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"Don’t be afraid, old son, it’s only me,
though not as I’ve appeared before,
on the battlements of your signature,
or margin of a book you can’t throw out"
~ Michael Donaghy

Whytwo is a young, enigmatic artist from Scotland, UK. A talented multi-instrumentalist and performer with an extraordinarily broad range.
First coming to Blu Mar Ten's attention after entering their 2017 remix competition, Whytwo created a wildly different take on their track 'Titans', bending it into a skittering, menacing groove while somehow maintaining a playful edge.

Fast-forward a little and we've now arrived at Whytwo's debut LP, 'Ghost', an exhilarating and elasticated take on Drum & Bass that exists in the hinterland between elation, melancholy and longing.

Mirroring Whytwo's music, the album's title, 'Ghost', is richly layered word, meaning, in different places and at different times; a memory of something or someone; to disappear without communication; to move quietly and quickly; to secretly do work for another; and, of course, a being caught between worlds.
From the old English, 'Gast', meaning 'breath' or 'spirit', the word eventually transformed into 'Ghost' coming to describe "a slight suggestion, mere shadow or semblance". All of these definitions relate, in some way, to the album now before us.

In conversations with Whytwo, he describes how his Jazz musician Grandfather was the person responsible for first giving him music-making software, and whose clarinet features on some of the album tracks. At the same time that 'Ghost' was being created, Whytwo was looking after a young child and some of the drums on 'Ghost' are recordings of the child hitting things. Whytwo describes the feeling of existing between these two extreme states, young & old, naive & experienced, primitive & advanced, and taking the role of a medium 'caught between worlds' whose task was to stitch together this generational fabric.

The result is nothing less than spectacular. Despite having its roots in Drum & Bass, the rules and conventions of the style are ruthlessly disobeyed resulting in glittering cascades of melody, harmony and rhythm that somehow burst with both sadness and joy, hope & loss, memory and anticipation. The music swoops and dips, briefly casting shadows before blasting them away with sunlight, evoking memories both personal and collective. This is 'Lost Soul Music' that manages to speak to all of us.

Despite being deceptively listenable, Whytwo insists this is not relaxing background music. Listeners should fully engage with the music beyond its attractive surface and absorb it at the same deep human level where it was created. 'Ghost's production levels are astoundingly high but focussing on those would be a mistake. They only serve to carry the spiritual content of the music across to the audience and unlock the valves of feeling. The beauty here is not the machine, but the ghost in the machine.

140g Black vinyl LP – Printed inner sleeve – Sealed plastic sleeve



In Trux We Pux is an editorial project organized by the Porto based label and collective Favela Discos. Focusing on the city’s thriving experimental and improvised music scene, it sets out to portrait in a series of four volumes some of the characteristic sounds and collaborative practices that have been in development in Porto during the last few years.

Milteto is an informal orchestra born out of the Favela Discos collective somewhere in 2014. The idea, that had been around for a while, was materialized for a concert in one of the first events hosted by Favela, in the extinct Picadilly Pub in Porto, a small strip club turned underground venue. It was one of those wet pre-covid nights where the condensation dripped down the mirrored walls, in a loud endurance contest that resulted in a fainted audience member.

For a very large number of reasons, it would be hard to define Milteto’s whole “career” in an album: the band has always inhabited the live context, trying to create massive immersive sound experiences for both the listeners and the musicians, subconsciously seeking to achieve transcendence by volume.

So, in reality this is a momentary reflection of an always mutating entity, instead of trying to define the several years of drastically different experiences in just 45 minutes, they took to the album as just another live presentation where they adapted to the idea of what a record could be as if they would adapt to a venue.

Faced with the idea of creating an album that reflected the project’s mutability, the band looked at the medium itself for inspiration, as the vinyl record has two sides, they thought that maybe it would be a good idea to reflect that on the music. So the recording sessions were split into two days, with two different groups of guests. One side set to recreate a more physical manifestation of the band, the other a more mental side, the first teeming with percussion, the other with electronic devices and synthesisers.

Back on vinyl for the first time in 3 decades, Hysterics is pressed on double silver vinyl LP. As essential vinyl reissue from the recently revived King Rocker stars. Following the release of the critically acclaimed King Rocker documentary (staring Stewart Lee), Robert Lloyd’s cult post-punk are selling out tours and receiving the long-overdue recognition they deserve. Long out of print, rarity-packed deluxe edition of their second album is a worthy follow-up to that of their debut and a harbinger of great things to come.

Kicks & Hugs, a multi-disciplinary platform established in 2017 to hold space for like-minded creators, now launches its own label showcasing emerging sonic spheres that reach beyond momentary hype and trends alike. Based in Berlin, the foundation of Kicks & Hugs lies at intersectional crossroads of music and art, with their first record establishing a definite attitude towards contemporary artistry. Kicks & Hugs celebrates an immersive spectrum of talent across different mediums and promotes ideas composed of color to challenge a steady current of long exhausted black & white patterns within the realm of electronic music. The debut EP available on black & limited edition colored marble vinyl assorts a kinetic flow of ideas produced by a seemingly divergent roster. Completely ecstatic & exhilarating maze of rhythm by The Lone Flanger, additionally reworked with Varg2TM versus contrasting yet innovative dancefloor mechanics by Bertrand., ending with a hypnotic mix by Dasha Rush, the record is an absorbing material of dynamics that subtly surprise and leave nothing but an ambitious statement for what’s yet to come. KH01 is dedicated to a musical shape-shifter, a paramount figure, ephemeral talent & a dear friend – Andrew Smith. To end in his own words, Keep It Fungki. The Lone Flanger was an audio-visual project from the artist Jasen Loveland also known as Andrew Smith (1980-2021). Dedicated to exploring the intersection of music and visual arts in the expanded dimension, the work of TLF picked up where Loveland’s eponymous acid-based project left off, aspiring for a kind of transcendence that takes the listener beyond the previously known concepts to experiments with the possibility of creating a resonant bridge between frequencies, worlds and dimensions. The work of TLF questions, obfuscates and complexifies notions of rhythm, melody and musical genre… even our ability to rely on our senses for accurate information about the work in question Varg2TM also known as Jonas Rönnberg casts a cryptic shadow from the North over contemporary aesthetics, continuing to create in his largely collaborative and always thrilling approach. Tempering a caustic rhythmic sensibility with a pneumatic palette for high definition synthesis, his unique embrace of risk tests the reliability of the forms he works in as well as the genre borders he surveys. Bertrand.’s work as a producer incorporates a wide spectrum of influences and aims to create beyond the common means of electronic dance music. Bertrand.’s restless nature and desire for technical perfection bleed into his productions of bass-heavy futuristic soundscapes often juxtaposed with playfully intense dancefloor fundamentals. Dasha Rush constructs a rather wide assortment of electronic music and arts projects. She sees the genre as a starting place, not a destination. Rush brings up a mixture of rather rare electronic experimentation more akin to the brief movement of underground music. Credits: Mastering and mastercut by Andreas LUPO Lubich at Loop-O Cover artwork by Fredrik Altinell Graphic Design by Marta Braga Inner label artwork by Tommy Dwane Vocals by Kawala Bravo

In November 2014 The Jesus and Mary Chain celebrated three decades of their incendiary cult-classic debut album, 'Psychocandy', with a run of tour dates in which the infamous Scottish group played the album in full for the very first time in the band's history. As part of the 'Psychocandy' tour, the Mary Chain descended on Glasgow's Barrowland Ballroom - a legendary venue down the road from where the Reid brothers grew up in neighbouring East Kilbride - and tore through the songs that would propel them to worldwide acclaim upon 'Psychocandy's release in 1985. The Barrowland performance - an equal-parts deafening and blinding assault on the senses - was cut to vinyl by engineer Noel Summerville and originally released in 2015. Fast forward to 2022 and the 'Live at Barrowland' album is now being reissued by Fuzz Club Records. Due for release April 22nd, the 2022 reissue comes with new artwork and on 180g vinyl in a gatefold jacket with a booklet glued inside that features pages of photos from the tour as well as an interview with the Reid brothers and Alan McGee. The influence that 'Psychocandy' and its pioneering sonic belligerence had on popular music cannot be overstated. Taking bittersweet pop melodies and tearing them up apart through the medium of buzzsaw guitars, ear-piercing feedback and an unapologetic hostility towards their listeners, the band's breakthrough album experimented with noise in a way that had never been done before and would inspire for generations to come. The 'Live At Barrowland' LP captures 'Psychocandy's complete 14 tracks in a live setting and in all their boundary-pushing and feedback-ridden glory. The CD and digital versions of the reissue - including the download card that comes with the vinyl - also feature seven bonus tracks taken from the prelude set on the night, including such fan-favourites as 'April Skies', 'Head On' and 'Reverence'.

 With their duo debut, Dean Spunt and John Wiese invite you to experience
the frenzy of percussive space and discreet sound found inside ‘The Echoing
Shell’.
 This is the first official collaboration between the two veteran music-makers,
though their connection goes back to 1999. As John recalls, “Dean was in a
high school arts program at CalArts. A friend and I were recording the first
Sissy Spacek demo in the design studios there, and taking a tape to my car
over and over again to check the mix. Dean was walking through the parking
lot with a Locust shirt on, we said hello, and he immediately got into a car
with two strangers to ‘listen to a tape’.”
 The tape-listening ended well, apparently. Dean and John became friends
and fellow travellers in LA circles and beyond: in 2005, John did a remix for
Dean’s first band, Wives; in 2007, Dean played percussion with Sissy
Spacek’s 13-Tet Los Angeles; John toured with No Age several times and
collaborated live with them in 2010.
 Under the Sissy Spacek name as well as his own, John’s recordings for his
own Helicopter label and many others kicked things off for him around the
end of the century; since then, he’s been constantly engaged in solos and
collaborations on record, performances, and installations around the world.
 In addition to Dean’s ever-growing discography with No Age, he curates his
own label, Post Present Medium. In 2018, Radical Documents released
Dean’s solo debut ‘EE Head’, which explored concrète and experimental
techniques in a four-part, album length piece.
 ‘The Echoing Shell’ is born of Dean and John’s shared understanding, using
John’s process common to Sissy Spacek: elaborate sound-collage works
using source material originating from punk, hardcore and improvised music.
A series of impositions, tape manipulation and edits recompose the material,
cracking open the crust of the source, freeing its implied guts to steam forth
in gushes of extreme noise. On ‘The Echoing Shell’, this is as often noise as
it is extreme intimacy, seeming at times to be sourced from within Dean’s
drumkit, at other times appearing to emanate from the capsules of
microphones and the circuits of the signal path itself.
 One may read these collaged sounds as abstraction, but there is a unique
language conveyed in their assembly, forming something like word-shapes
and meaning. And intention: the two side-long pieces, comprised of many
short sections, form a linear whole, creating alternately ripping and
discriminating music - and meaning - in the process.
 ‘The Echoing Shell’ is a fantastic conception in contemporary musique
concrète, combining incendiary post-rock power, dry humour and astonishing
depth of field. Whether projecting the sound through headphones, ear buds,
bookshelf speakers or your own personal amp stack, crank up ‘The Echoing
Shell’.

Like many of his favorite songwriters (John Hartford, Lucinda Williams, Jeff Tweedy), Izaak Opatz is an ungulate in life’s winter pasture, chewing on and metabolizing disappointment, heartbreak, and the other tough stuff into enjoyable musical carbohydrates. A compulsive metaphorager (and inveterate wordplayboy), Opatz breaks it all down with enzymes of wry humor, thoughtful simile and close observation - a therapeutic process of narrativizing his own life that, almost as a byproduct, turns out savory nuggets of literate, confessional pop. Where 2018’s 'Mariachi Static' drew from Opatz’s fragmented love life as a seasonal Park Service employee and resonated especially with the sensitive dirtbag set, 'Extra Medium', his latest release, splits time between romantic Hindenburgs across his native Montana, up the East Coast, and in faraway Los Angeles. Montana and LA especially decorate the album, supplying wells of metaphor and scene-making, and as characters in their own right - LA’s alternately charming (“In the Light of a Love Affair”) and discomfiting (“East of Barstow”), and, in “Big Sandy”, Montana evolves from setting to subject as the girl’s feelings he traverses it to see prove less than his own feelings for the state. In LA, Opatz learned from and worked alongside Jonny Fritz at Dad Country Leather, and met bandmates and 'Extra Medium' collaborators Malachi DeLorenzo (drums, producer, engineer) and Dylan Rodrigue (multi-instrumentalist, producer). He now lives in Missoula, Montana, where he runs his own custom leather shop, is writing the next album, and getting ready to pursue a Journalism degree at the U of M.

You probably heard it before, several times. The opening number ‘Hungry, So Angry’ is to be considered one of the most infectious white funk anthem of the era. The Glitterhouse was released in 1981 on british imprint Cherry Red and soon was hailed as an instant classic for the post-punk generation close to dancefloor. In the same league of A Certain Ratio and newyorkers Bush Tetras the band originally from Nottingham moved behind obscure numbers and twisted grooves showing a revolutionary take on the up and coming new wave scenario. Here’s an unmissable collection with tracks from their three singles, sole studio album, live recordings but also unreleased tracks from an October 1982 demo tape.

Toro y Moi’s seventh studio album, ‘MAHAL’, is the boldest and most fascinating journey yet
from musical mastermind Chaz Bear. The record spans genre and sound - encompassing the
shaggy psychedelic rock of the 1960s and ‘70s, and the airy sounds of 1990s mod-post-rock -
taking listeners on an auditory expedition, as if they’re riding in the back of Bear’s Filipino
jeepney that adorns the album’s cover. But ‘MAHAL’ is also an unmistakably Toro y Moi
experience, calling back to previous works while charting a new path forward in a way that only
Bear can do.
 ‘MAHAL’ is the latest in an accomplished career for Bear, who’s undoubtedly one of the
decade’s most influential musicians. Since the release of the electronic pop landmark ‘Causers
of This’ in 2009, subsequent records as Toro y Moi have repeatedly shifted the idea of what his
sound can be. But there’s little in Bear’s catalogue that will prepare you for the deep-groove
excursions on ‘MAHAL’, his most eclectic record to date.
 The second the album begins we’re immediately transported into the passenger seat, jeep
sounds and all, ready for the ride Chaz and company have concocted for us. Seeds of some of
‘MAHAL’s 13 songs date back to the more explicitly rock-oriented ‘What For?’ from 2015.
 ‘MAHAL’ was mostly completed last year in Bear’s Oakland studio with the involvement of a
host of collaborators, Sofie Royer and Unknown Mortal Orchestra’s Ruban Neilson to Neon
Indian’s Alan Palomo and the Mattson 2.
 “I wanted to make a record that featured more musicians on it than any other record of mine,”
he explains. “To have them live on that record feels grounded, bringing a communal
perspective to the table.” As a result, ‘MAHAL’ is lush and surprising at every turn, from the
cool-handed ‘The Loop’, which recalls Sly and the Family Stone, to the elastic psych rock of
‘Foreplay’ and the dizzying Mulatu Astatke-recalling of ‘Last Year’.
 Lyrically, the album zooms in on generational concerns, picking up where the ‘Outer Peace’
standout ‘Freelance’ effectively left off. Bear seems to be surveying the ways in which we
connect with technology, media, each other, and what disappears as a result. Cuts like the
squishy ‘Postman’ and ‘Magazine’ take a deep dive into our relationship with media in a
changing digital world. “It’s interesting to see how we adapt to this new age. We’re so
connected, but we’re still missing out on things,” Bear ruminates while discussing the album’s
themes.
 It’s not all introspection. Bear cools things down near the album’s end with the Mattson 2-
featuring ‘Millennium’, a laid-back jam with tricky guitar licks about ringing in new times even
when everything else seems upside down. “It’s about enjoying the new year, even when it’s
been shitty,” Bear explains. “There’s nothing else to do.”
 Finding a sense of joy in the face of adversity is embedded in ‘MAHAL’s DNA, right down to the
jeepney that literally and figuratively brings the music out into the community. “We know that
touring is messed up for now, and large gatherings are a fluke,” he explains. “It’s about the
notion of us going out to the people and bringing the record to them.” And with the wide-open
atmosphere of ‘MAHAL’, Toro y Moi stands to connect with more listeners than ever before.

Toro y Moi siebtes Studioalbum MAHAL ist die bisher wohl kühnste und faszinierendste Reise des musikalischen Masterminds Chaz Bear. Mit einer weiten Spannbreite zwischen Genres und Sounds - vom zotteligen Psychedelic Rock der 1960er & 1970er hin zum luftigen Sound des Mod-Post-Punks der 90er-Jahre - nimmt das Album die Hörer*innen mit auf eine musikalische Expedition, in der sie im Rücksitz von Bears philippinischen Jeepney, der auch das Albumcover ziert, Platz nehmen können. So ist MAHAL ein unverwechselbares Toro y Moi-Erlebnis, welches in Verbindung zu seinen vorigen Werken steht und dennoch einen ganz neuen Weg einschlägt, wie es nur Bear tun kann. Seit der Veröffentlichung des bahnbrechenden Electronic Pop-Albums Causers Of This 2009, hat Toro y Mois Alben stets die Idee, was sein Sound sein könnte, weiterentwickelt. Dennoch findet sich in Bears Backkatalog nur wenig, das einen auf die Deep Groove-Exkursion auf seinem bisher vielfältigsten Album MAHAL vorbereiten könnte. Mit den ersten Tönen des Albums werden wir direkt in den Beifahrersitz gesetzt, umgeben von den Motorengeräuschen des Jeeps und bereit für die Fahrt, die Chaz und seine Gefährten für uns geplant haben. Einige der 13 Tracks auf MAHAL - das Wort für Liebe in der auf den Philippinen gesprochenen Sprache Tagalog - finden ihre Anfänge in der Zeit um das deutlich rockigere What For? aus dem Jahr 2015. So liefert das neue Album eine ganz klare Antwort und spannt den Bogen: What For? - For Love. MAHAL wurde größtenteils letztes Jahr in Bears Studio in Oakland in Kollaboration mit Künstler*innen wie Sofie Royer, Unknown Mortal Orchestras Ruban Neilson, Alan Palomeo von Neon Indian sowie The Mattson 2 fertiggestellt. "I wanted to make a record that featured more musicians on it than any other record of mine," erklärt Bear. "To have them live on that record feels grounded, bringing a communal perspective to the table." Im Resultat ist MAHAL üppig und voller Überraschungen - sei es durch das locker lässige "The Loop", das an Sly and The Family Stones erinnern lässt oder dem elastischen Psych-Rock bei "Foreplay" sowie der schwindelerregenden Mulatu Astatke-Anlehnung bei "Last Year".

Toro y Moi siebtes Studioalbum MAHAL ist die bisher wohl kühnste und faszinierendste Reise des musikalischen Masterminds Chaz Bear. Mit einer weiten Spannbreite zwischen Genres und Sounds - vom zotteligen Psychedelic Rock der 1960er & 1970er hin zum luftigen Sound des Mod-Post-Punks der 90er-Jahre - nimmt das Album die Hörer*innen mit auf eine musikalische Expedition, in der sie im Rücksitz von Bears philippinischen Jeepney, der auch das Albumcover ziert, Platz nehmen können. So ist MAHAL ein unverwechselbares Toro y Moi-Erlebnis, welches in Verbindung zu seinen vorigen Werken steht und dennoch einen ganz neuen Weg einschlägt, wie es nur Bear tun kann. Seit der Veröffentlichung des bahnbrechenden Electronic Pop-Albums Causers Of This 2009, hat Toro y Mois Alben stets die Idee, was sein Sound sein könnte, weiterentwickelt. Dennoch findet sich in Bears Backkatalog nur wenig, das einen auf die Deep Groove-Exkursion auf seinem bisher vielfältigsten Album MAHAL vorbereiten könnte. Mit den ersten Tönen des Albums werden wir direkt in den Beifahrersitz gesetzt, umgeben von den Motorengeräuschen des Jeeps und bereit für die Fahrt, die Chaz und seine Gefährten für uns geplant haben. Einige der 13 Tracks auf MAHAL - das Wort für Liebe in der auf den Philippinen gesprochenen Sprache Tagalog - finden ihre Anfänge in der Zeit um das deutlich rockigere What For? aus dem Jahr 2015. So liefert das neue Album eine ganz klare Antwort und spannt den Bogen: What For? - For Love. MAHAL wurde größtenteils letztes Jahr in Bears Studio in Oakland in Kollaboration mit Künstler*innen wie Sofie Royer, Unknown Mortal Orchestras Ruban Neilson, Alan Palomeo von Neon Indian sowie The Mattson 2 fertiggestellt. "I wanted to make a record that featured more musicians on it than any other record of mine," erklärt Bear. "To have them live on that record feels grounded, bringing a communal perspective to the table." Im Resultat ist MAHAL üppig und voller Überraschungen - sei es durch das locker lässige "The Loop", das an Sly and The Family Stones erinnern lässt oder dem elastischen Psych-Rock bei "Foreplay" sowie der schwindelerregenden Mulatu Astatke-Anlehnung bei "Last Year".

"This may well be Baker's best LP so far. He plays throughout with more virility than often heretofore; his tone is fuller with a cheering diminution of wispiness, and, withal, he has been able to retain the lyricism that is his primary identification." - Nat Hentoff, DownBeat

"I Can't Let Go" ist das erste Album der britischen Sängerin und Schauspielerin Suki Waterhouse und wurde von dem Grammy-nominierten Produzenten und Songwriter Brad Cook (Bon Iver, The War On Drugs, Snail Mail, Waxahatchee) produziert. Neben ihrer Tätigkeit als Schauspielerin (The Bad Batch, Assassination Nation, Misbehaviour) und Model (Burberry, Ferragamo, Tommy Hilfiger) katalogisiert die Britin ihre intimsten, prägendsten und bedeutendsten Momente ihres Lebens am liebsten in Songs. Die in London geborene und aufgewachsene 30-Jährige fühlte sich schon früh zur Musik hingezogen und sah das Medium immer als eine Möglichkeit, Kreativität auszudrücken und Geschichten zu erzählen. Bis heute haben Bands wie Oasis einen ganz besonderen Platz in ihrem Herzen, Suki hört aber auch gerne Songwriterinnen wie Sharon Van Etten, Valerie June oder Lou Doillon. Bevor sie sich mit dem angesehenen Produzenten Brad Cook für ihr Sub Pop-Debüt zusammengetan hat, erschienen bereits die auf eigene Faust veröffentlichten Singles "Brutally", "Good Looking" und "Valentine", die auch ohne großes Label im Rücken bis heute fast 20 Millionen Mal gestreamt wurden.

Tephra is the latest mesmerizing, propulsive EP by Philadelphia-based rave conjurer Furtive. With captivating woozy arpeggios, high-pressure textural progression, and sharp scintillating sound design, Furtive’s release is a fresh and powerful entry on Mild Fantasy - the brainchild of NYC-based DJ/producer Elle Dee.

Furtive is a full-gonzo rave rat, intractably committed to the dancefloor as a producer, DJ, and DIY event organizer. Tephra showcases a canny approach to creative techno dynamics most familiar to die-hard dancefloor supplicants who’ve both been in the booth and worshiping in front of the speaker stacks.

The EP kicks off with its namesake track: Tephra is a pressure-building whirlwind of dense, textural progression and explosive tension-and-release dynamics. Mounting from a muscular low-end pattern up to a dramatic break, Tephra is a proper warp-drive weapon.

With Strobe Bubble Romance, Furtive dives into pedal-to-the-metal rave acceleration with jagged arpeggio interplay and sharper sound design. In gentler, more romantic contrast, Iris Blur brings back a dizzying melodic progression to even out the blistering pulse of the former.

Question Accelerator (No Answers) is a trippy twist in the EP, comprising a high-torque psychedelic drum and bass journey. As a digital-only bonus, Furtive closes the release with Lullaby, a haunting ambient exploration.

A ferociously productive producer with over a decade of experience bending sounds, Furtive cut their teeth as a DJ and promoter in Washington, DC’s warehouses, where they also played a turnkey role in putting on some of the District’s zaniest techno parties. They’ve supported internationally celebrated non-nonsense acts and held court in dingy watering holes with eclectic selections and a steadfast focus on pacing, dynamics, and surprises. Beyond the fog and strobe lights, Furtive creates art in various mediums, including linocuts, render art, inky drawings, and tattooing.

Repress

Growing Bin burst into 2018 with a bang, crash and symbol splash, uniting a premier pair of per-cussion obsessives for a supernatural mission into the heart of the rhythm.
Dressed in the pitch black of Du¨sseldorf stands Wolf Mu¨ller, master of the tropical drums and seven time Salon Des Amateur breakdance champion. Repping Cologne and Berlin is Niklas Wandt, Germany's funkiest drummer and a mixed musical artist as adept in experimental jazz as demen- ted Euro dance. Standing toe to toe in a no holds barred, no drum unstruck groove contest, these two titans will make you swing your pants like a Crash Bandicoot victory dance...so stretch out and step in to ‚Instrumentalmusik von der Mitte der World'.

Taking to their task with the joyful abandon of two big kids getting creative with the Kindergar- ten music tray, Mu¨ller & Wandt marry dripping electronics, Froesean pads and rubber-limbed basslines with tribal polyrhythms, C2 claps and Indonesian shakers - and that's only on the A1. Comprising of three trance-inducing epics, a handful of medium-sized movers and a couple of freeform interludes, this dynamic double pack could almost pass as a lost Library masterpiece, but our mind guides go Furthur, fusing esoteric funk and free-jazz freak-out a truly transportive experience. Prepare to enter a world of techno totems and neon skulls, shades of Yello and excel- lent birds. Within these grooves lies a transdimensional pathway between the Temple of Doom, the Twilight Zone and De Palma's Paradise, brought to life in a shamanic rite.

Forget the healing frequencies of Growing Bin's ambient outings, this time we're dancing for mental health.

(words by Patrick Ryder)

With an increasingly vibrant Norwegian Indie Rock scene on the rise, Lazy Queen - as founded by Colombian-Norwegian Henrik García Søberg (they/them) - have made their mark with a sound inspired by the rich traditions of the Brooklyn DIY scene that birthed the band, ambitious and effervescent releases, coupled with their unique ability to convey personal and relatable experiences through García Søberg's lyrics

The Oslo- based outfit effortlessly blends harmonic and discordant elements together with an instinctive ear for melody into a playful, innovative and vibrant sound, which affixes both context and contrast to lyrics that often explore life's more maladjusted corners. It's immediate. It's urgent. It impatiently demands your attention.

Previous release received widespread support and critical acclaim from renowned outlets such as Wonderland Magazine, Under The Radar, NYLON, Red Bull Music, Earmilk, Indietronica, Impose Magazine, Medium and more.

A new hub solely for the Icelandic talent’s unreleased material, BJARKI will also serve as a platform to launch a wealth of forthcoming audiovisual projects in the coming months, with the label logo designed by Paul Nicholson, NUMBER 3, and all artwork designed by Thomas Harrington Rawle - the creative behind the Care More project. Operating and creating its own storyline with every release, intertwining projects between Harrington Rawle and Bjarki across various mediums, the imprint will also drop a series of offshoot white label releases while being reactive and unveiling random drops across its upcoming schedule. Delivering his first solo release since ‘Oli Gumm’ on трип in 2018, late-February marks the first release on the new label as he unveils his four-track ‘I Wanna Go Home’ EP.

“I want to share more of my unreleased works, especially the tracks that I have created specifically for parties in each city I play. People impact my work a lot, and I would like to share this music directly before or after the show. I don’t see any other way than to set up my own channel or label where I can share all these ideas. Next year will be a lot about sharing stuff and being in direct contact with the audience.” - Bjarki

Opening the label with authority, ‘I Wanna Go Home’ welcomes a quartet of cuts showcasing the genre-spanning polymath at his best, delivering a medley of serious yet playful productions which arc back to previous material while also looking ahead to the future. A creative force with an unrelenting swathe of experimental ideas, influences and directions, this new eponymous imprint looks set to home some of Bjarki’s finest and most unpredictable material to date.

‘Free World’ is the first full-length issue from an
ongoing collaboration between Behavior (Bedros
Yeretzian, Evan Burrows, Justin Tenney, Robbie
Cody) and Mayako XO (Sara Gernsbacher). It was
tracked between 2019 and 2020 and assembled
over the course of the last year in Los Angeles.
 The album reflects its creation under open-ended
yet intent circumstances. What’s recorded is a
tangled pas de deux between discredited and
demonstrative characters, singing through shifting
voices over a living, melancholic music rendered
legible by surveillance.
 Mastered by Sarah Register.
 For fans of Sonic Youth, Velvet Underground,
Dead C, Blonde Redhead.

As the tides change and the majesty of the moon once more begins to illuminate our forgotten domain, the hotly-tipped Incus has made the jump to hyperspace and determined that now is the time to unleash his neoteric creation into the macrocosm of music. At the behest of the sonic social masters, "INC.AUDIO" will be deemed a passion project, but in reality it will rip the very fabric of what it means to have a personal creative outlet, curtailing boundaries and expectations alike. Based on the creed of freedom of experimentation, the label will allow Incus and close friends within the industry to share their creative expressions within a familial and contemporary framework free from third-party limitation.

For now we start at the first chapter of the INC.AUDIO narrative, and the inaugural release which comes from the architect himself. His first solo EP contains 4 tracks conceived at home during lockdown, combining new sound design techniques developed through the mediums of trusty Korg Hardware and Ableton live. The end product is a consummate representation of the benefits of free time, reckless abandon and zero red tape.

Kicking off with "Design Your Mind", Incus draws on his longstanding influences collected via years of crate-digging and supporting underground idols in the UK and Ibiza. Shuffling percussion, jittering stabs and percolatin' chords wax and wane, submitting us to the will of its deep, minimal groove with a sultry sensibility. Next is "New Dog Old Tricks", the one with "that" bassline. No holding back from the get-go, the punching percussion is waylaid sporadically by erratic tones and steadied by placid, ambient chords. The charming breakdowns are peculiarized by a haunting saxophone sample, firmly establishing the clear-cut level of advancement and attention to detail achieved by the creator.

"Calm in the Chaos" steps back from straight-up grooving, inviting an equatorial temperature to come and play. Tantalising acid-inclined bass notes perforate the horizon, aiding the insistent percussion and creating a sunny, party-ready disposition infectious as they come. Feel like you're on a beach or in a rainforest? Snap. After the party we finish in the "Morning Haze". Alien-like frequencies and UFO bleepology steer the good ship Incus on this extra-terrestrial journey through the tech-house heavens to its final resting point. The seductive vocal cut adds a beautiful edge to the track, creating a minimal yet also expansive soundscape perfect for disembarkment. So, now you see what INC.AUDIO is all about, why wouldn't you stick around? Fight the bureaucracy and become who you need to be today, not tomorrow.