert hat, ist ihr erneuertes Gefühl von Zielstrebigkeit. Und das macht ihr neues Album deutlich hörbar. "Wired" ist das dynamischste, mutigste und inspirierteste Werk, das Basement je geschaffen haben, und bewahrt zugleich die zeitlosen Grundlagen ihres einzigartigen Sounds: grollende Gitarren, mitreißende Refrains und eindringliche emotionale Sprache. Basement sind zurück und laufen auf allen Zylindern, aber sie haben kein Interesse daran, alte Erfolge zu wiederholen. Die gesamte Band war entschlossen, dass "Wired" ihr bisher klarstes künstlerisches Statement werden musste. Der Titelsong ist das drängendste Stück ihrer Karriere - ein sicherer Live-Favorit, getragen von stechenden Gitarren, einem wuchtigen Schlagzeug und einem himmelhohen Hook, bei dem Fishers Stimme in Bestform ist. "Broken By Design" zeigt den gegenteiligen Charakter: düster, zart, bassgeführt, aber dennoch typisch Basement in seiner sofortigen Eingängigkeit und stimmungsvollen Atmosphäre. Nichts auf Wired klingt stagnierend, kein Teil wirkt unausgereift. Die Band ließ sich von einer Vielzahl abenteuerlustiger Vorbilder inspirieren (R.E.M., Interpol, Smashing Pumpkins, um nur einige zu nennen), ohne jemals wie eine dieser Bands zu klingen - und auch nicht wie eine Kopie ihrer selbst. Der Albumtitel fasst all das in einem einzigen Wort zusammen. Die texturalen Konnotationen von "Wired" - metallisch, scharf, zackig - spiegeln die stählernen Klangwelten des Albums wider. Auf konzeptioneller Ebene spricht der Titel für die unerschütterliche Zähigkeit der Band: eine analoge Band, die in einer immer digitaleren Welt erfolgreich bleibt, ohne sich auf nostalgische Bequemlichkeit zu verlassen. Fünf Freunde, die mehrere Trennungen und Neuanfänge überstanden haben und dabei als Menschen und musikalische Einheit gewachsen sind. Basement müssen ihr Schicksal akzeptieren: Sie sind einfach dafür gemacht.

Scruniversal never misses, no matter what he takes aim at, be it disco, jazz, funk or whatever else. Here, label head Scru's friends are assembled to edit and remix a fine pair of jams. The first is a curious one that marries clary 80s electro and hip-hop with a hint of Latin percussion and jungle bird calls, filtered spoken word and a taught bass twang. It's body popping bait at a slow, inviting tempo. Martem & Ferdi Ferreira then step up with 'Chumba Lala,' which has muscular analogue drums and grinding bass, snappy hits and old school house chords that all add up to a colourful wedge of playful, rigid proto-breaks funk.

REPRESS ON SILVER VINYL . COMES WITH 24”x24” POSTER + DOWNLOAD CARD + GATEFOLD JACKET.


On The Beths’ album Expert In A Dying Field, Elizabeth Stokes’ songwriting positions her somewhere between being a novelist and a documentarian. The songs collected here are autobiographical, but they’re also character sketches of relationships – platonic, familial, romantic – and more importantly, their aftermaths. The shapes and ghosts left in absences. The question that hangs in the air: what do you do with how intimately versed you’ve become in a person, once they’re gone from your life?

The third LP from the New Zealand quartet houses 12 jewels of tight, guitar-heavy songs that worm their way into your head, an incandescent collision of power-pop and skuzz. With Expert, The Beths wanted to make an album meant to be experienced live, for both the listeners and themselves. They wanted it to be fun -- to hear, to play -- in spite of the prickling anxiety throughout the lyrics, the fear of change and struggle to cope.

Most of Expert was recorded at guitarist Jonathan Pearce’s studio on Karangahape Road in Tāmaki Makaurau, Aotearoa (Auckland, New Zealand) -- and sometimes in the building's cavernous stairwell at 1am -- toward the end of 2021, until they were interrupted by a four-month national lockdown. They traded notes remotely for months, songwriting from afar and fleshing out the arrangements alone, the first time they’d written together in such a way. The following February, The Beths left the country for the first time in more than two years to tour across the US, and simultaneously finish mixing the album on the road. That latter half felt more collaborative, with everyone on-hand to trade notes in real time, until it all culminated in a chaotic three-day studio mad-dash in Los Angeles. There, Expert finally became the record they were hearing in their heads.

Expert is an extension of the same skuzzy palette the band has built across their catalog, pop hooks embedded in incisive indie rock. The album’s title track “Expert In A Dying Field” introduces the thesis for the record: “How does it feel to be an expert in a dying field? How do you know it’s over when you can’t let go?” Stokes asks. “Love is learned over time ‘til you’re an expert in a dying field.”

The rest is a capsule of The Beths’ most electrifying and exciting output, a sonic spectrum: “Your Side” is a forlorn and sincere love song, emotive; while “Silence is Golden,” with its propulsive drum line and stop-start staccato of a guitar line winding up and down, is one of the band’s sharpest and most driving. “When You Know You Know” skews a bit groovier, pure pop and a natural addition to the band’s live set. “Knees Deep” was written last minute, but yields one of the best guitar lines on Expert. There’s a certain chaos across the 12 tracks, the palpable joy of playing music with long-time friends colliding with the raw nerves of pain.

Stokes strings it all together through her singular songwriting lens, earnest and self-effacing, zeroing in on the granules of doubt and how they snowball. Did I do the wrong thing? Or did you? And are we still good people at the end of it? She isn’t interested in villains, but instead interested in just telling the story. That insecurity and thoughtfulness, translated into universality and understanding, has been the guiding light of The Beths’ output since 2016. In the face of pain, there’s no dwelling on internal anguish - instead, through The Beths’ music, our shortcomings are met with acceptance. And Expert In A Dying Field is the most tactile that tenderness has been.

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.

POEME ELECTRONIQUE was Dave Hewson (synthesisers, production), Sharon Abbott (lyrics, lead and backing vocals), Julie Ruler (backing vocals) and Les Hewson (bass), formed in 1980 by Dave Hewson in South London, UK, in 1980. Dave was studying music and as a rare kind of student species he had a deep fascination for New Wave and electronic music thus also playing and recording electronic music ever since like using the Boss DR-55, Cosmo Sound Super Drum, Elka Rhapsody 610, EMS Synthi AKS, Korg MS-20(X2)/Polysix/Polyphonic Ensemble 1000/VC-10 Vocoder, Linn Electronics LM-1, Octave Kitten, Roland RS-09/VP-330 Vocoder Plus, Simmons SDS-V Kit and Yamaha CS-80 on this retrospective POEME ELECTRONIQUE album with original material from 1981/82 only. Over the period of more than two years, Dave has remastered these tracks using the latest high-end tools making them sound better than ever before. The deluxe 2LP vinyl album comprises 16 tracks of which 14 have never been published before. “The Echoes Fade” and “Voice” are the original versions taken off their original 7” from 1982. The album “The Echoes Fade” cannot be described other than being a masterpiece and one of the best-ever early 80’s electropop records ever, and it surely has to be lined up with Rational Youth or Experimental Products’ cult albums (in terms of being minimal synth/wave scene reference albums), but to be frank, Anna thinks that POEME ELECTRONIQUE were even above their level.

Truly, they had deserved to go on the successful path like Depeche Mode, OMD or Soft Cell, but fate was against them as it seems. The main difference to other electropop groups of the time was definitely that Dave did not only master his synths technically-wise, no, he also knew how to actually play, and when you hear his amazing multi-track ‘manual sequencing’, programming skills, great harmonies and melodies throughout the tracks, along with the two girls’ performances – well they can really sing! – you will agree there is some something remarkably extraordinary in these tracks. You will find minimal electropop super hits like “Rendezvous”, “She’s an Image”, “Fragile”, or “Dilemma”; hauntingly beautiful melancholic tracks like “A Mourner’s Lament”, “This Night” or “It’s in the Atmosphere”; darkest minimal electronics on “Inside his Head”; and even more poppier tracks like “Follow”. This record will hopefully be loved by any electronic music lover and most probably marks the highlight in the growing Anna Logue Records catalogue – therefore Anna did not shy away from any costs and the album is truly an outstanding release in every single aspect including sound and artwork presentation. Apart from the bonus tracks you will find in the 2LP deluxe vinyl edition glossy inner sleeves with lyrics to all songs, as well as individual mini 7” sleeves for each song designed by our dear graphic designer Steve Lippert plus many additional group photos on the gatefold sleeves’ inner. After so many efforts and more than two years passing by, Anna is so over the moon to see this release being ready now and we have done all we could to make this an outstanding release, so now it’s up to you to give the band their final glory, but Anna is in no doubt that – at least after hearing the sound samples – you will.

Life and Death launches Peak Time Archives, a new vinyl and digital various artists series shining a light on rising producers and the next wave of label-affiliated talent.

This first edition moves across the full spectrum of the dancefloor. Jennifer Loveless — Guardian 'Artist To Watch', Mixmag Track of the Year recipient, and alumni of !K7, Future Classic and Butter Sessions — opens with "Satisfaction", a warm, body-moving indie dance reinterpretation that feels at home as much at Ibiza sunset as it does on a festival main stage.

UK mystery producer ROKAR follows with "Bedroom Headliner", a garage-rooted house cut that blurs the line between intimate and euphoric, already earning BBC Radio 1 plays and support from Marco Carola, Skream and Chloé Caillet.

Rudy With A Hoodie & J-Land deliver "The Rhythm", a driving, hypnotic peak-time weapon built for main stages, drawing on the analog warmth of Red Axes and DJ Tennis.

Mexico City's PAURRO closes the record with "Chik Fresa" — playful, punchy indie dance with personality to spare, from an artist who has performed at Tresor and Boiler Room and released on Cómeme and Nervous.

Four tracks. Four distinct voices. One dancefloor.---

Today, Oakland-raised and Brooklyn-based singer-songwriter Ivy Knight announces her debut album Iron Mountain, set for release on 15 May via Scenic Route.

Ivy Knight’s songs reflect a city dreamer creating a new world to sink into: across Iron Mountain, she conjures imagery of barren Southwest American landscapes as she recounts memories that feel beamed from generations past, channeling folk melodies and old trail ballads of the late 50s and early 60s.

Much of her work has been created both within, and in reference to the Hudson Valley, where she met frequent collaborator Deer park (fakemink, Ecco2k, evilgiane) who produced, engineered and performs on Iron Mountain.

Her latest single ‘Red Rock’ follows last month’s single ‘Headlamp’, and her recent collaboration with Deer park, ‘Black Cat’, which received support from BBC 6 Music, Crack Magazine, The Face, The FADER, Pigeons & Planes, NME, The Line of Best Fit, Clash, So Young + more.

In September of 2019, Deliluh took flight with sights set on new horizons.
A long plotted scheme to uproot the group from their Toronto home and
airlift them into the touring bastion of Europe seemed like a pot worth
gambling their stack on.
Their future in the old world was read with wide-eyed optimism, emboldened
by two albums newly waxed and tour dates rolling in. Greener pastures with
foreign allure, a promised land chalk full of experimental art and sound, and a
plethora of unconventional venues ripe for the picking... it’s open season, what
could possibly go wrong?
Well, the best laid plans... ‘Amulet’ is the first release since Deliluh’s departure
from Toronto, an opening document of the group’s transition to Europe. Mirrored images of the same composition occupy each side; ‘A’ performed by their
previous four-piece lineup (Kyle Knapp, Julius Pederson, Erika Wharton, Erik
Jude) and ‘B’ by the current active two-piece (Knapp and Pederson). ‘Amulet’
is set to be released July 30th on 10” via Tin Angel Records.
The lyrics depict a jewel thief committing crimes with the conviction of a merciless zealot, and justifying them with a spite for the status quo. The protagonist
amuses with the threat of being “caught”, a fate seemingly imminent and yet
laughable in the crooked context of societal greed. Knapp delivers sharp criticisms with a swagger liberated of fear, imploring us all to root for the anti-hero
in a time when danger is craved en masse.
The tonal contrasts between both versions testify to the group’s versatility.
The A side pulls tension by way of minimalism, leaning into a sinister synth
sequence that navigates a pitch dark sonic terrain. Swooning guitar, plucking
violin, whispering synths and darting tape effects peek in and out of the periphery, circling with unsettled starkness around Jude’s gloomy bass drone, through
until Wharton-Shukster’s string soaring climax.
Flip to the B side, and the immediate motorik groove turns the sequence on its
head, snapping to a gritty dance track for nights long yearned for. Pedersen’s
modular synth takes on a fresh persona of dusted drums and otherworldly high
hats, cracking on the beat while guitar scratches, processed sax, and string
synths build with harmonic euphoria, all until the tape slips and pulls the rug
from under the DIY dance floor.
‘Amulet’ demonstrates Deliluh’s potential growing fearlessly in the face of a
tight game. They promise a plentiful stash of recordings soon to be unearthed,
giving the sense that their recently tested process of creation has been far from
hindered. What comes next is anyone’s guess, though Amulet at the very least
reassures that we’re still, as always, in trusted hands.
Knapp: “It’s ‘adapt or parish’ these days.. We’re fortunate to be safe and
healthy, and thankfully, we’re not afraid of taking risks or evolving.”
Pedersen: “It isn’t the end goal that matters, but what you learn while exploring the paths that lead into unexplored terrain.”

“Released on Joe Boyd’s Hannibal label here was a band rooted in Thompson/Swarbrick Fairport but also a snatch of the Velvet Underground and a sprig of The Byrds. The Eighteenth Day Of May evoked a legendary era, and now they are a justifiably legendary band too.” – KLOF Mag

Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola).
This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake.
Andy Childs who signed the band originally takes up the story. “I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited - old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like Lady Margaret and Flowers In The Forest and not be afraid to stamp their own identity on them.
Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent.”
“Their rendition of Lady Margaret builds to a headswirling crescendo that challenges anyone who claims Shirley Collins, Buffy Sainte-Marie or Trees have recorded the definitive version and the hallucinatory The Waterman’s Song To His Daughter raises an already brilliant album to an unholy level” - IT’S PSYCHEDELIC, BABY Magazine