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“Boot licking, piss drinking, finger frigging, tit tweaking, love biting, arse licking, shit stabbing, motherfucking, spunk loving, ball busting, cock sucking, fist fucking, lip smacking, thirst quenching, cool living, ever giving…”

There’s no fairer introduction to ‘Fist’, Joshua James’ latest contribution to Phantasy, than to advise one simply to prepare themselves. Sampling iconic performance artist, club promoter and designer Leigh Bowery, James connects the expert dancefloor pressure he exacts each weekend as one of London’s best-loved club residents with the unapologetic, defiant legacy of a personal hero. None other than Peaches then takes up the remix mantle for ‘Fist’, intertwining the provocations of two radical performers and connecting three generations of underground queer culture in one sonic menage-a-trois, perhaps the straight-up rudest club record in recent memory.

On the original production, James shifts his sound in a heavier direction still since last summer’s euphoric Amber Rush, which was remixed by labelmate and friend Daniel Avery. A bouncing industrial tilt underscores the heavy-duty production, as Bowery, originally recording alongside Richard Torry in their band Minty, espouses a catalogue of sexual acts - some specialist, all sensational - as James pushes dancers further down into the belly of some revolting rave beast.

A multi-faceted match to Bowery themselves, Peaches continues a decades-long journey dedicated to genre and gender deconstruction with her wild and playful take on ‘Fist’. Dripping in cybernetic club juice, Peaches wraps herself around Bowery’s own teaches on the mic, easily matching his demands as she careens towards a system-rattling techno conclusion.

"The Mysterines have enjoyed some incredible success to date. This includes a sold-out tour just before lockdown in February 2020 a 2nd sold out tour coming in autumn, playlists at BBC Radio 1 and BBC 6 Music.
A note from Lia on the first single off the album:
In My Head appears to be a love song but that was not the original intention. I did want it to superficially be seen as that but in reality, it's a song about people who struggle with their mental health. Partly autobiographical it is about how sometimes life can feel like you’re being haunted by something out of your control. The song was produced and mixed by Catherine Marks. "

Hygiene is the upcoming album from Drug Church. Hygiene is the latest work from Drug Church. The Albany and Los Angeles-based five-piece have a unique ability to make distinctly outsider music that’s also welcoming and instantly satisfying, as evidenced by Hygiene's lead singles "Million Miles of Fun" and "Detective Lieutenant." The two songs represent the essential tension between overt melody and visceral aggression that fuels Drug Church—the former pushing the band's seamless blend of hardcore bite and massive, '90s-indebted hooks to its most anthemic point, while the latter shows off a level of tunefulness never before seen in their catalog.

Wir erbauen unser neues Imperium aus der Asche eines alten“ – mit diesen Worten kündigt die GRAMMYprämierte, schwedische Instanz der theatralischen Rockmusik, GHOST, die bevorstehende Veröffentlichung ihres fünften Studioalbums, IMPERA, an, das am 11. März über Loma Vista Recordings erscheint. Nachdem der Vorgänger, das 2018 für das beste Rock-Album mit einem Grammy nominierte PREQUELLE, im 14. Jahrhundert und zur Zeit der europäischen Pest-Pandemie angesiedelt war, sehen sich Ghost mit IMPERA wortwörtlich hunderte von Jahren in der Zeit nach vorn katapultiert. Das Ergebnis ist das ambitionierteste und textlich prägnanteste Werk in Ghosts Album-Kanon: Im Verlauf des 12-Song-Zyklus‘ von IMPERA, entstehen und vergehen Imperien, betreiben Möchtegern-Messiasse ihre (gleichermaßen monetär wie spirituell motivierten) Hype-Marktschreiereien und werden Prophezeiungen gemacht, während das Firmament mit Himmelskörpern von göttlicher und menschgemachter Natur erfüllt wird. Das thematisch aktuellste Ghost-Album bislang spielt sich vor einem hypnotischen, düster-bunten melodischem Hintergrund ab, was IMPERA zu einem unvergleichlichen Hörerlebnis macht.

Wir erbauen unser neues Imperium aus der Asche eines alten“ – mit diesen Worten kündigt die GRAMMY prämierte, schwedische Instanz der theatralischen Rockmusik, GHOST, die bevorstehende Veröffentlichung ihres fünften Studioalbums, IMPERA, an, das am 11. März über Loma Vista Recordings erscheint. Nachdem der Vorgänger, das 2018 für das beste Rock-Album mit einem Grammy nominierte PREQUELLE, im 14. Jahrhundert und zur Zeit der europäischen Pest-Pandemie angesiedelt war, sehen sich Ghost mit IMPERA wortwörtlich hunderte von Jahren in der Zeit nach vorn katapultiert. Das Ergebnis ist das ambitionierteste und textlich prägnanteste Werk in Ghosts Album-Kanon: Im Verlauf des 12-Song-Zyklus‘ von IMPERA, entstehen und vergehen Imperien, betreiben Möchtegern-Messiasse ihre (gleichermaßen monetär wie spirituell motivierten) Hype-Marktschreiereien und werden Prophezeiungen gemacht, während das Firmament mit Himmelskörpern von göttlicher und menschgemachter Natur erfüllt wird. Das thematisch aktuellste Ghost-Album bislang spielt sich vor einem hypnotischen, düster-bunten melodischem Hintergrund ab, was IMPERA zu einem unvergleichlichen Hörerlebnis macht.

Limited 2 LP set pressed on opaque orange vinyl of the forth studio album that was released on CD in 2021.

All (label, artist and distribution) proceeds of this next record will go to UNHCR, The UN Refugee Agencys' emergency interventions in Ukraine.

Third and closing chapter of the Oyster Tribe series, the revised single edition of Brent Lewis ‘1739’ oozes a mix of breezy outback dreamtime, red earth funk and sun-baked drum virtuosity. Originally issued in 2004 as part of his self-released ‘Drumsex’ album, Lewis’ mystique-imbued tune sculpts a tripped-out hybrid jam out of spoon percs and folk-infused broken beat; and who better than OZ home-boys FIO and Fantastic Man to add their masters' spin to that totemic chugger.

Whilst FIO cranks the BPMs a notch further and beefs up the bass to turn the OG mix into a serious contender for countryside banger of the year, Fantastic Man plays havoc with the whole of Lewis track’s DNA sequence, slicing, dicing and re-hashing its bits and bobs over and over again to form a Southerner variant of the Frankenstein creature, all sight set on busting dancefloors by the dozen.

Today sees Belgian-Caribbean provocateur Charlotte Adigéry and her long-term musical partner, Bolis Pupul announce their debut album Topical Dancer, due for release on March 4 2022 via Soulwax’s iconic label DEEWEE.
Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink.

Their debut studio record – which cements them as a duo under both their names for the first time and is co-written and co-produced by Soulwax – is both a triumph of kaleidoscopic electro-pop and “a snapshot of how we think about pop culture in the 2020s.” It captures Charlotte and Bolis’s essence as musical collaborators and the conversations they’ve had over the past two years on tour, as well as their perspectives as Belgians with an immigrant background, Charlotte with Guadeloupean and French-Martinique ancestry and Bolis being of Chinese descent.

Beyond the album’s thematic heft, Topical Dancer reflects Charlotte and Bolis’s idiosyncratic sound: it’s thoughtful but it bangs. Their take on familiar genres is always off-kilter; songs sound undone or a little wonky; but these are nocturnal heaters to make the club throb. “We like to fuck things up a bit,” laughs Bolis. “We cringe when we feel like we're making something that already exists, so we're always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.”

Topical Dancer is fizzing with ideas – there’s certainly no filler among its 13 tracks. But above all, perhaps, it has a restlessness, a desire not to be boxed in and to escape others’ narrow perceptions of who they are. It’s summarised by the refrain of their new single, ‘Blenda’: “Don’t sound like what I look like / Don’t look like what I sound like.” “One thing that always comes up,” says Bolis, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.”

‘Blenda’ in particular references how “I am a product of colonialism,” says Charlotte, “and I feel guilty for taking up space in a white country.” The song was inspired in part by Reni Eddo-Lodge’s book Why I’m Not Longer Talking To White People About Race. “It talks about the colonial past and post-colonial present in the UK,” Charlotte continues, “but that isn’t merely a British or American problem, Belgium is part of that as well.” She says that her home country is likewise “oblivious to a big part of its history” which “results in general ignorance and a lack of understanding and empathy towards Belgian inhabitants of immigrant descent.”

On Topical Dancer, it’s less about finger pointing or being dogmatic about all the things they speak about. It’s about emancipation through humour. “I don’t want to feel this heaviness on me,” says Charlotte. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”

Ltd Black & White LP

Today sees Belgian-Caribbean provocateur Charlotte Adigéry and her long-term musical partner, Bolis Pupul announce their debut album Topical Dancer, due for release on March 4 2022 via Soulwax’s iconic label DEEWEE.
Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink.

Their debut studio record – which cements them as a duo under both their names for the first time and is co-written and co-produced by Soulwax – is both a triumph of kaleidoscopic electro-pop and “a snapshot of how we think about pop culture in the 2020s.” It captures Charlotte and Bolis’s essence as musical collaborators and the conversations they’ve had over the past two years on tour, as well as their perspectives as Belgians with an immigrant background, Charlotte with Guadeloupean and French-Martinique ancestry and Bolis being of Chinese descent.

Beyond the album’s thematic heft, Topical Dancer reflects Charlotte and Bolis’s idiosyncratic sound: it’s thoughtful but it bangs. Their take on familiar genres is always off-kilter; songs sound undone or a little wonky; but these are nocturnal heaters to make the club throb. “We like to fuck things up a bit,” laughs Bolis. “We cringe when we feel like we're making something that already exists, so we're always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.”

Topical Dancer is fizzing with ideas – there’s certainly no filler among its 13 tracks. But above all, perhaps, it has a restlessness, a desire not to be boxed in and to escape others’ narrow perceptions of who they are. It’s summarised by the refrain of their new single, ‘Blenda’: “Don’t sound like what I look like / Don’t look like what I sound like.” “One thing that always comes up,” says Bolis, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.”

‘Blenda’ in particular references how “I am a product of colonialism,” says Charlotte, “and I feel guilty for taking up space in a white country.” The song was inspired in part by Reni Eddo-Lodge’s book Why I’m Not Longer Talking To White People About Race. “It talks about the colonial past and post-colonial present in the UK,” Charlotte continues, “but that isn’t merely a British or American problem, Belgium is part of that as well.” She says that her home country is likewise “oblivious to a big part of its history” which “results in general ignorance and a lack of understanding and empathy towards Belgian inhabitants of immigrant descent.”

On Topical Dancer, it’s less about finger pointing or being dogmatic about all the things they speak about. It’s about emancipation through humour. “I don’t want to feel this heaviness on me,” says Charlotte. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”

DJ Nobu's Bitta welcomes Refracted. The Spanish producer delivers four expertly crafted cuts of his deep diving techno, fully embracing Bitta's hypnotic and energetic approach. Nobu: "Refracted is a unique techno producer whose work I have been playing in my sets for a long time". And the respect is mutual. Where Refracted witnessed many DJ sets of Nobu in person. "As a fan he experienced a number of my open air sets that were important to me, I think he has developed a complete understanding of what style of track works best on the dance floor in my sets".

Lemonheads’ seminal album ‘It’s A Shame About Ray’, lovingly reissued for it’s 30th Anniversary. The long overdue reissue includes a slew of extra material, including an unreleased ‘My Drug Buddy’ KCRW session track from 1992 featuring Juliana Hatfield, B-sides from singles ‘It’s A Shame About Ray’ and ‘Confetti’, a track from the ‘Mrs. Robinson/Being Round’ EP, alongside demos that will be released for the first time on vinyl. This reissue celebrates their prestigious fifth album, these deluxe bookback editions feature new liner notes and unseen photos.

Described by music journalist and author Everett True as “A 30-minute insight into what it’s like to live hard and fast and loose and happy with like-minded buddies, fuelled by a shared love for similar bands and drugs and booze and freedom.”. ‘It's A Shame About Ray’ had a considerable impact back in those heady, carefree days of '92, the record perfectly captures Dando’s ability to effortlessly encapsulate teenage longing and lust over the course of a two-minute pop song.

Singles such as 'My Drug Buddy' and the breezy perfect pop of the title track might stand out (plus the add-on of 'Mrs. Robinson' which later copies included), but the album's real strength lies in the tracks in-between; the truly fantastic 'Confetti' (written about Evan's parents' divorce), and the eye-wateringly casual acoustic cover of 'Frank Mills' (from the "hippie" musical Hair), a version that seems to resonate with every ounce of pathos and emotion felt for the lost 1960s generation. To hear Evan Dando sing lines like 'I love him/but it embarrasses me/To walk down the street with him/He lives in Brooklyn somewhere/And he wears his white crash helmet' is to truly appreciate how wonderful and tantalising pop music can be. Then, there's the rush of insurgency and brattishness on the wonderfully truncated 'Bit Part'; the topsy-turvy 'Ceiling Fan In My Spoon'... this was male teenage skinny-tie pop music on a level of brilliance with The Kinks, early Undertones, Wipers.

To celebrate the 45th anniversary of iconic Dutch jazz label Timeless Records, Music On Vinyl is releasing a series that features albums that are part of the Timeless Records legacy and will be released mainly throughout 2021/2022.

Eastern Rebellion is a special one in this Anniversary Jazz series, since it was the very first release on the Timeless label. This 1976 release is a classic set which features four jazz giants: Billy Higgins on drums, Sam Jones on bass, George Coleman on the tenor saxophone and led by Cedar Walton on the piano. This record features Walton’s most famous composition “Bolivia”, Coleman’s “5/4 Thing” and Jones’ boppish “Bittersweet”.

Heiko Voss has earned near mythical status as a torchbearer for the emotional, deeply felt and quietly radical style of electronic music. The blissed-out radiance of his Kompakt Pop single, “I Think About You” remains one of the label catalog highlights and a stellar run of collaborative singles as Schaeben & Voss; others might know him for his stewardship of the excellent, much-underrated Firm imprint. But with his new album, 3:30 Minutes To Live, released by Michael Mayer’s label Imara, Voss returns after a long silence with a beautiful collection of songs that hymn heartbreak with a lusciously melodic touch.

There is something definitive and newly confident in 3:30 Minutes To Live that has it feeling like a real statement of intent if compared to his earlier releases. “Although it’s not, 3:30 Minutes To Live feels like my debut album,” Voss reflects. “All releases before were more song sketches or electronic dance tracks.” Bunkering down in Teary Eyes Studio, Voss worked up somewhere between thirty and forty sketches of songs, which he whittled down to the twelve collected here, all of them situated in a unique space, but very much in accord with Voss’s defining aesthetic, which he describes as “indie pop music with a lot of guitar, electronic elements and a great love for melancholic ‘80s synth-lines.”

Voss is sensitive to both variety and consistency – 3:30 Minutes To Live sits together as an assured, vibrant collection of pop songs, but it’s marked by all kinds of surprising incident, like the guitar solo that erupts out of “This Is My Life”, or the acoustic guitar-led melancholy of the closing “This Summer”. It’s all borne of the alchemy of the studio process and the intimate romance of music-making. “If you constantly feel a little bit like you’re in love while writing and producing your music – simply because of the sound of the synth flowing warmly and gently through the room, or because the sequence of notes awakens something in you, or even a randomly arising groove in the loop of a guitar lick makes you shout, ‘Ha!!’ – then it usually becomes a beautiful song,” Voss nods. “Those moments make me happy.”

There’s also a delicious tension between the push of the music, its melodic lushness and gliding, ballerina-like movement, and the darker currents that pull through Voss’s lyrics, inspired by a “short, dramatic and toxic love affair.” This may read like familiar terrain for a pop album, but the way Voss weaves language through both the extra-linguistic joys of music and the inarticulate speech of the heart somehow allows for direct communication that is simultaneously plain-spoken and deeply profound. “Say It” is a simple, devastatingly effective plaint of alienation; “She Wasn’t Lonely” a simple portrait of everyday living set to chiming, clacking guitars, the music in the bridge taking astral flight as the titular character ‘lets herself go.’

A smart and sharp collection of songs that captures you with its gorgeous melodicism just as it blindsides you with its aching heart, 3:30 Minutes To Live is Heiko Voss at his most assured and open-hearted best.

Heiko Voss hat sich als Fackelträger einer emotionalen, von ganzem Herzen kommenden und nicht auf den ersten Blick radikalen Spielart von elektronischer Musik einen nahezu mythischen Status erarbeitet. Das schiere Glück, welches seine Kompakt Pop-Single "I Think About You" aus dem Jahr 2003 immer noch ausstrahlt, macht sie nach wie vor zu einem der Highlights des Label-Katalogs, wo sie neben einer ganzen Reihe hervorragender Singles als Schaeben & Voss steht; andere kennen Heiko vielleicht durch das tolle und vielfach unterschätzte Label Firm, für das er zusammen mit Thomas Schaeben verantwortlich war. Mit seinem neuen Album “3:30 Minutes To Live”, das am 4. März 2022 auf Michael Mayers Label Imara erscheint, kehrt Voss nun nach einer langen Pause mit einer wunderschönen Sammlung von Songs zurück, die den Herzschmerz – getragen auf den Schwingen unwiderstehlicher Melodien – ausgiebig besingen.

“3:30 Minutes To Live” kommt mit einer gehörigen Portion Überzeugung und Selbstbewusstsein daher, was im Vergleich zu seinen früheren Veröffentlichungen wie ein bewusstes Statement wirkt. "Obwohl es das nicht ist, fühlt sich ‘3:30 Minutes To Live’ wie mein Debütalbum an", meint Voss. "Alle meine vorherigen Veröffentlichungen waren eher Song-Skizzen oder elektronische Dance-Tracks."

Im Teary Eyes Studio arbeitete Voss zwischen dreißig und vierzig Songskizzen aus, die er auf die zwölf hier versammelten Songs reduzierte, die alle ihren eigenen Raum einnehmen, dabei aber sehr gut mit Voss' übergeordneter Ästhetik harmonieren, die er als "Indie-Pop-Musik mit viel Gitarre, elektronischen Elementen und einer großen Liebe für melancholische 80er-Jahre-Synthies" beschreibt.

Voss ist sowohl für Abwechslung als auch für Konsistenz empfänglich - “3:30 Minutes To Live“ ist eine selbstsichere, lebendige Sammlung von Popsongs, die aber auch von allerlei Überraschungen geprägt ist, wie dem Gitarrensolo, das aus “This Is My Life” herausbricht, oder die von einer Akustikgitarre getragene Melancholie des abschließenden “This Summer”.

Das alles ist entstanden aus der besonderen Alchemie des Studioprozesses und der intimen Romantik des Musikmachens. "Wenn du beim Schreiben und Produzieren deiner Musik ständig das Gefühl hast, ein bisschen verliebt zu sein – einfach weil der Klang des Synthesizers warm und sanft durch den Raum fließt, oder weil die Notenfolge etwas in dir weckt, oder sogar ein zufällig auftauchender Groove im Loop eines Gitarren-Licks dich ein 'Ha!' ausrufen lässt – dann wird daraus meist ein schöner Song", nickt Voss. "Diese Momente machen mich glücklich."

Es entsteht eine besondere Spannung zwischen dem positiven Elan der Musik, ihrer melodischen Verschwendungssucht, den gleitenden, Ballerina-artigen Bewegungen und den dunkleren Strömungen, die durch Voss' Texte ziehen, die von einer "kurzen, dramatischen und giftigen Liebesaffäre" inspiriert sind. Das mag sich wie ein vertrautes Terrain für ein Pop-Album anhören, aber die Art und Weise, wie Voss die Sprache sowohl durch die nonverbalen Elemente der Musik als auch durch den nicht artikulierten Ausdruck des Herzens verwebt, ermöglicht eine Art direkte Kommunikation, die gleichzeitig ausgesprochen klar und trotzdem tiefgründig ist. “Say It" ist eine erschütternd einprägsame Anklage von Entfremdung; "She Wasn't Lonely" ist ein einfaches Porträt des alltäglichen Lebens, untermalt von klappernden Gitarren, in dem die Musik einen astralen Flug unternimmt, während die Titelfigur sich "gehen lässt".

“3:30 Minutes To Live“ ist eine kluge und scharfsinnige Sammlung von Songs, die den Zuhörenden mit ihren wunderschönen Melodien fesseln, aber auch mit einer Menge schmerzenden Gefühlen konfrontiert. Ein Album, auf dem Heiko Voss ganz bei sich ist und Euch dabei mehr als nur sein Herz öffnet.

Red Vinyl

In 2021 Bristol Hip-Hop duo Ree-Vo released two singles from their forthcoming album ‘All Welcome On Planet Ree-Vo’. The first was the Electro-Hop, LFO-surfing ‘Combat’ with a remix by SURGEON. The second -dropped as a digital double A-side in December - was the dark, submersive ‘Groove With It’ remixed by New Jersey’s legendary Dälek and ‘Protein’ remixed by The Bug (who released what many considered to be 2021’s album of the year ‘Fire’). smartURL.it/EDDA56

Ree-Vo begin 2022 in contrast with this their hookiest track on their album, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.

“Lift off, blast off, shirt off, pants off, bra off, Dance off! Naked in the dance hall SPACE BOX!”
is the beamed mantra, rapper Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.

Helping them on this seven’s mission are two remixes, one by NØISE (the musical collective of Joe Cassidy, Shepard Fairey, Merritt Lear and John Goff) and BATBIRDS (the duo of Joe Cassidy and Aaron Miller). Common to both of course is Joe Cassidy who recorded for Dell’Orso (as well as Rough Trade and Dedicated) as Butterfly Child. These mixes were made at the end of 2020, the record sent off to print in February 2021, five months before Joe’s incredibly sad departure from this planet, at least physically. So for all of us involved it’s a very bittersweet release, but another piece of art that Joe was undoubtedly thrilled to be involved with.

It’s time for a new Reinhard Voigt EP on Kompakt? It doesn’t feel like it was that long ago since we last heard from him but then again, time is running! His latest release on Kompakt "Was wir spüren" (KOM 402) was released in May 2019. From there we encountered Reinhard's musical work mainly in the form of various digital reissues or in union with his brother Wolfgang together as Voigt & Voigt. Then in August of 2021, a glimmer of musical life from Reinhard reached his loyal fans in the form of a continuation of his RV ultra-minimalist concept series as "RV 05 / RV 06" via our KX imprint.

So that brings us to the present. Two new tracks that preach and spin on the classic Reinhard Voigt sound. Tracks that are as relentless as they are consistent to his signature stoic, radical, minimal techno. "Cha Cha Club" creaks and stomps along so mercilessly that they leave us impatient for the reopening of a dark, foggy club room and to have the bitter taste of gin and chemicals on our palates. Bass drum in, bass drum out - sometimes that's all it takes to be happy.

With "Die Frau, die nach Deutz ging" Reinhard discloses a small tale in the title...that this is the continuation of "Der Mann, der nie nach Deutz kam", a track from “Was wir spüren”. Elements recall Reinhard Voigt's SPEICHER tracks; sovereign, modern techno, monotonous in principle, but here and there interrupted and structured by unexpected signals and sounds in such a way that the track will also work on larger dance floors.

Eine reguläre, brandneue Reinhard Voigt 12inch? Das ist nicht nur gefühlt schon eine ganze Weile her. Time ist ja bekanntlich running. Seit “Was wir spüren” (KOM 402), erschienen im Mai 2019, begegnete uns Reinhards musikalisches Schaffen vor allem in Form diverser digitaler Wiederveröffentlichungen oder im Duett mit seinem Bruder Wolfgang als Voigt & Voigt. Im August letzten Jahres erreichte die treue Fangemeinde dann wenigstens ein kleines Lebenszeichen in Form der “RV 05 / RV 06”, der Fortsetzung seiner ultra-minimalistischen Konzeptreihe auf KX.

Nun also zwei neue Tracks, die so unerbittlich wie konsequent den klassischen Reinhard Voigt-Sound predigen und weiterspinnen – stoisch, radikal, minimal. “Cha Cha Club” knarzt und stampft dabei so gnadenlos voran, dass wir die Wiedereröffnung von geschlossenen Räumen voller Nebel und Dunkelheit und mit dem bitteren Geschmack von Gin und Chemikalien an unseren Gaumen kaum erwarten können. Bassdrum rein, Bassdrum raus, mehr braucht es manchmal nicht zum glücklich sein.

Mit “Die Frau, die nach Deutz ging” erzählt uns Reinhard zumindest im Titel die Fortsetzung von “Der Mann, der nie nach Deutz kam”, einem Track von “Was wir spüren”. Hier erinnert manches an Voigts SPEICHER-Tracks, souveräner, moderner Techno, vom Grundsatz her monoton, aber hier und da von unerwarteten Signalen und Tönen so unterbrochen und strukturiert, dass er auch auf größeren Tanzflächen funktioniert.

In 2005 the Californian heavy metal band Static-X released their fourth studio album, titled Start A War. The band’s line- up fluctuated quite a bit over the years and this was the first studio album to feature drummer Nick Oshiro, who also played in Seether and Blue Man Group. The album delivers guttural guitars, unrelenting roars and refreshing live drumming. Several tracks of the album were featured in video games, such as WWE SmackDown! Vs. Raw 2006, Project Gotham Racing 3 and Need for Speed: Most Wanted.

"Cape" was recorded in five days
at a cottage in west barnstable, massachusetts,
with ciat-lonbarde instruments, norns and op-1,
the sounds of surroundings, fused with memories,
pleasant and bittersweet,
finding fragments of what once was.

A-side from the recent album “Back In Mono”! B-side a new track, exclusive to this 7”! The A-side 'Misfits & Freaks' is a standout track from the The Courettes' third album, Back In Mono. It comes backed with an exclusive new song 'Killer Eyes'. Cheer up, cheer up! It's the end of the world! “We wrote 'Misfits & Freaks' after a bittersweet concert in France in 2020, on our last tour in the pre-pandemic world. We played on the very evening France went in its first lockdown - our show at 9 pm, lockdown at midnight. Back then, nobody actually knew what was a lockdown, what was a pandemic and what the hell we were getting into, so people that day really partied as if there was no tomorrow. The audience and us, we were really having a party at the end of the world! That's how we felt that day: at the end of the world as we once knew it. And I guess we were right on that. It's also an ode to all the misfits & freaks, a call to our punk rock community. We were worried about the possible consequences of the pandemics, with venues being closed and the economic choking of independent and experimental artists. The fear of a boring new world without places to breathe and drift away from the established mainstream cultural diet, a boring new world without the community feeling that only a rock show can create. A call against the normalisation of Netflix and isolation, a hope that us misfits and freaks would survive. And now, two years later, we can say that we did. Cheer up!”