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Surya is a project from Rome formed by Joe Casagrande, Matthew Mountford and Roberto Lycke. Born in 1995 with consistent dub roots influenced with breaks and ethnic music samples.

The duo was quite active in the Roman scene in the late '90s, collaborating with clubs like GOA, Brancaleone, MCA and playing with seminal groups like ORB and Loop Guru.

"Wide Tuning" is Surya's first record, an extremely unique debut that goes beyond dance music boundaries. Self-produced in 1997 and released only on cd until now.

Konerytmi is back for his final EP on the Telomere series!
Here we have again a SIX track mini LP! With a blend of breaks, electro, IDM and tech house, there’s something for all hours of the night!

Very limited black copies as always with a few colored copies available via the Wex bandcamp, be quick!

Heavenly sounds and atmospheres to travel to another dimension, always with the Techno driver channel. Includes a power remix of Electric Rescue.

HYbr:ID Vol. 2 is the second installment of Alva Noto’sHYbr:IDseries initiated in 2021. The new album captures the music commissioned to score RichardSiegal's Ectopia performed in 2021 by Tanztheater Pina Bausch with Shooting into the Corner (2008-09) by Anish Kapoor. Building upon the captivating blend of immersive dub and electronica from the first installment, HYbr:ID Vol. 2 takes the listener on a journey into the realm of intricately manipulated digital production. These ten compositions delve into infinity, drawing inspiration from resonance and elasticity, concepts rooted in Minkowski's four-dimensional spacetime model.

Throughout the album, Carsten Nicolai summons precise rhythmic patterns that gracefully hover, reminiscent of celestial bodies orbiting in perfect cosmic unison. The sonic landscape gradually unfolds with somber and brooding tones, incorporating spacious sound design, ethereal atmospheres, and cascading metallic percussions. These elements are delicately crafted with artistic finesse, set against a backdrop of expansive dub textures. At times, the music takes unforeseen turns, as melancholic chords skitter and meander through a digital haze, evoking an atmosphere of introspection and emotion. The ten compositions are accompanied by graphic notations informed by the album’s sonic and acoustic codes.

Introducing the eagerly awaited second instalment of Fabio's meticulously curated collection of liquid Drum & Bass classics - 'Generation Liquid.'

Fabio, a true legend in the music industry for over three decades, kickstarted his illustrious career as a Pirate Radio DJ in the mid-80s. Throughout the years, he masterfully evolved his style across various musical genres, ranging from Dub and Hip Hop to House, until he ultimately solidified his position as one of the pioneering forces behind Jungle and Drum and Bass. Fate played a remarkable role in Fabio's extraordinary musical journey. Serendipitously, he landed a pivotal spot on the pirate radio station Phase One, all thanks to a connection through a close friend. This opportunity allowed Fabio to showcase his raw talent and hone his early skills. As destiny continued to guide him, Fabio formed a powerful partnership with Grooverider, and together, they soared to fame, headlining numerous major outdoor raves and orbital M25 parties during the late '80s acid house boom. The duo's magnetic presence and innovative sound captivated audiences, setting them apart as trailblazers in the electronic music scene.

As club culture blossomed, Fabio and Grooverider became the distinguished residents at the iconic club night RAGE, hosted at Heaven in the heart of London. Their influence was immense, as they were credited with moulding the early Jungle sound and orchestrating the world's first-ever weekly Jungle night. Fabio's unwavering passion and dedication to music have not only left an indelible mark on the industry but have also inspired countless aspiring artists. His boundless creativity and willingness to push the boundaries continue to shape the ever-evolving landscape of electronic music, solidifying his status as a true pioneer and a living legend.

After the Jungle scene declined and underwent a distinct shift in sound and style, Fabio took the initiative to establish London's first dedicated soulful deep Drum and Bass night, known as Speed. Week after week, Fabio shared the decks with LTJ Bukem, and their skilful sets eventually garnered immense popularity, drawing in not only junglists but also celebrities, club kids, record label A&R representatives, and the who's who of the West End at that time. When the curtain fell on Speed Fabio's legacy continued to flourish with the inception of his legendary Swerve weekly residency at The Velvet Rooms, which later relocated to the iconic club, The End. The influence of Swerve was profound, serving as a catalyst for the creation of influential labels like Hospital Records, Tony Coleman (also known as London Elektricity) became a regular attendee, further contributing to the scene's growth and innovation.

The term 'Liquid', was born out of Fabio's deep admiration and support for his protégé, the talented Northern Irish producer and DJ, Dominick Martin, famously known as Calibre. This inspiration led to the creation of his acclaimed 14-year radio show on BBC Radio 1, 'The Liquid Funk Show', which drew from Calibre's masterful productions that Fabio likened to "liquid gold" for the ears. Through this show, Fabio played a crucial role in breaking numerous iconic records, and artists such as Chase & Status, High Contrast, and many many more.

Now, 'Generation Liquid' takes the baton from the legacy of Speed, Swerve, and 'The Liquid Funk show', capturing the essence of the era and the soulful, deeper music that Fabio has championed throughout his illustrious career. This meticulously curated collection celebrates records that embody the spirit of soulful D&B, making it a must-have for anyone who has followed Fabio's musical journey since the vibrant days of the 1990s up until now.

The second volume of this immersive exploration into the soulful realm of Drum & Bass is just as indispensable as its predecessor. It boasts a curated collection of rarities, timeless classics, and straight-up anthems from the vibrant liquid D&B scene. Esteemed artists such as DJ Marky, Calibre, Calyx & TeeBee, and dBridge all contribute to what is undeniably becoming a seminal anthology of the subgenre. The track selection and seamless programming are expertly guided by none other than Fabio himself, providing listeners with a nostalgic glimpse into the electrifying atmosphere of being right on the dance-floor at iconic events Speed and Swerve.

After an incredible journey spanning 8 years and 40 releases, Marked is proud to unveil a monumental milestone - their first EP released on the timeless medium of vinyl. There is no better way to do this than with upcoming superstar Amazingblaze. His Stargaze EP is a journey of pure power and brightness -a dopamine rush- waiting to find its place of honor within your cherished wooden vinyl cabinet.

Starting with Treasures, this is one of those musical gems that keeps on overflowing with life with an almost mystical quality. A sound and melody that have emotions run deep, while the heart of the track keeps your pulse racing at its beats per minute.

The answer to a surefire way to light up the dancefloor is Quantumness. The lead synth and perc rhythm make a deadly and irresistible groove. Its notes soar and dive, creating a rhythmic anchor that holds everything together.

In Geerson's remix of Quantumness, most of the original's iconic lead synth is kept intact. In this version, the kicks fire in rhythmic drum salvos. The sonic landscape traverses peaks and valleys, sending you to both extremes in orbit.

Powerhouse Tham brings in the Club Kid remix of Pittsburgh by sending new life into one of the layers of the lead synth. Tham's signature sound is applied to turn it into a full-fledged hammer track: the sound is ruthless, the groove contagious.

"Pretty Paper" ist das erste Weihnachtsalbum und das 24. Studioalbum des Country-Sängers Willie Nelson. Es war auch seine letzte Veröffentlichung in den 1970er Jahren. Nelson wendete sich erneut an den Produzenten und Arrangeur Booker T. Jones, mit dem er im Jahr zuvor am gefeierten Album "Stardust" gearbeitet hatte. Der selbst komponierte Titelsong war 1963 ein Weihnachtshit gewesen, als er von Roy Orbison veröffentlicht wurde. Willie liefert außerdem äußerst charmante Interpretationen von "White Christmas", "Jingle Bells", "Silent Night", "Here Comes Santa Claus", "Frosty the Snowman", "Blue Christmas", "Winter Wonderland" und mehr!

Lower-case and higher-vibes, loket is the saxophonic alias of Tahl Klainman, a versatile presence in Berlin’s alternative and underground scene, whose diverse productions have traversed ambient, trance, techno and jazz on labels such as Mama Told Ya, Hot Concept and Tax Free Records. More recently loket also guested on Massimiliano Pagliara’s LP ‘See You In Paradise’, which received the 2023 German Record Critics’ Award, as well as establishing Klainman as one of the few saxophonists to have jammed live to a peak-time Panorama Bar dancefloor.

Reigniting the languid futurism of trip-hop and downtempo, ‘All Ages’ ably delivers the most inclusive distillation of loket’s sound thus far, paying respect to the influences such as William Orbit and Moby, as well as fourth-world innovator Jon Hassell’s philosophy of blending traditional instrumentation with contemporary electronic experimentalism. Mixed in collaboration with Angus Finlayson, aka Minor Science, each of ‘All Ages’ four pieces transmit the wonder and free-spirited optimism reflected on photographer Jordan Kirk’s wide-eyed cover art.

Title track ‘All Ages’ prizes open a saxophonic wormhole to beckon an infectiously baggy groove, unexpectedly referencing the optimistic rhythm of acid-house inflected Madchester, only with gnarlier guitars to contrast a seriously insistent bassline. ‘Afternoon at Bärenquell’ boldly teases out sonic pleasure from even more idiosyncratic means, melding baroque strings and twinkling new-age melodies to loket’s emotive brass, culminating in a neo-classical finale that seems to suspend itself mid-air.

‘Sanders Groove’ sees loket’s sax step back on a bed of soft, jazz-inflected percussion and unpredictable electronics, melting as one into a slow-motion riff that’s equal parts indie jam and musique concrete. Finally, ‘Soft as Moonlight’ makes good on its romantic namesake with a swelling arrangement that free floats into deft percussion, dreaming and teeming with positive energy.

Just as Duster's landmark debut album Stratosphere was making its first orbit, Clay Parton, Dove Amber, and Jason Albertini tracked a largely improvised companion capsule under their Valium Aggelein alter ego. An ode to '70s Kosmische, Hier Kommt Der Schwartze Mond is a skeletal space nap for the prozac generation. Remixed and remastered from the original 16 track analog tapes, the 1998 album has been adjoined by 15 period-appropriate bonus tracks. A fuzzy masterpiece, hidden in plain sight, by the most important slowcore band of all time.

Good vibes Electro Oriental low-fi high graded sound !
Intergalactic hits ! Now you can finally put smooth on your (blue∼tooth) turntable : the great Double LP featuring all tracks from debut «Yuri Gagarin» & third «Al∼Khawarizmi» albums from this cosmos duo Guess Wwhat the six remaining beats in orbit not selected in my «Various Artists. 2» from their second opus «Mondo Giallo» an unreleased track, wack ! And the whole artworks always sublimely orchestrated by the spacio∼timeless visuals of FÉLIX, just my fix !

Beauty & groovy voyage, wise…

Already bandmates within IDALG, Jean-Michel Coutu and Yuki Berthiaume-Tremblay have been working on new material for some time, from which a distinct identity emerges: the echoes of exotic post-punk, the polychrome and nervous plot of an art rock space opera. YOCTO, in addition to the name given to this new project, is a micro unit of measurement that reflects well this mini-cyclic and fractional music, drawing its DNA from mid-70s underground rock (Television / Talking Heads / Devo) and sci-fi series opening credits. As a leader of this band, Yuki Berthiaume-Tremblay (Jesuslesfilles, IDALG) sings rebellion anthems alongside Jean-Michel Coutu (IDALG) on guitar, Emmanuel Éthier (Chocolat) on bass, Félix-Antoine Coutu on drums, and Carl Matthieu Neher on v-organ. The first album, Zepta Supernova, co-produced by Emmanuel Éthier (Corridor, Pierre Lapointe, P'tit Belliveau) and Jean- Michel Coutu (Jesuslesfilles, CRABE, PYPY), is released on Canadian label Duprince and French label Requiem pour un Twister. An incisive odyssey where fatal obsession, pernicious pride, chained star, and judgment day are at issue. In this series of science-fiction fables, Yocto speaks to a completely megalomaniacal antagonist. The latter has a predisposition to indulge in his own vices - which Yocto has understood well and will makegood use of: through her cunning and pure ingenuity, she will undermineherrival untilhis lucky starbecomes asupernova

A month after the release of his debut album as Tambores En Benirras, 2021’s fabulous Orbe Dotodo, Graham Newby’s life changed forever. After years living with a visual impairment, his sight had deteriorated so much that he was declared “registered blind”. For a man who had spent decades dividing his time between travelling, DJing, running clubs and lengthy sessions in his own studio, it was a genuinely life-changing moment.

It was against this backdrop, and the need to alter his working methods, that Ondas Horizontales, the second Tambores En Benirras album took shape. Inspired by a mixture of daydreaming, visualisation, immersion in other people’s music (escapism that provided mood enhancement, rather than a specific set of ideas) and long periods spent soaking up the sun in Ibiza, the album is the most vividly detailed, sonically colourful, and sun-soaked collection that Newby has released to date.

Newby’s declining sight forced him to stop spending long spells staring at a screen and undoubtedly slowed down the production process. Yet it also allowed him to reconnect with his emotions, appreciate the storytelling and mood-shifting potential of music, and mine mind’s eye memories of places and spaces that have meant much to him over the years.

The results are undeniably stunning. Designed with horizontal listening in mind, the set distils a range of musical and real-life inspirations –or, as he puts it, “ambient soundtracks, cosmic journeys, Balearic rhythms and poolside sessions” – into ten mesmerising and magical tracks; an undulating, slow-motion journey that’s as breath-taking as it is beguiling.

Newby sets the tone with ‘Mi Sueno Vibe En Reverb’, a swelling, slow-burn ambient masterpiece that tiptoes between hope and melancholia, before flitting between imaginary sunset soundtracks (‘Estrellas En Mastella’, where lilting pedal steel sounds, bubbling electronics and shuffling breakbeats catch the ear), kaleidoscopic sun-up beats (the gorgeous warmth of ‘Generadora De Reyos’), enveloping beatless soundscapes (‘Templos Del Sol’, a drowsy drift in becalmed waters under the heat of the mid-afternoon sun), and dubby, loved-up lusciousness (‘Mokono’).

As the album progresses, bobbing and weaving on an ocean of vibrant chords, pulsing melodies and heart-stopping melodies, there’s no sign of Newby’s inspiration waving. ‘Alma Hablando’ channels the spirit of mid-80s ‘worldbeat’ and douses it in layers of Balearic bliss, while ‘Extrensor Entragado’ recalls the head-nodding haziness of his best Gripper productions of old while combining them with the musical equivalent of a humid summer breeze. Then there’s the mood-enhancing joy of the album’s superb title track –a mission statement of sorts – and the life-affirming post trip-hop/Balearic fusion of ‘Un Placer Celestial (Reprise)’, where the influence of his old friend Aim is clearly evident.

A serious sonic step-up from its predecessor and a future Balearic classic in its’ own right, Ondas Horizontales marks the start of a new musical and personal journey for its creator. It is, in his words, not the end of an era, but the start of a new one.

These sonic stories emerged from a gathering of artists concerned with alternative uses of everyday objects, subversive anti-aesthetics, sensual-absent poetry, moving optical discs, and echoes of activities occurring in the Earth's orbit. It was a performative celebration of entangled audio-visual events that enabled us to learn once again how to tune in to a place: with our eyes, with our ears, with our minds. While listening to the record, I remember what it sounded like in the space. I remember monologues of chairs that were given voice, phones eavesdropping and speaking back to us, cassettes falling on the floor (intentionally): some visions unfolding in front of our very eyes and others in our minds. Try to imagine all that these short pieces might still contain. As Peter Fengler exclaims in his chorus: it will all work out. Just choose a bicycle, low on emissions and also better for the tummy and the legs! (Lucija Gregov)

OBSCURA's Relapse debut, Cosmogenesis is a front-to-back stroke of brilliance that seamlessly fuses modern metals extremity, the upper levels of technical virtuosity, and the symphonic grace of progressive music into a flawless album experience. On Cosmogenesis, OBSCURA more than justified their impressive pedigree as technical metal masters with what has been regarded as one of the best metal albums of the 21st century.

WORMHOLE brechen mit "Almost Human", ihrem dritten Album und dem ersten für Season of Mist, aus dem Untergrund hervor. Die Band aus Baltimore hat mit ihrer Tech-Slam Attacke ein Loch in das Death-Metal-Kontinuum gerissen! "Almost Human" zeigt den rasanten Aufstieg von WORMHOLE. Es gibt keine Decke, die sie nicht durchschlagen können.

WORMHOLE brechen mit "Almost Human", ihrem dritten Album und dem ersten für Season of Mist, aus dem Untergrund hervor. Die Band aus Baltimore hat mit ihrer Tech-Slam Attacke ein Loch in das Death-Metal-Kontinuum gerissen! "Almost Human" zeigt den rasanten Aufstieg von WORMHOLE. Es gibt keine Decke, die sie nicht durchschlagen können.

The album features 15 tracks, showcasing Bastien’s truly cinematic sound while exploring new sonic territories. The album touches on the melancholic funk drifting between voiceovers of longing and hurt, through surreal, hallucinogenic folk ballads. It’s the juxtaposition of these genres sewn together with ambient synth skits that really makes the album a musical journey. Playful and serious, as the album title suggests, Bastien manages to induce a rye smile with a tear in the eye.


In Seb’s words, “The album tells the story of a failed relationship, as the man narrators missing his other. Whilst he imagines her comforting him, before accepting the end of the relationship, and feeling that the love he feels, she never did.”

Sharing common ground with luminaries such as David Axlerod, Kate Bush, Roy Orbison, Madlib and The Delfonics; Keb plays guitar, trumpet, bass, drums, piano, flute and more Keb’s writing and recording approach is slightly unique. He explains a little about how his records sound the way they do...

“I have a lo-fi approach to recording, for me it’s about the moment, all my records are time capsules of a certain time in my life, so the sound of the recording is secondary. It’s all about heart, that’s all I’m interested in. If I get a melody I have to record it asap, if the mic isn’t plugged in I use the macbook mic, if I’m not by the computer I’ll record into my phone.

For me personally using/sampling other peoples music isn’t making your own music, using your own soul, showing your own heart, it's just my personal opinion. It’s not right for me. No slur on those that do. If there are any samples on my records, it’s me sampling me. For me, this means the music is mine. It’s ‘of me’. That’s really important for me, because I feel that’s where the honesty is. If my music sounds ‘dusty’, that’s why”.

This approach provides us with a wonderfully inclusive record. The album feels almost ‘performed’ to us, live, on each listen. Coupled with Bastien’s capacity to write music which is almost visual, the album is quite enveloping.

Bastien returns to Def Pressé with this new album after the brilliant, Holy Mountain. Released under the name Grandamme, with friend and collaborator Claudia Kane.

Public Service Broadcasting kündigt This New Noise an, den neu abgemischten und neu gemasterten Live-Mitschnitt ihrer gefeierten BBC Proms-Show 2022 in der Londoner Royal Albert Hall, der am 8. September 2023 über Test Card Recordings veröffentlicht wird. Bei This New Noise, einer Feier der Macht des Radios, die anlässlich des hundertjährigen Bestehens der BBC geschrieben wurde, tat sich die Band mit dem 88-köpfigen BBC Symphony Orchestra unter der Leitung von Jules Buckley zusammen. Es war eine herausragende Aufführung bei den BBC Proms 2022 und wurde von The Telegraph mit 5* bewertet, der es als "eine klangvolle, zeitgemäße und letztlich berührende Show" bezeichnete. Gründungsmitglied J. Willgoose, Esq. hat das Konzert von Grund auf neu abgemischt, um der vielschichtigen Aufführung noch mehr Tiefe und Textur zu verleihen und sie in einem neuen Licht zu zeigen. This New Noise ist das zweite Mal, dass Public Service Broadcasting einen Auftrag für die BBC Proms erhalten hat. Im Jahr 2019 spielte die Band ein Orchesterarrangement ihres 2015er Studioalbums The Race for Space mit dem Multi-Story Orchestra anlässlich des 50. Jahrestages der ersten bemannten Mondmission. Public Service Broadcasting lehrt seit mehr als einem Jahrzehnt "die Lektionen der Vergangenheit durch die Musik der Zukunft". Das Debütalbum Inform - Educate - Entertain aus dem Jahr 2013 nutzte Archivsamples des British Film Institute als Audioportale zur Battle Of Britain, dem Gipfel des Everest und darüber hinaus. Zwei Jahre später nutzte The Race For Space ähnliche Methoden, um die Rivalität und den Heroismus der Supermächte im Orbit und auf dem Mond zu loben. Als Indie-DIY-Phänomen hat das Album mit über 100.000 verkauften Exemplaren allein im Vereinigten Königreich inzwischen Goldstatus erreicht. Im Jahr 2017 erforschten sie gemeinsam mit Stimmen wie James Dean Bradfield von den Manic Street Preachers in Every Valley auf bewegende Weise die Gemeinschaft und die Erinnerung an den Aufstieg und Fall der britischen Kohleindustrie. Ihr bisher ehrgeizigstes Projekt, Bright Magic, bringt den Hörer in das Herz und die de facto Hauptstadt Europas, die kulturelle und politische Metropole, die die "Hauptstadt" der Bundesrepublik Deutschland ist - Berlin. Das Ende 2021 erschienene vierte Album der Band, das auf Platz 2 der britischen Albumcharts einstieg, wurde von Electronic Sound als "ihr bisher ehrgeizigstes, unkonventionellstes und majestätischstes Werk, ihr glorreicher kreativer Höhepunkt, ihr Magnum Opus" beschrieben, DIY meinte, "es blühte am ruhigsten auf und brach am glühendsten aus" und Clash meinte, es "zementierte den Ruf von PSB als vitaler Act an der Spitze ihres Spiels". Das Album enthielt auch mehrere BBC Radio 6 Music A-Listed Singles, darunter "People, Let's Dance" ft. EERA und "Blue Heaven" ft. Andreya Casablanca.






d 1.4A CELLO SINGS IN DAVENTRY FT. SETH LAKEMAN

Public Service Broadcasting kündigt This New Noise an, den neu abgemischten und neu gemasterten Live-Mitschnitt ihrer gefeierten BBC Proms-Show 2022 in der Londoner Royal Albert Hall, der am 8. September 2023 über Test Card Recordings veröffentlicht wird. Bei This New Noise, einer Feier der Macht des Radios, die anlässlich des hundertjährigen Bestehens der BBC geschrieben wurde, tat sich die Band mit dem 88-köpfigen BBC Symphony Orchestra unter der Leitung von Jules Buckley zusammen. Es war eine herausragende Aufführung bei den BBC Proms 2022 und wurde von The Telegraph mit 5* bewertet, der es als "eine klangvolle, zeitgemäße und letztlich berührende Show" bezeichnete. Gründungsmitglied J. Willgoose, Esq. hat das Konzert von Grund auf neu abgemischt, um der vielschichtigen Aufführung noch mehr Tiefe und Textur zu verleihen und sie in einem neuen Licht zu zeigen. This New Noise ist das zweite Mal, dass Public Service Broadcasting einen Auftrag für die BBC Proms erhalten hat. Im Jahr 2019 spielte die Band ein Orchesterarrangement ihres 2015er Studioalbums The Race for Space mit dem Multi-Story Orchestra anlässlich des 50. Jahrestages der ersten bemannten Mondmission. Public Service Broadcasting lehrt seit mehr als einem Jahrzehnt "die Lektionen der Vergangenheit durch die Musik der Zukunft". Das Debütalbum Inform - Educate - Entertain aus dem Jahr 2013 nutzte Archivsamples des British Film Institute als Audioportale zur Battle Of Britain, dem Gipfel des Everest und darüber hinaus. Zwei Jahre später nutzte The Race For Space ähnliche Methoden, um die Rivalität und den Heroismus der Supermächte im Orbit und auf dem Mond zu loben. Als Indie-DIY-Phänomen hat das Album mit über 100.000 verkauften Exemplaren allein im Vereinigten Königreich inzwischen Goldstatus erreicht. Im Jahr 2017 erforschten sie gemeinsam mit Stimmen wie James Dean Bradfield von den Manic Street Preachers in Every Valley auf bewegende Weise die Gemeinschaft und die Erinnerung an den Aufstieg und Fall der britischen Kohleindustrie. Ihr bisher ehrgeizigstes Projekt, Bright Magic, bringt den Hörer in das Herz und die de facto Hauptstadt Europas, die kulturelle und politische Metropole, die die "Hauptstadt" der Bundesrepublik Deutschland ist - Berlin. Das Ende 2021 erschienene vierte Album der Band, das auf Platz 2 der britischen Albumcharts einstieg, wurde von Electronic Sound als "ihr bisher ehrgeizigstes, unkonventionellstes und majestätischstes Werk, ihr glorreicher kreativer Höhepunkt, ihr Magnum Opus" beschrieben, DIY meinte, "es blühte am ruhigsten auf und brach am glühendsten aus" und Clash meinte, es "zementierte den Ruf von PSB als vitaler Act an der Spitze ihres Spiels". Das Album enthielt auch mehrere BBC Radio 6 Music A-Listed Singles, darunter "People, Let's Dance" ft. EERA und "Blue Heaven" ft. Andreya Casablanca.






[d] 1.4A CELLO SINGS IN DAVENTRY [FT. SETH LAKEMAN]




[d] 1.4A CELLO SINGS IN DAVENTRY [FT. SETH LAKEMAN]

Legendary 90's UK electronic reissue alert! Down By Law Records holy discogs grail + new unreleased material. Think The Beloved Vs. Orbital and you are half way there.. Highly recommended

Setting out to create a future Balearic anthem while doffing a cap to street soul and synth-heavy Italo-disco B-sides of the early 1980s, Orbs of Light’s debut single, ‘Billion Days’ lands on Leng after a tip-off from Mind Fair duo Dean Meredith and Ben Shenton, who booked the duo to play live at their Rotation festival last summer.

Orbs of Light’s Baz Bradley and A Girl Called Kate have been friends for decades and have collaborated musically in the past, though it was only a couple of years ago that they dreamed up this project. It was first trialled via a 2021 remix for Andres y Xavi on Hollis Recordings (‘Perfect Timing’) on which Kate added new vocals to Bradley’s interpretation of the track. Since then, regular recording sessions have taken place, with the duo first crafting tight instrumental tracks before – in Bradley’s words – “dream up the best songs we can” with “melodies that will hopefully stay in your head all day”.

It would be fair to say that they’ve achieved that goal on ‘Billion Days’, a hooky and addictive affair whose vocal hooks and strong chorus could well inspire Balearic sing-alongs in the months ahead. Their original mix (B1 on the vinyl version of the EP, track 2 on the digital EP) is joyous, cheery and kaleidoscopic, with steel pan style melodies, bouncy synth stabs, jaunty lead lines and Kate’s wonderful lead vocal riding a shuffling, post street soul beat and a bubbly bassline.

The accompanying remix package is naturally very strong too. San Francisco crew 40 Thieves, fresh from dropping a killer single of their own on Leng (‘The Gift’, with disco legends Gary Davis and Cinnamon Jones), step up first with a take that stretches out and builds on Orbs of Light’s original mix – think wobbly nu-disco synth bass, fresh flute sounds, dubbed-out vocal snippets and a locked-in groove that’s just perfect for sun-soaked alfresco dancing.

Fittingly, the second and final revision comes from Mind Fair, whose email to Leng HQ about Orbs of Light got the ball rolling. Opting for a rubbery, body-popping beat inspired by vintage electro, they deliver a joyful, effects-laden Balearic dancefloor ‘Dub Mix’ that somehow makes a genuinely life-affirming record even more loved-up and saucer-eyed – despite the presence of only a fraction of Kate’s addictive lead vocal.

- Jimmy Somerville's debut solo album Read My Lips is re-issued with rarities and new remixes.

- Originally released in 1989, the album enjoyed Gold Sales and 3 Top 30 hits, as well as Jimmy's Top 10 cover of Sylvester's 'You Make Me Feel (Mighty Real)'.

- Across these expanded versions are remixes from Gerd Janson, AMYL, Arpeggius and William Orbit; unreleased demos, B-Sides and rarities such as 'From This Moment On' (from Red, Hot + Blue)
and I Believe in Love (with Arthur Baker and The Beat Disciples).

- New liner notes from journalist and author Paul Burston.

Ocela can be a dance album if you want it to be, but above that, it is an album about dancing. The second instalment in a planned trilogy, it regards dance as a form of pathmaking, a physical chronology of a journey. Its voyager is the eponymous Ocela // an invented feminine form of the word steel // who wields both strength and brittleness. While the first album (Spojky Čiary) focused on Ocela's inception and youth, here she is mature // on a resolute trajectory between birth and passing away.

Ocela is not a concept album // unless you want it to be // but it is an album built around beats. While there is a loose precedent for rhythms in the two-piece project Jamka, the trilogy also marks Daniel Kordik's solo return to melodical composition. On this record, Ocela dances on her orbits in patterns that are harmonious but always slightly elliptic. Each song on the album travels with its own varying velocity, before it abruptly finds itself at the subjective beginning. Then it goes through further revolutions, with determination bordering on a lack of choice.

Recorded live onto a 4-track before mixing, Ocela is unlike its predecessor in that it shuns any form of field recording, and was instead made using only hardware (Elektron Octatrack MK1, Elektron Digitone, Jomox Mbase01).

Daniel Kordik, also known as Iskra, is one half of Jamka, member of the Urbsounds Collective, co-founder of Earshots Recordings and Ocela is his second release on the melodramatic label Weltschmerzen.

Ethos Records is a new vinyl only record label based in Athens,GR.
It’s aim is to present music from carefully curated artists that are consistent & true to their sound regardless the current trends or hype.
For the first release Leonid delivers a deep & dubby, Detroit influenced 4 track EP.

The release will be a limited pressing with each record featuring a hand stamped number on the label.

- Jimmy Somerville's debut solo album Read My Lips is re-issued with rarities and new remixes.

- Originally released in 1989, the album enjoyed Gold Sales and 3 Top 30 hits, as well as Jimmy's Top 10 cover of Sylvester's 'You Make Me Feel (Mighty Real)'.

- Across these expanded versions are remixes from Gerd Janson, AMYL, Arpeggius and William Orbit; unreleased demos, B-Sides and rarities such as 'From This Moment On' (from Red, Hot + Blue)
and I Believe in Love (with Arthur Baker and The Beat Disciples).

- New liner notes from journalist and author Paul Burston.

Mixtus Orbis is a split album between Rennes' wizard Le Matin and the Danish astrocosmonauts Parallel Planet (Grammar of Movement & Ecxo).

It’s the 18th release of the label Maturre.

Mixtus Orbis is a place where the bad and the evil are meeting. Strange forms for strange minds, and big bangers for big dancers.

The UK’s cosmic, psychedelic-funk ensemble issue their first album on maverick producer Madlib’s label, Madlib Invazion. The Heliocentrics’ albums are all confounding pieces of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry’s turned-on musique concrète, and Can’s beat-heavy Krautrock, they have – regardless of the label on which they’ve released their music - pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans. Drummer Malcolm Catto and bassist Jake Ferguson are the Heliocentrics’ masterminds and producers, and they are obsessive weirdos in today’s musical climate, searching, progressive humans who are often out-of-time with current trends. They have been playing together for nearly two decades and their collective drive is to find an individual voice. The Heliocentrics search for it in an alternate galaxy where the orbits of funk, jazz, psychedelic, electronic, avant-garde and “ethnic” music all revolve around “The One.” With Madilb’s label Madlib Invazion for Infinity of Now, the Heliocentrics have returned to develop their epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences, Latin, African, and more.

Since 2016, Public Memory has been crafting lo-fi electronica from the darker corners of the psychic landscape. Gritty atmospherics, damaged synthesizers, and unearthly vocals blend with a mixture of electronic and organic percussion, creating a sense of forceful unease. This, when combined with the shadowy production and emotive singing of Robert Toher, creates a singular contrast between power and vulnerability.

Octave One return with Never On Sunday Vol.2, an EP with new remixes from Orbital and Giorgia Angiuli next to three standout recent tracks.

The Detroit duo’s Never On Sunday alias was born in the nineties with a view to making a mix of downtempo, deeper and more thoughtful electronic sounds. After just two EPs, it lay dormant until last year when the new EP The Bearer on their own 430 West label brought it back to life to a great reception. Then came the Octave One Presents Never On Sunday album this year that collected together a wealth of originals and remixes which are now coming on 12".

First up is legendary brotherly duo Orbital - a UK antecedent to the Burden brothers who have been crafting pioneering electronic sounds for decades. Their remix of ‘Price We Pay’ feat. Karina Mia is deep house excellence. It has a bouncy groove, elastic bassline and simmering vocals that send shivers down the spine and the sci-fi synths twinkle up top. Italian multi-instrumentalist Giorgia Angiuli has long been innovating in the techno world, drawing on her classical background to craft standout sounds for the likes of Kevin Saunderson’s KMS label. Her remix is six uplifting minutes of synth arpeggios, soulful techno drums and epic breakdowns that will captivate any dance floor.

The b-side features three cuts from the Never On Sunday (Deluxe) album and opens up with 'Lifelike', a slow, pulsing dub with mysterious melodies and sinewy synths reflecting light like stars in a night sky. A textured bassline arrives to bring a real sense of tension to the melodic beauty. 'Soon After' is another cosmic cut that rides on hammering bass beneath lush synths capes and rays of hope that pierce the darkness. The blissful 'Mona' closes down with heavenly and expansive pads that shimmer and shine as rich bell sounds and choral pads bring a warm sense of atmosphere.

Never On Sunday Vol.2 is another package of deeply emotional electronic sounds.

Three years after the original release date of Caterina Barbieri’s career defining album Ecstatic Computation, the Italian artist reissues the record on her newly found own label light-years.

Caterina Barbieri is an Italian composer who explores themes related to machine intelligence and object oriented perception in sound through a focus on minimalism. Ecstatic Computation revolves
around the creative use of complex sequencing techniques and pattern-based operations to explore the artefacts of human perception and memory processes by ultimately inducing a sense of ecstasy and contemplation. Computation is turned from being a formal, automatic writing technique into a creative, psychedelic practice to generate temporal hallucinations. A state of trance and wonder where the perception of time is distorted and challenged.


Equally nervous and ecstatic, the fast permutation of patterns can create a state where time stands still whilst simultaneously being in motion. Is this propulsive music moving forward or backward? As
long as the perception of the present is constantly enhanced and refreshed in an endless sense of loss, re-discovery and the search for self-orientation this question lies mute aside the thrilling and perplexing moment of the matter at hand.

Nach dem Albumvorgänger „Acoustic Space“ (2019) ist „Spells“ der zweite Teil der ungewöhnlichen MusikTrilogie „The Invisible Light“, mit der der legendäre Grammy- und Oscar-Gewinner T Bone Burnett in Zusammenarbeit mit Jay Bellerose und Keefus Ciancia eine Verschmelzung von Trance, elektronischer, Folk-, Tribal- und Weltmusik versucht. Die „The Invisible Light“-Alben beschäftigen sich mit der These, dass unsere Gesellschaft über ein Jahrhundert lang elektronischer Programmierung, einer sogenannten „Programmierpandemie“, unterworfen wurde, die dazu führt, dass wir unsere Fähigkeit verlieren, Fakten von Fiktion zu unterscheiden.
Der mehrfache Grammy- und Oscar-Gewinner Burnett ist Produzent, Musiker und Songwriter. Er hat mit Bob Dylan, Elvis Costello, Roy Orbison u.a. zusammengearbeitet. Für das Album „Raising Sand“ von
Robert Plant und Alison Krauss wurde er mit dem Grammy für das Album des Jahres ausgezeichnet. Als Komponist für Film & TV ist Burnett inzwischen ebenso bekannt, u.a. für “The Big Lebowski” und “The Hunger Games”.

When he first came on the scene, Phil Woods was often referred to as
"The New Bird," in a nod to the legendary Charlie Parker - A testament to
his genius on the saxophone to be sure
But while obviously indebted to Parker - as all modern jazz saxophonists of a
certain era were - there is no question that Phil Woods was an original. After
earning a degree in music from Juilliard in the early 1950's, Woods found himself
in the orbit of the great Quincy Jones. At Jones' invitation Woods joined Dizzy
Gillespie's infamous Jazz Ambassadors - a tour sponsored by the US State
Department as part of a global cultural diplomacy initiative - and subsequently
became a member of Jones' own touring band. This recording, his 9th album as a
band leader, consists entirely of Woods' five- part Rights of Swing Suite. An
ambitious large-scale composition based solidly on jazz traditions. A culmination
of the influences the then 30 year artist had absorbed. Arguably considered one
of Woods finest recordings, the record features a stellar section made up of
Wood's fellow Quincy Jones band members. (It should be noted that these same
musicians, for the most part, are also the section on Benny Bailey's Candid
Records recording, Big Brass, recorded a a few months prior in November of
1960). Recorded at the Nola Penthouse Studios in New Your City on two dates in
January and February of 1961, and conducted by Quincy Jones. The LP includes
extraordinary liner notes by Candid A&R man and producer Nat Hentoff, and indepth commentary from Woods himself, giving a context and insight that adds to
the experience of hearing these extraordinary performances

Four more lively, lovely electro offerings from Plant 43, the second in a limited edition series of EPs focussed on tracks written over the course of the winter of 2022/23. Opener 'Submolecular Shifting' is bright and bubbly, joining the dots between Kraftwerk and Model 500, while 'Eccentric Elliptical Orbit' follows on slower and more grandiose, echoing early New Order's icy cool synth sounds. 'Encased' has a more otherworldly Aphex-like feel, although the juddering, on-off bass keeps it plugged into the dancefloor. 'The Forgotten Storm' closes proceedings, more low key again and graced with ethereal, adding angelic choirs. Energised enough and streamlined enough to be good dancefloor gear, but expertly executed and, as ever, brimming with enough personality to be a decent home listen as well.

Don Cherry, Dewey Redman, Charlie Haden und Ed Blackwell verbündeten sich ursprünglich, um das Werk ihres Mentors Ornette Coleman zu würdigen, aber das Repertoire ihres Quartetts Old and New Dreams entwickelte sich bald zu einem Projekt von viel größerer Tragweite, das auch die musikalischen Erfahrungen einbezog, die die Spieler auf ihren Reisen rund um die Welt gemacht hatten. Neben einzigartigen Versionen von Ornettes ”Lonely Woman” und ”Open or Close” umfasst dieses einflussreiche, heute als Klassiker geltende Album von afrikanischer Musik inspirierte Stücke von Cherry und Blackwell, Redmans rätselhaftes ”Orbit of La-Ba” und Hadens impressionistisches ”Song for the Whales”. Das Album wurde im August 1979 in Oslo aufgenommen und von Manfred Eicher produziert. Die Vinyl-Neuauflage der Luminessence Serie enthält einen neuen Begleittext, der historischen Kontext und Hintergrundinformationen liefert.

Be With present the first ever reissue of the ultra rare double pack DJ promo of Malcolm McLaren & Bootzilla Orchestra's "Call A Wave". Originally slipping out in 1989 to a select few, there were rumoured to be only ever 300 copies pressed. Indeed, the entire package never got a proper release and now goes for a small fortune.

Say what? Bootsy Collins, Jeff Beck and Malcolm McLaren, all in one band, composing over a Barry White sample? And that's just the original. But you can forget about that for now. Here we have the incredibly sought-after "DFC Dance Mix", mixed by Massimino Lippoli of Morenas / Sueño Latino fame for the legendary DFC Italy. It's a throbbing, vital, dramatic slice of dreamy ambient house. A deep, entrancing track that's both blissful and dancefloor dynamite. It features the iconic, disaffected female vocal chopped up over elegant piano snatches, Beck's ace guitar stylings over rolling, heavy drums and a killer, hypnotic bassline with sparkling harp coming and going. It's exotic, otherworldly and brimming with that very special late 80s/early 90s Mediterranean vibe. Yes, it's Balearic, it's House. Above all else, it's a pure uncut slice of halcyon summer days, pressed on wax.

But on side B we also have the mesmeric "Breakdown Mix", again mixed by DFC Italy. For some, *this* is the mix to have - and who are we to argue? This time, the vocals are treated so they're uttered backwards, contributing to the wonderfully disorienting magic of this particular mix.

And how could we forget the equally iconic "Orbital Mix"? Not by the actual group Orbital, but courtesy of S'Express's Mark Moore & William Orbit, no less. A brilliant, beautiful remix that's perhaps more musical. They make more obvious use of the sample from the original Barry White track ("I'm Gonna Love You Just a Little More Baby") that Malcolm was inspired by. Flip over to Side D to find the duo's uber-horizontal "Return To The Deep Ambient Mix", a floaty, beatless gem that'll leave you swooning.

To round out this quite astonishing package, the "New Age Mix", again coming from the DFC Italy camp, elegantly sends us off into the cosmos with minimal percussion and maximum vibes.

Every mix on this DJ double pack is truly killer. Simon Francis remastered the original audio for this release and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 2x12" well and truly pumps. The immaculate Record Industry pressing will ensure this incredibly sought-after masterpiece finds a home in many more DJ boxes this and every summer. For the artwork, we've recreated the original DJ promo, a plain white gatefold sleeve complete with the iconic burnt orange hype sticker. Hold tight. Roof down, tops off.

Last summer saw youANDmedelivered his “Diva 2022” mix of "PPPPP" a track that would ignite dancefloors across Ibiza and become one of the smashes of the summer in the process. The label was always certain the record was a hit and the response that followed justified their faith.

The track went on to be championed across the globe by the likes of Ame, Dixon, Matthias Tanzman and Pete Tong (Radio 1) leaving a succession of dancefloors demolished in its wake. Fast forward to 2023 and the Cult brings in a smorgasbord of house music’sfinest to breathe fresh verve into what is rapidly becoming a future house classic.First, comes the unmistakable dancefloor call of the “Diva” mix, with its fierce retro vocal and contagiously looping house sound. Its raw undeniable groove shook dancefloors for a reason the first time around and here it is to do the damage all over again. Next, house music legend Ian Pooley hops on board to serve up a delicious slab of fat analogue deepness.


A rework for the real house heads, it drenches the original vocals in reverb and creates a tough sub-laden groove bound to work deeper floors. House music’s producer of the moment Cinthie delivers a red-hot reinterpretation that ups the bpm count and zones in on the drums. The Berlin-based producer creates a colossal house-breaks crossover that is bound to tear apart dancefloors. Reese subs fill out the lows while organs deliver the original rave flavour and take the track into orbit.


Finally, Tel Aviv’s Yotam Avni turns out a remix that delivers shades of the pure old-school house with piano stabs sitting alongside deep chords before he puts his tougher-edged modern techno stamp onto it. Rhythm Cult is on a roll now returning with one of the most hyped tracks of 2022. This package delivers the goods with fresh remixes for 2023 from some of the best in the industry who are now added to the label's impressive roster.

Three years after the original release date of Caterina Barbieri’s career defining album Ecstatic Computation, the Italian artist reissues the record on her newly found own label light-years.

Caterina Barbieri is an Italian composer who explores themes related to machine intelligence and object oriented perception in sound through a focus on minimalism. Ecstatic Computation revolves
around the creative use of complex sequencing techniques and pattern-based operations to explore the artefacts of human perception and memory processes by ultimately inducing a sense of ecstasy and contemplation. Computation is turned from being a formal, automatic writing technique into a creative, psychedelic practice to generate temporal hallucinations. A state of trance and wonder where the perception of time is distorted and challenged.


Equally nervous and ecstatic, the fast permutation of patterns can create a state where time stands still whilst simultaneously being in motion. Is this propulsive music moving forward or backward? As
long as the perception of the present is constantly enhanced and refreshed in an endless sense of loss, re-discovery and the search for self-orientation this question lies mute aside the thrilling and perplexing moment of the matter at hand.

After a first release by a member of the crew, Love Reaction is proud and humbled to welcome on the label one of Geneva’s rising stars and longtime friend, Mirlaqi.

With this record, he offers a simple yet poetic groove : Disco and balearic in their broadest sense, tinged with his signature touch of Spatial House.

A very personal project, produced in collaboration with family and friends. He has known the instrumentalists on bassoon and sax since high school. The singer, with her spellbound voice, is now a recurring partner, featured on every record he released. He also brought his cousin into the equation, to help him on his journey back to his origins, as she translated parts
of the texts to Armenian.

A-side includes the most organic tracks of the record, that, while still suited to make you dance, will also fit perfectly as a soundtrack to end a shiny afternoon in front of the ocean. On the flip, the clubbier tracks : An original production, This Color, which is the track that inspired the cover art, and a remix by parisian italo-maestro LeonxLeon. Expect the most infectious grooves the balearic spectrum could offer and prepare to dance, not on the beach this time, but rather in orbit, on the red sand of Mars

orbit is the electronic project of 28 year old producer and songwriter Marcel Heym. With a soundscape marked by a blend of raw acoustic guitars and atmospheric synth leads, orbit combines imagery of life in the countryside with an immersive dream world. After releasing three EPs since 2020 and having an international Hit with his track “Perspectives” as well as several live shows and a Support Tour through Europe with Parra for Cuva, orbit announces his upcoming EP for April ‘23 alongside a special concert in the Berlin Zeiss Planetarium. The new EP is moving a newly dark sphere into the artist’s universe - a powerful piece of gloomy, vast synthie soundscapes, orbit’s characteristic hazy vocals and soft acoustic guitars.