Buscar:the p

[w] B10 Minmi– Who's Theme; Lyrics By, Music By [Melody], Producer – Minmi; Recorded By – Yoshitaka Ishigaki; Vibraphone – Katori, Yoshihiko*

Romanian groove technician SEPP lands on _NRV with a trio of high-powered, floor-primed cuts. 'Feeling Ma Bass' opens up with weighty low-end pressure and a hypnotic pulse that locks you in early. 'Body Language' twists with crisp percussion and a woozy sense of movement, keeping tension tight throughout. 'Do You Love Me’ dips into moodier territory, with dusty textures and a vocal loop that cuts just enough to keep the floor leaning in.

[a] A1 Big Mike's; Drums, Bass, Clarinet, Organ, Mixed By, Written-By – Dijon (7); Guitar, Piano, Vocals [Additional], Organ, Mixed By, Written-By – Michael Gordon (30); Mixed By – Jack Karaszewski; Slide Guitar – Noah Le Gros
[b] A2 Scratching; Mixed By, Written-By – Dijon (7); Producer [Additional] – Michael Gordon (30); Producer [Additional], Mixed By – Jack Karaszewski
[c] A3 Many Times;Drums, Baritone Guitar, Written-By – Michael Gordon (30); Guitar [Additional], Written-By – Dijon (7); Programmed By [Additional Programming], Mixed By, Written-By – Andrew Sarlo
[d] A4 Annie; Acoustic Guitar, Written-By – Dijon (7); Bass – Michael Gordon (30); Mixed By, Written-By – Jack Karaszewski; Saxophone [Casio Sax Replica] – John Keek; Vocals [Additional] – God's Children (11)
[e] A5 Noah's Highlight Reel; Clarinet, Guitar, Mixed By, Written-By – Dijon (7); Vocals [Additional], Bass, Synth, Written-By – Michael Gordon (30); Vocals [Additional], Written; By – Noah Le Gros
[f] A6 The Dress; Bass – Gabe Noel, Sam Wilkes (2); Drums, Synth, Written-By – Dijon (7); Guitar – Noah Le Gros; Keyboards – John Keek; Mixed By – Andrew Sarlo; Vocals [Additional] – Michael Gordon (30); Written-By – John Keuch

[h] B2 Did You See It; Instruments [All], Written-By – Dijon (7); Mixed By – Jack Karaszewski
[i] B3 Talk Down; Bongos – Henry Kwapis; Drum Programming, Mixed By, Written-By – Jack Karaszewski; Drums, Synth [Strega], Mixed By, Written-By – Dijon (7); Guitar, Baritone Guitar – Michael Gordon (30); Keyboards – John Keek; Written-By – John Keuch
[j] B4 Rodeo Clown; Clarinet – John Keek; Mixed By – Jack Karaszewski; Written-By, Guitar – Dijon (7); Written-By, Guitar [Additional], Bass – Michael Gordon (30); Written-By, Slide Guitar – Noah Le Gros
[k] B5 End of Record; Baritone Guitar, Bass, Synth – Michael Gordon (30); Mixed By – Jack Karaszewski; Mixed By [Stem Mix] – Andrew Sarlo; Written-By, Guitar, Mixed By – Dijon (7)

Khadim is a stunning reconfiguration of the Ndagga Rhythm Force sound. The instrumentation is radically pared down. The guitar is gone; the concatenation of sabars; the drum-kit. Each of the four tracks hones in on just one or two drummers; otherwise the sole recorded element is the singing; everything else is programmed. Synths are dialogically locked into the drumming. Tellingly, Ernestus has reached for his beloved Prophet-5, a signature go-to since Basic Channel days, thirty years ago. Texturally, the sound is more dubwise; prickling with effects. There is a new spaciousness, announced at the start by the ambient sounds of Dakar street-life. At the microphone, Mbene Diatta Seck revels in this new openness: mbalax diva, she feelingly turns each of the four songs into a discrete dramatic episode, using different sets of rhetorical techniques. The music throughout is taut, grooving, complex, like before; but more volatile, intuitive and reaching, with turbulent emotional and spiritual expressivity.

Not that Khadim represents any kind of break. Its transformativeness is rooted in the hundreds upon hundreds of hours the Rhythm Force has played together. Nearly a decade has passed since Yermande, the unit's previous album. Every year throughout that period — barring lockdowns — the group has toured extensively, in Europe, the US, and Japan. With improvisation at the core of its music-making, each performance has been evolutionary, as it turns out heading towards Khadim. “I didn’t want to simply continue with the same formula," says Ernestus. “I preferred to wait for a new approach. Playing live so many times, I wanted to capture some of the energy and freedom of those performances.” Though several members of the touring ensemble sit out this recording — sabar drummers, kit-drummer, synth-player — their presence abides in the structure and swing of the music here.

Lamp Fall is a homage to Cheikh Ibra Fall, founder of the Baye Fall spiritual community. The mosque in the city of Touba is known as Lamp Fall, because the main tower resembles a lantern. Soy duggu Touba, moom guey séen / When you enter Touba, he is the one who greets you. After a swift, incantatory start Mbene sings with reflective seriousness. Her voice swirls with reverb, over a tight, funky, propulsive interplay between synth and drums, threaded with one-two jabs of bass. Cheikh Ibra Fall mi may way, mo diayndiou ré, la mu jëndé ko taalibe... Cheikh Ibra Fall amo morome, aboridial / Cheikh Ibra Fall shows the way forward, he gives us strength, he gathers his disciples... Overflowing with grace, Cheikh Ibra Fall has no equal.

Interwoven with Wolof proverbs, Dieuw Bakhul is a recriminatory song about treachery, lies, and back-biting. Over moody, roiling synths and ominous, lean bass, Mbene throws out fluttering scraps of vocal, as if re-running old conversations in her head. The music shadows her despair to the verge of breakdown, at one moment seemingly so lost in thought and memories, that it threatens to disintegrate. Bayilene di wor seen xarit ak seen an da ndo... Dieuw bakhul, dieuw ñaw na / Stop judging your friends and companions... A lie is no good, a lie is ugly.

Khadim is a show-stopper; currently the centrepiece of Ndagga Rhythm Force live performances. The song is dedicated to Cheikh Ahmadou Bamba, aka Khadim, founder of the Mouride Sufi order. Serigne Bamba mi may wayeu / Serigne Bamba is the one who makes me sing. The verses name-check revered members of his family and brotherhood, like Sokhna Diarra, Mame Thierno, and Serigne Bara. Though Islam has been practised in Senegal for a millennium, it wasn’t until the start of the twentieth century that it began to thoroughly permeate ordinary Senegalese society, hand-in-hand with anti-colonialism. The verses here recall Bamba’s banishment by the French to Gabon, and later to Mauritania, in those foundational times. During exile, his captors once introduced a lion to his cell: gaïnde gua waf, dieba lu ci Cheikhoul Khadim / the lion doesn’t budge, it gives itself over to Cheikh Khadim. Deep, surging bass, steady kick-drum, and simple, reverbed chords on the off-beat lend the feel and impetus of steppers reggae. A reed plays snatches of a traditional Baye Fall melody; the dazzling polyrhythmic drumming is by Serigne Mamoune Seck. Mbene compellingly blends percussive vocalese, narrative suspense, exultant praise, introspection, and grievance.

Nimzat is a devotional tribute to Cheikh Sadbou, a contemporary of Bamba, buried in a mausoleum in Nizmat, in southern Mauritania. Way nala, kagne nala... souma danana fata dale / I call upon you and wonder about you... If I am overwhelmed, come to my aid. The town holds special significance for Khadr Sufism. An annual pilgrimage there is conducted to this day. The rhythm is buoyantly funky; the mood is sombre, reined-in, foreboding. Punctuated by peals of thunder, Mbene sings with restrained, intense reverence; huskily confidential, steadfast. Nanu dem ba Nimzat, dé ba sali khina / Let us go to Nimzat, to seal our devotion.

Mbene Diatta Seck: vocals.
Bada Seck: bougarabou, thiol, mbeung mbeung bal, tungune.
Serigne Mamoune Seck: bougarabou, khine, mbeung mbeung, tungune.
Text by Mark Ainley (Honest Jons).
Mastered by Rashad Becker.
Everything else by Mark Ernestus.

The analog version of the masterpiece EP "I'll", released in 2018 as a work that expresses the continuation of the world view of the debut album "Grace",
has been repressed on turquoise blue vinyl!

Haruka Nakamura herself is in charge of the lyrics, composition, and all the instrumental parts. Janis Crunch, who was in charge of vocals on "Grace",
is featured again. The dreamy number "I'll" evokes the beginning of spring and hope, which synchronizes with the fantastic world depicted by photographer
Shiori Iwakura, who collaborated with Haruka Nakamura on the jacket and music video, "Arne", a reconstructed version of the famous song "arne" from the
debut album "Grace", and "Lilium", a song that was used in the climax scene of the movie "Every Day", for which Haruka Nakamura was in charge of the
music, are newly recorded and included.

The B-side includes "Anne", which can be called a different version of "Arne", which was included in Schole's compilation "Joy" in 2013, and is exclusive to the LP.
It connects the worlds of "Grace" and "I'll". It also contains warm songs that bring to mind childhood scenes, such as the nostalgic "Abandoned School Organ" and
"Your Canon", which combine church organ, muted piano, and field recordings.

The artwork, like the 8cm CD, depicts beautiful natural scenery, and the jacket and insert feature a series of photos by the immensely popular photographer
Shiori Iwakura, creating a package that beautifully blends the sound world of "I'll" with the scenery. As with the analog version of "Grace", the mastering was
done by Gen Tanabe, a close friend of Haruka Nakamura's who works on the sound of his works. It is a deep sound production that will give new discoveries
to listeners who were captivated by the release of the 8cm CD.

b A2 Let's Try = Let's Try!; Written-By [Original Score Written By] – Koji Kondo
[c] A3 お花畑にて = In The Flower Garden; Written-By [Original Score Written By] – Koji Kondo

[e] A5 対クッパ戦 = Battling Bowser; Written-By [Original Score Written By] – Koji Kondo

[g] A7 Super Pipe House = Super Mario House; Written-By [Original Score Written By] – Koji Kondo








[p] B7 ごきげんスター = Irrepressible Star; Written-By [Original Score Written By] – Koji Kondo









[z] C5 ねぇねぇジーノごっこしようよ = Play "Save The World" With Me!; Written-By [Original Score Written By] – Koji Kondo



[xd] D1 土管からコンニチハ = Greetings From The Pipes; Written-By [Original Score Written By] – Koji Kondo






[xk] E1 Long Long Ago… = Long, Long Ago...; Written-By [Original Score Written By] – Koji Kondo
[xl] E2 ちょっとドキドキ = A Little Anxious; Written-By [Original Score Written By] – Koji Kondo







[xt] F2 対 クリスタラー戦 = Battling Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xu] F3 クリスタラー戦での勝利 = Victory Over Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xv] F4 クリスタラーの会話 = Conversation With Culex; Written-By [Original Score Written By] – Nobuo Uematsu





[yb] G5 オノレンジャー参上 = The Axem Rangers Bust In; Written-By [Original Score Written By] – Koji Kondo
[yc] G6 クッパ城（其ノ弐） = Bowser's Keep (Second Visit); Written-By [Original Score Written By] – Koji Kondo





[yi] H5 お・し・ま・い・! = The End!; Written-By [Original Score Written By] – Koji Kondo


[b] A2 Let's Try = Let's Try!; Written-By [Original Score Written By] – Koji Kondo
[c] A3 お花畑にて = In The Flower Garden; Written-By [Original Score Written By] – Koji Kondo

[e] A5 対クッパ戦 = Battling Bowser; Written-By [Original Score Written By] – Koji Kondo

[g] A7 Super Pipe House = Super Mario House; Written-By [Original Score Written By] – Koji Kondo








[p] B7 ごきげんスター = Irrepressible Star; Written-By [Original Score Written By] – Koji Kondo









[z] C5 ねぇねぇジーノごっこしようよ = Play "Save The World" With Me!; Written-By [Original Score Written By] – Koji Kondo



[xd] D1 土管からコンニチハ = Greetings From The Pipes; Written-By [Original Score Written By] – Koji Kondo






[xk] E1 Long Long Ago… = Long, Long Ago...; Written-By [Original Score Written By] – Koji Kondo
[xl] E2 ちょっとドキドキ = A Little Anxious; Written-By [Original Score Written By] – Koji Kondo







[xt] F2 対 クリスタラー戦 = Battling Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xu] F3 クリスタラー戦での勝利 = Victory Over Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xv] F4 クリスタラーの会話 = Conversation With Culex; Written-By [Original Score Written By] – Nobuo Uematsu





[yb] G5 オノレンジャー参上 = The Axem Rangers Bust In; Written-By [Original Score Written By] – Koji Kondo
[yc] G6 クッパ城（其ノ弐） = Bowser's Keep (Second Visit); Written-By [Original Score Written By] – Koji Kondo





[yi] H5 お・し・ま・い・! = The End!; Written-By [Original Score Written By] – Koji Kondo

This is certainly both a mysterious one and an elusive one! Who were Grupo Natureza (Nature Group), and why is this release such a rarity? ‘Pode Acreditar’ was pressed on Som Livre Records in 1981 and it is believed very few copies were released into the commercial market. Those familiar with the productions of Lincoln Olivetti and Robson Jorge will no doubt recognise their hallmark sound here and that this single is ‘probably’ the work of the pair or one member at least. They were a regular in-house production team at Som Livre at the time, and there is a definite resemblance to Adriana’s song ‘Sei la Amor’ from 1978 which Lincoln Olivetti was involved in. Very little information is available about this release. A tantalising comment by Brazilian collector ‘bargainvinyl1’ on the original release’s Discogs page suggests ‘Pode Acreditar’ was a reaction to the Baby Consuelo and Pepeu Gomes pro-marijuana song ‘O Mal o Que Sai da Boca do Homem’, which caused controversy with Brazil’s governing military dictatorship at the time. Though condemning marijuana’s use, the word “baseado” (joint) is mentioned in the song, and this could be the reason behind the release being pulled by the heads of Som Livre and consequently it becoming one of the rarest releases on the label. Whilst its backstory is not crystal clear, it is an undeniable sun drenched, laidback boogie groove with AOR touches by the clandestine group. Pure 80s Riovibes, super-catchy and an earworm that sticks with you throughout the day.

- Next installment in BRAZIL45 Series.
- One of the rarest releases on the Som Livre label.
- Pure 80s laid back boogie grooves.

OVERVIEW: DUB TREES is one of Youth’s most revered dub projects, it helped define the Liquid Sound Design sound that fans around the world hold dear. This project is the third in a triptych of albums Youth has made with a specific Celtic / Hindu fusion. Starting out with the classic Celtic Cross ‘Hicksville’ 20 years ago, featuring the mythical Simon Posford (Shpongle) through to ‘East of the River Ganges’ (ft Klaus Shultz / Tangerine Dream amongst many others) in 2004 followed by the last piece of this mystical puzzle ‘Celtic Vedic’ ,released on compact disc only in 2016 , which charts the journey of the Celt from Northern India to Snowdonia. The idea stems from Youth’s firm belief that there is a strong correlation between Celtic and Vedic cultures and their Northern Indian roots. Youth has assembled a host of collaborators to weave their labrynthine magic on ‘Celtic Vedic’: Jah Wobble (PiL) on bass, Matt Black/Coldcut (Ninja Tunes) on warped soundscaping duties, Galician Celtic pipe and flute player Daniel Romar, Bollywood contemporary Indian singer Shridevi Keshavan and Elfic Circle. It features many field recordings made by Youth on his various Indian odysseys and is all harnessed together with cutting-edge electronica that the Liquid Sound Design team pioneered 20 years ago. The team today are still pioneering new directions within ‘Downtempo Electronica Music’ and beats that create 3 dimensional landscapes for the helioscopic imagination to explore and psychoactive maps for the inner astronaut in all of us. ‘Celtic Vedic’ promises unchartered bass annihilation and heliotropic soundscapes, pounding basslines overlayed on 3D holographic beats and wrestles with serpentine melodies and psychedelic textures.

Since launching in 2019, NuNorthern Soul’s Summer Selections series has become something of a must-check release for those seeking the sun-soaked pulse of the White Isle of Ibiza. It not only acts as a sampler for forthcoming digital-only EPs due for release over the summer season, but also a showcase for both established artists and label newcomers.

2025’s ‘selections’, the fifth in total, marks the popular series’ return after a three-year hiatus. Once again, it boasts six tracks, each taken from a forthcoming NuNorthern Soul EP, and touches on a variety of Ibiza-ready styles and sounds.

Up first are Manchester twosome Nightdubbing, who’s eponymous ‘Nightdubbing’ – first featured on their self-released 2023 debut album – is remixed by Archeo Recordings label boss Manu Archeo. He opts to brilliant blend slow motion electronic grooves and deep, warming bass with waves of ambient textures, eyes-closed melodic motifs and attractive lead lines.

George Koutalieries steps up next with the languid shuffle of ‘Seasons’, where imaginative vocalisation arrangements, mazy synth bass, calming acoustic guitars and cosmic electronics create a yearning afternoon delight, before label newcomer James E Burton combines pleasingly live-sounding drums and bass with picturesque electronics and the dreamiest of chords.

Next up is a teaser of what’s to come from recent signings Visions of Light, a fresh collaboration between Free Booter Lounge label founder Simon Sheldon and two of his artists, Muzka and Dan Dub Lounge. ‘The Mandela Vortex’ is a lightly dub-flecked Balearic shuffler rich in infectious hand percussion, meandering guitar solos, heady aural textures and echoing melodic motifs.

To draw the expansive collection to a close, we’re treated to two more yearning, picturesque and atmospheric treats. The first comes from another label debutant, Seafront International and Strictly Dub Records founder Saimon under the Roots Artefact alias. Deep, toasty and smothered in vintage effects, ‘The Big Calm Dubwise’ is a picture-perfect Balearic dub classic in the making.

Rounding things off is former Les Yeux Orange Contributor – and rising star of the French Balearic movement – Jilo, who gently takes us by the hand and leads us towards the dancefloor. Underpinned by a heavily electronic, nu-disco adjacent groove, ‘Shadow’s Tango’ is smile-inducing aural joy writ large – all huggable chords, Italo-house pianos, chugging bass and the most kaleidoscopic of chords. It provides a wonderfully uplifting conclusion to another fine collection of ‘Summer Selections’.

Cyphon is excited to announce the release of an amazing new EP from Domenic Cappello. Titled Galactic Praise, this four-track masterpiece pays homage to the rich heritage of Detroit Techno while seamlessly incorporating Cappello's innovative sound design, displaying his golden ear for what makes a discerning dance floor tick.

A key figure in the electronic music scene through his long-standing residency at Glasgow's legendary Sub Club, Domenic captivates audiences globally with his unique blend of tough, pulsating beats, heartfelt melodies, and deeply immersive soundscapes. His position as booker and resident (alongside Harri) at Sub Club has allowed him to hone his craft and connect with some of the finest talents in House and Techno, influencing his distinctive style. With Galactic Praise, he takes listeners on an exhilarating journey through the heart of techno, inspired by the pioneering music that emerged from the golden era of Motor City sounds.

Dat Thing sets the tone. A driving house track that encapsulates the raw energy and spirit of Detroit, featuring hypnotic synth lines and robust bassline that give a hint of melancholy whilst maintaining a stripped back groove for maximum club impact.

Niamh’s Song is a deeper exploration of melody and rhythm, showcasing Cappello's masterful ability to weave complex harmonies into an intoxicating, otherworldly groove.

Flip over for Galactic Praise, a tribute to the roots of Techno, this track combines classic 909 and 303 elements with ethereal pads creating a heavier, timeless sound that will resonate with both longtime fans of the genre and newcomers alike.

Closing out this special EP we have Neon Skyline, a pumping yet reflective piece that captures the essence of late-night drives through urban landscapes blending chiming arpeggios, a driving synth bassline and tough beats making for an immersive experience.

As Domenic puts it: 'This EP is a tribute to the roots of techno that have inspired me since my formative years. My experiences at the Sub Club have been crucial in shaping my sound and approach to my own productions, inspiring me to create something that captures the energy and emotion of that packed dance floor and incredible sound system. I can’t wait to share it with everyone!'

"6-track house finesse from Amsterdam mainstay Beraber, topped off with a killer remix by Brazilian artist Zopelar. Expect six melodic tracks for the body & mind. Beraber returns to United Identities with Gentle Actions, setting the tone for long summer evenings and sun-soaked days. The Amsterdam based producer and DJ organically blends Chicago's classically-schooled keys and machine backdrops with subtle, atmospheric textures. This long-awaited record by Beraber (Baris Akardere) is a deeply personal collection of music, encapsulating a period of creative and personal growth. Rather than a concept record, it serves as a document of the past years, bundling some of most cherished productions into a cohesive and heartfelt gift to the audience. This EP marks the first time the producer has used his own vocals in his productions, next to vocal contributions from Barcelona-based artist Ivy Barkakati, whose lyrics perfectly resonate with the journey of the EP. Gentle Actions opens with Between Us, a calm builder, gracefully layered with meandering pads. Distant Language picks us up with its dubbed-out groove, guiding our feet on a journey through melodic landscapes. It flows into Responsibility, an introspective track with a powerful message about turning dreams into reality, before continuing with Lost in Loops, a loose and soulful house cut featuring his own vocals. The journey ends with the more upbeat, instrumental Good Company, topped off with a deep, nocturnal remix by Zopelar. Written and produced entirely in his Amsterdam studio -- housed in the same building that once held De School -- Beraber continues to rely on a deeply analog and outboard gear-heavy approach. The result is a record that stays true to his soulful and introspective signature, mirroring the sonic identity of his acclaimed radio show, Gentle Actions on Amsterdam's online radio station RRFM."

Born from the warm and vibrant local markets of Italy, 180 GR has always been a celebration of vinyl culture. Now, it takes the next step—evolving into a full-fledged record label dedicated to strictly 180-gram pressings, in vinyl-only, limited quantities, crafted for true collectors and connoisseurs.

The label’s inaugural release, Music & Territory, is helmed by none other than its founder, N-Zino. On the A-side, the Original 180 GR Mix of You Can’t Change Your Mind takes you on a mind-expanding journey—soulful, sensual, and deeply immersive.

Flipping to the B-side, the legendary Glenn Underground graces us with two masterful interpretations. His vocal version is a lush, organic groove filled with warmth and virtuosity, while the instrumental mix strips it back, letting the raw musicality shine through. Both versions embody the unmistakable touch of Chicago house—authentic, deep, and timeless.

This is more than just a record—it’s a collector’s gem, a piece of house music history pressed in its purest form.

To quote GU himself, HOUSE MUSIC WILL NEVER DIE.

Madrid-based ensemble Sinouj fuses the deep-rooted traditions of the Mediterranean with the driving force of contemporary jazz, funk, rock and West African grooves. Their open-door vision draws in musicians from across the spectrum – from flamenco and Iranian classical music to soul and cutting-edge jazz – creating a dynamic, ever-evolving sound that is both global and unmistakably their own.

Their latest release shines a spotlight on 'Hak Dellali', a traditional North African tune that first rose to fame in the 1980s thanks to Tunisian star Hedi Habbouba and later Emirati singer Hussain Al Jassmi. In Sinouj's hands, this classic song becomes a transformative ritual, pulsing with the festive sway of Moroccan chaabi rhythm, Tuareg rock grit and the spontaneous spark of jazz. Over the years, it has consistently ignited the band's concerts into ecstatic celebration.

Backed with a psych-tinged and club-oriented remix by Berlin's Voodoocuts, with 'Hak Dellali' Sinouj continue to blur lines between genres and geographies, offering a fresh take on tradition.

First ever release of pioneering radiophonic / experimental / electronic / soundtrack composer you may never have heard of but really should have by now. 26 tracks in all.
As we began the mammoth task of whittling down material for this album Elizabeth recalled the time she met Delia Derbyshire. It was during a party for existing and former Radiophonic Workshop composers at BBC Maida Vale in the early 1980s. Delia introduced herself with typical energy and exuberance proclaiming "It's up to you now - I'm passing the baton. Show these men how we get things done". That must have been quite an honour and responsibility for a young, female composer establishing herself within the male-dominated environs at Delaware Road.
Looking back over a musical career spanning almost five decades, it's clear Elizabeth rose to the challenge and made her mark. She was consistently in demand with television and radio producers, composing for an array of ground-breaking, critically acclaimed and popular BBC projects. Whilst Delia's legacy has achieved mythical status with her position as an innovator and feminist icon secured, the majority of Elizabeth's recorded work remains unavailable so her contribution to the output of the Workshop and evolution of British electronic music is somewhat under-appreciated.
Perhaps this record will help start to remedy the situation. Included are early tape experiments, home demos and non-BBC commissions from the early 1970's to the late 2000s. Having listened to 260+ digital audio tapes from Elizabeth's personal archive we have barely scratched the surface but hope to provide an indication of the breadth of her compositional and sound design skills.
Classically trained in cello and piano, Elizabeth graduated from the University of East Anglia with a degree in Music in 1973. She was mentored by Tristram Cary who helped her to become UEA's first recipient of a Masters in Electronic Music and later awarded an Honorary Doctorate by Staffordshire University. Joining the BBC as a studio manager in 1975, Elizabeth transferred to the Radiophonic Workshop in 1978. One of her first tasks was to create special sound effects for Blake's 7 using tape loops, the EMS 100 and trusted VCS3.
Her celebrated score for The Living Planet in 1982 featured early use of the PPG synthesizer and earned an Emmy nomination. Over the following years studio technology evolved rapidly, but Elizabeth transitioned from analogue recording techniques to newer digital platforms with relative ease, using samplers, midi sequencing and computer controlled workstations.
With an incredible 1,400 commissions to her name, she created special sound for The Day Of The Triffids, Lord Of The Rings, countless radio dramas including Iris Murdoch's The Sea, The Sea, Harold Pinter's Moonlight, all of Howard Barker's plays, productions of King Lear, Wordsworth's Prelude and The Pallisers. The success of The Living Planet led to further work for the BBC Natural History Unit followed by numerous commissions for The Natural World. At one point in the late 1980's at least five of her signature tunes were being broadcast every week including Points Of View, Horizon, Doctors To Be and Everyman.
After the closure of the Workshop in 1996 Elizabeth became freelance, arranging Faure's Pavane for the BBC World Cup '98 coverage (reaching no. 9 in the UK singles chart). She wrote additional music for Monty Python's Holy Grail DVD, scored Michael Palin's Full Circle and Sahara TV series, The Lost Gardens Of Heligan and The Human Body with Robert Winston.
Retiring from the music industry in the late 2000's, Elizabeth recently returned to her East Anglian roots and now lives near the coast. She walks daily, listening to all kinds of music, new and old, on her beloved air-pods.

Michael Nau's solo career began with songs crafted and composed in private moments, later to be shared with musical compatriots and reimagined with auxiliary input on records like Michael Nau & The Mighty Thread, Mowing, The Load EP, and Some Twist. These early drafts were stashed away in the vault as Nau strode forward, but after a taxing spring of touring in support of his latest album Less Ready to Go, and recording and self-releasing the stripped-down informal release So On So On, Nau found himself hunkering down at home and rediscovering old gems in his archives. The search yielded a new digital collection of Nau's initial forays into solo work, bundled together as Demo Versions, 2014 to 2017. In their initial incarnations, these songs were less about the end result and more about the discovery. "They're the seed," Nau says of the material. "These recordings are essentially the writing of the songs_ written and recorded at the same time. There's something exciting about them for that reason. It feels magical any time the start of a song arrives, let alone gets `finished.'" These early drafts don't just serve to shed light on the creative process or expose the malleability of Nau's songwriting approach; they often frame the material in an entirely new context. Demo Versions' opening track "The Glass" is a bare-bones affair of acoustic guitar, bass, and vocals_a breezy Sunday morning song that sounds markedly different than the layered lounge-rock approach that later appeared on Mowing. "Light That Ever," with its wall-of-sound production, serves as a climax to Some Twist, but in its infant stage on this collection, it's a beautiful, intimate folk song. Ultimately, all ten songs off Demo Versions, 2014 to 2017 reveal a new side to these fan favorites, with Nau's lush arrangements and unorthodox accompaniments largely absent, and the simple beauty and grace at the heart of the material at front and center.

Sneaker Social Club welcome a veritable supergroup of bass heavyweights in the form of Legion. Made up of Trends, Boylan, P Jam and D.O.K., this four strong collective first came to light with the We Are Many 12" on Artikal Music in 2021, and now they regroup for another four-strong payload of soundsystem pressure that embraces the darkness in devastating fashion.

The Sister Abigail EP leads with 'Rastaman', an ice-cold half-step drop that summons the spirit of early dubstep in its raw minimalism, eerie atmospherics and snarling low-end wobble. Without an ounce of fat, it's a lean workout of drums and bass that finds catharsis in simplicity without compromising on high definition detail. 'Souls' locks into a jerky groove to set the dance off at acute angles, nudging the textures up a notch without disturbing the spartan mood of the release. 'Sister Abigail' pushes the underlying malevolence of the Legion sound to the forefront with dissonant sheet-metal tones while packing the rhythm section into a tight, vicious formation of gnashing, chrome-plated teeth. 'Play That Vibe' seals the deal on the EP with a hard-thumping, propulsive groove that calls to mind the techy development of dubstep in the 2010s — a taut, tracky throwdown to keep the intensity on a rolling boil.

Drawing on the grounding principles of OG dubstep with a sharp line in crisp, modernist production and a ruthless economy of arrangement on display, Legion prove many cooks can still result in a potent, brutally focused broth.

Editions Mego reissue the 2001 release Asuma by Finnish artist Ilpo Väisänen. Originally released on CD this is the first ever vinyl issue, remastered by Rashad Becker. 2001 is a landmark year for the artist following a wave of success from the notable outfit Väisänen formed alongside Mika Vanio, Pan Sonic (as they were now known then). Following a string of highly acclaimed and influential releases such as “Vakio”, “Kulma”, “A’ and “Aaltopiiri” Pan Sonic had toured the globe extensively leaving a trail of blown expectations and rumours of all manner of objects in venues cracking or falling apart due to the immense sound the duo concocted with their unique instruments.

Taking a break from the ecstatic cacophony of Pan Sonic, Väisänen retreated to work on a solo release which conjured the spirits of the former outfit whilst simultaneously carving out a more personal take on these new electronic forms.

Asuma is a precise study of drones, rhythms, clicks, ambience and gentle confusion. Whilst inhabiting a zone of abstraction the results also move in a natural field as Väisänen’s native Finland permeates these recordings as much as the idea of experimentation itself.

Autioitu 1 opens the album as delicate pinball rhythms bounce across the spectrum as a hairy drone hovers underneath. The mood is both intriguing and unsettling. Tukahduttaja is a delightfully disorientating sound sculpture that is hard to pinpoint what it actually is. Klikki is comparable to a microscopic version of Pink Floyd’s “Several Species Of Small Furry Animals Gathered Together In A Cave And Grooving With A Pict”. Asumaton is a foreboding miniature acting like a segway to Vallitseva which embraces the icy clicks that punctuates much of the Pan Sonic output. Arvioimaton Ongelma is an audio riddle whilst Jaettu jitters around a dancefloor crawl. Autioitu closes proceedings as a gentle ambient thumper. Asuma is awash with contradiction and mystery. This is time wrapped in twisted turns and rewards a neat payoff for those interested in the absolute fringes of electronic ‘dance’ music.

I fell into a deep sleep of reason Everything broken and hence when I woke up from that deep sleep of reason it all made sense

A Unique Artistic Partnership This project represents a distinct and carefully considered artistic endeavor. Developed by Mark Springer (Rip, Rig and Panic) and Neil Tennant (The Pet Shop Boys), it combines a suite for piano, quartet, and quintet with vocals, accompanied by lyrics offering thoughtful introspection. The collaboration explores the intersection of divergent creative approaches-one characterized by radical expression, the other by meticulous craftsmanship. The result is a work that invites reflection and demonstrates the potential of disciplined artistic dialogue.

The Sources of the Project Neil Tennant: I bought a book of Goya's print series Los Caprichos which had inspired Mark's music and saw that the artworks were a satirical, cruel, nightmarish portrayal of the politics, corruption and culture of his era, exploring his dreams - or nightmares - while exposing the double standards of the ruling establishment. The lyrics I wrote for "Sleep of Reason", in response to Los Caprichos, are intended to be sardonic and dreamlike, looking back to Goya's nightmares but then reflecting on my experiences in 21st Century popular culture and media in which I have located the "monsters" Goya saw in his dreams. It often feels like we're living in an era dominated by monsters with their grotesque egos hollering through social media, unfiltered and untruthful, leaving a trail of wreckage behind them. Maybe it's always felt like that.

DJ Quik & JasonMartin (formerly known as Problem), are back with their second collaborative project, Chupacabra. As can be the fear with fan-favorite follow-ups, Chupacabra refuses to copy the formula laid out on Rosecrans yet shares the same soul, steeped in the cores of West Coast G-Funk, but alive and grown up, in a more sophisticated tone. With an album that is LA to it’s core (sans a few tasteful features from artists that would get the nod despite not being from there), Chupacabra provides the sounds to a golden summer in the city of Angels. Like the chupacabra, JasonMartin & DJ Quik are both enigmatic and mystical figures in the hip-hop space. A star-studded list of features include The Game, Suga Free, Jay Worthy, Larry June, Channel Tres, Bun B, DOM KENNDEY, & more. 1xLP, pressed on Blue Vinyl.










j B1 | TWO HI (WAVES) feat Wiz Khalifa, Channel Tres, Free Nationals & George Clinton

Movement and Soul Records is the highly-anticipated imprint, founded by Nonna Fab...

The label aims to capture deeper sounds and meditations in rhythm, spanning spiritual jazz, broken-beat and deeper house.
Nature is Enlightenment is the debut release on the label. With flute, keys, bass and drums from Nonna Fab and saxophonefrom Benjamin Ten-Bruggencate.

The B1, 'TROPIC' invites Kali, lyricist, poet and azz influenced vocalist from Sheffield, accompanied on piano/rhodes by Nonna Fab.

The broken-beat focussed B2,'FLOAT' featuring bassist Tom French and an opening poem, that touches on thecosmos, by Kali.

Multi-instrumentalist, producer, band leader, record collector and party'starter, Nonna Fab has launched the label as a platform to push the sound of his own music, working closely with a range of musicians from the North.

"It's come at the right time for me to allow a space to push a very new, organic sound working with a lot of the musicians I play with regularly, interweaving the sound with dance music."

Nonna Fab is behind audiophile party, Apricot Ballroom, which was named in the top 10 nights in the country in TimeOut Magazine as well as being acknowledged for being a pioneer of northern contemporary jazz by BBC for Footprints. As well as this, Nonna Fab is co-owner of Grub Records, which has been written about in DJMag, Mixmag and Resident Advisor.

"The label is a true hybrid of both live sound and electronic dance music and really allows focus on true communication and expression. I have always appreciated more free-form styles of dance music so it really is a space for me to explore the more expressive andspiritual side of my sound"

Pain Management welcomes London cult favourite DJ ojo, who arrives on the label with a hazy three tracker of trademark nether zone system music. On his most dubbed out full length to date, ojo span’s the full emotive spectrum of dub sonics with a range of both the eerie and more tender expansions of low end atmospherics, the resulting 12” equally suited for the club and the journey home alike.

‘Tongue Tied’ opens the record, a lysergic offering from the darker edges of dub music. A slippery fugue-state hit of narco-ambience built around a crooning, intelligible vocal refrain and chest shot sub weight. A real nightfall system pusher built to simmer in the early hours. It kicks off the EP on an amorphous, hypnotic note that sustains throughout.‘Oil Dub’ sinks deeper into the fog, melodic kinesis and expansive delays upholding an underworld of feedbacked percussion and tongue in cheek sub motion; a seven minute sound bath of ambiguous dub ASMR.

The B-side balances out the darker strains found on its counterpart with an overtly tender digidub closer. Clocking in at almost ten minutes long ‘Cloud Suck’ is a nebulous bliss of perpetually ascending late-summer warmth. The kind of liminal dream-state embrace that you wish would never end. True to the name, it evokes tender, dusk and dawn hued moments, a quiet ride-home flash of introspection on the way to or from some pursuit of meaning. Pain Management essential right here.

Limited run of 200 hand-stamped 12” records available now.

"...When I make music, I'm always trying to create a temporary refuge for myself, a refuge from the increasingly frightening world out there. A kind of remote island where I can hide, switch off for a while, feel at peace. In any case, I feel inner peace when making this music, and I hope, in some way, it does the same for you..."


"Dub Tapes. Volume 2 picks up exactly where its predecessor left off, employing a very similar sonic palette, drawn from analog instruments and effects. All 4 tracks are driven by Lars' live B-line virtuosity. He's played bass for a host of jazz bands and it shows. The bottom-end throughout is a constant, reassuring, warm, womb-like presence, that packs a deceptively powerful pulse. The subtle splashes of studio trickery might have their root in Basic Channel-esque techno, but the results reside somewhere far less minimal, more relaxed, more melodic and musical.
The reverb and delay twisted into soothing, rather than room-shaking shapes. Resembling birdsong and mountain streams.
Lars' piano improvisations are also integral to everything...Stuffed with rich, diverting detail for stoners and siesta seekers, the EP is certainly a set that you're supposed to sit back, settle into and savour."

"All four tracks are superb, the opener 'Ferry From Torkwrith' setting the scene - languorous, beatific Balearic dub from Berlin, music to hide inside, to temporarily block the outside world with.
Second track 'Morning Hour' is slightly more sunlit, a guitar joining the mix. 'Starlings' sets off with birdsong and the thud of a kick drum, a wave of synth chord and some bass guitar, unhurried and mellow.
Fourth track 'Isle Of Stonsey' drifts in, a nine minute excursion into a chilled-out version of space, Hawaiian guitar and dub bass prodding us gently into the cosmos."

The hypnagogic haze of purling, refractive dub is strong on Sleepdial’s debut for West Mineral, introducing a crafty new name to the scene after a teasing preview on that Peak Oil x NWAQ radio show, delivering a heavy-lidded dose of tattered ambient dub inversions.

Sleepdial chases a frayed thread of thought thru the fractal echo chambers of ‘RV Lights’, only their 2nd full-length under this alias, and first on vinyl. The 9-part album is optimised for getting smudged on sunny daze with its pursuit of elusive dub sprites that connote subaquatic or vaporous etheric themes in their elemental diffusions and world-building ecologies.

In equilibrium of ambient and dub-as-method, they tenderly tease the senses with a fine grasp of deferred gratification, oscillating abstract spatial navigations and ephemeral moments of heart-in-mouth euphoria. Where sometimes this stuff can err to a pleasant mess, the dub ballast here anchors proceedings in a rugged groove that really pushes the right buttons and elevates the whole thing in its own air.

Blessed with a compelling sensuality, tracks follow a course from the compressed contrails of ‘Purview’ to the helical shapes of ‘Dovetailing’ and thru beautifully pill-bellied sensations on ‘Icarus Rising’, into ruggeder, insectoid dub in ‘Blue August’ to short circuit agitated and soothing feels. That fractured sort of duality manifests at its most anxious yet enchanted in the unpicked strings and astral scree of ‘Lightplay’, and in the title and feel of ‘Lean Angst’, gently keeping heads on toes into the swirling pressure system of album sign-off ‘Airtank’.

* Limited edition 12' vinyl pressed on transparent red wax, housed in a full colour sleeve inspired by classic Philly Blunt artwork.

* Fresh Blunts Vol. 1 brings that same energy to a new generation of DJs and selectors, with four dancefloor-focused cuts that pay tribute to the label's roots while pushing forward with modern production values.

* On the A-side, Bladerunner steps up with 'Chronic' and 'Straight Up' — his first solo release on the label in over a decade. With his deep ties to the scene (Dread, V, Souped Up, Kings of the Rollers), these tracks are a masterclass in classic jungle flavour with upfront punch.

* The flip introduces Chimpo & Sl8r to the Philly Blunt catalogue, blending grime, jungle, and Manchester's unmistakable underground sound. Having previously released on labels like Metalheadz, V Recordings, The North Quarter, and Hospital, their debut here shows just how wide the Philly Blunt family now reaches.

* Launching the brand-new Fresh Blunts vinyl series, Philly Blunt Records continues its legacy of heavyweight jungle and drum & bass. Originally founded in 1994 as a raw, party-focused sister label to V Recordings, Philly Blunt helped define the sound of mid-90s jungle with anthems like Leviticus' 'Burial', Dillinja's 'Sky', and Firefox's 'Buck Rogers'.

* Strictly limited run!

It was 1976 when Prince Far I debuted is unique toasting style under the spell of producer Lloydie Slim at Randy's Studio. The album features nine tracks based on psalms and "The Lord's Prayer", over rhythms largely played by The Aggrovators. Psalms 53 - in particular - used the rhythm from the Lee"Scratch" Perry-produced "Mighty Cloud Of Joy". It is meditative music and established Prince Far I, literally the man with the voice of thunder, as a formidable force in music business.

Born from a virtual encounter in lockdown between two Parisian neighbors, the DJ/producer Prosper and saxophonist Le Marabout, this new playful and joyous project is pulling freely from the Afro, Funk, Disco, Hip-Hop, Oriental and Electro influences of the two artists.
The iconoclastic DJ Romain “Prosper” Coolen, fervent purveyor of no holds barred euphoria on the dance floor, and the versatile saxophonist, composer and jack-of-all-trades Johann “Le Marabout” Guihard offer us a lavish, eclectic, uninhibited, coherent and furiously groovy listening experience.

First single “C’est Vrai“, from their forthcoming album ‘Le Moustache Conspiracy’ (released October 2022) is a banging Electro Afro Funk joint featuring Fou Malade and Niagass, two luminaries of the Senegalese Hip-Hop scene.

Over the bouncing beat and snarling horns, these two juggle lyrics back and forth in Wolof (Senegal’s most widely spoken language), calling out those fake friends who smile in your face before stabbing you in the back.

Repress of the KGB002... that was never repressed since 1998.

One legendary tubular Tribe speedaz tune... and one more Dub-Techno tribal 69DB pure style (in the vibe of the Trax or the Drop bass 23...)

The Toolbox Killerz 23 was never out so far because we really wanted this one to be the KGB002, as KGB is part of our history for those who knows...

We did dig some cool old flyers and pictures and did a patchwork printed sleeves with some souvenirs :)

-------------------------
Mastered by Stefan ZMK and cut by Simon The Exchange.

Tunes have been re-calibrated to regular tempo (as it was a live the tempo was moving, somehow...)

ENJOY !

Hologram Teen is the solo project (and anagram) of former Stereolab keyboardist Morgane Lhote. Her colourful playful songs are heavily influenced by disco and 80s French pop.

Initially from Paris, Morgane relocated to Los Angeles where she concentrated on her solo material. Captain Fluo is a disco-fuelled love letter to 1980s Paris and its underground nightlife, record store discoveries and the exhilaration of growing up as a gay teenager in a world of self-discovery.

Produced and mixed by Andrew Claristidge (Acid Washed) at Duca Sonora Studios in Brittany Captain Fluo is a vibrant fusion of propulsive beats, bouncy synths and funky basslines. Morgane’s signature keyboards weave through a constellation of guest vocalists including Sandra Zettpunkt, Maxwell Farrington, Eric D Clark and Alex Aikiu. From the euphoric pulse of ‘Lust Pill’ to the radio crooner nostalgia of ‘Fréquence Gaie’ each track is a portal to the dance floors and late-night airwaves of a bygone era.

Drawing inspiration from French pop icons like France Gall, Michel Berger and Louis Chedid alongside the sleek productions of Italo disco pioneers Kasso and the genre-defining touch of David Bowie, Nile Rogers, Quincy Jones and Depeche Mode, Captain Fluo is a heartfelt ride through an era when music was liberation.

a A1 A Celebration; Remastered By – Arnie Acosta; Remastered By Remastering Assitance – Scott Sedillo

[c] B1 Trash, Trampoline And The Party Girl; Remastered By – Arnie Acosta; Remastered By [Remastering Assitance] – Scott Sedillo

[a] A1 A Celebration; Remastered By – Arnie Acosta; Remastered By [Remastering Assitance] – Scott Sedillo

[c] B1 Trash, Trampoline And The Party Girl; Remastered By – Arnie Acosta; Remastered By [Remastering Assitance] – Scott Sedillo

[a] A1 A Celebration; Remastered By – Arnie Acosta; Remastered By [Remastering Assitance] – Scott Sedillo

[c] B1 Trash, Trampoline And The Party Girl; Remastered By – Arnie Acosta; Remastered By [Remastering Assitance] – Scott Sedillo

a A1 Bull In The Heather, Other [Selected By] – Catherine Keener
[b] A2 100%, Other [Selected By] – Mike D
[c] A3 Sugar Kane, Other [Selected By] – Beck
[d] A4 Kool Thing; Other [Selected By] – Radiohead
[e] B1 Disappearer; Other [Selected By] – Portia de Rossi
[f] B2 Superstar; Other [Selected By] – Diablo Cody
[g] B3 Stones; Other [Selected By] – Allison Anders
[h] B4 Tuff Gnarl; Other [Selected By] – Dave Eggers, Mike Watt
[i] C1 Teenage Riot; Other [Selected By] – Eddie Vedder
[j] C2 Shadow Of A Doubt; Other [Selected By] – Michelle Williams
[k] C3 Rain On Tin; Other [Selected By] – Flea
[l] C4 Tom Violence; Other [Selected By] – Gus Van Sant
[m] D1 Mary-Christ; Other [Selected By] – David Cross
[n] D2 World Looks Red; Other [Selected By] – Chloë Sevigny
[o] D3 Expressway To Yr Skull; Other [Selected By] – The Flaming Lips

[a] A1 Bull In The Heather, Other [Selected By] – Catherine Keener
[b] A2 100%, Other [Selected By] – Mike D
[c] A3 Sugar Kane, Other [Selected By] – Beck
[d] A4 Kool Thing; Other [Selected By] – Radiohead
[e] B1 Disappearer; Other [Selected By] – Portia de Rossi
[f] B2 Superstar; Other [Selected By] – Diablo Cody
[g] B3 Stones; Other [Selected By] – Allison Anders
[h] B4 Tuff Gnarl; Other [Selected By] – Dave Eggers, Mike Watt
[i] C1 Teenage Riot; Other [Selected By] – Eddie Vedder
[j] C2 Shadow Of A Doubt; Other [Selected By] – Michelle Williams
[k] C3 Rain On Tin; Other [Selected By] – Flea
[l] C4 Tom Violence; Other [Selected By] – Gus Van Sant
[m] D1 Mary-Christ; Other [Selected By] – David Cross
[n] D2 World Looks Red; Other [Selected By] – Chloë Sevigny
[o] D3 Expressway To Yr Skull; Other [Selected By] – The Flaming Lips

South African composer and producer Jason van Wyk is continuously honing his craft, with each consecutive release feeling like a clear evolution of its predecessor. Through his albums and soundtrack commissions, van Wyk’s technique at perfectly balancing melody and atmosphere is now more apparent than ever.
Inherent, his sixth aptly named album, finds van Wyk distilling his sound to where each note seems to have implicit cinematic intent, revealing intricate new details with every listen. Inherent features large swaths of warm, wispy ambient, ghostly piano and widescreen drone. Yet, at the very moment when all seems to apex, van Wyk presses on by mining his past endeavors in club music, neo-classical and scoring work to create something else entirely.
Distorted guitars, percolating synth arpeggios and poignant beat design propel the contemplative ambient sections into the light, bringing van Wyk’s sound into previously unexplored territory.

L.A. Witch haben schon immer eine Aura müheloser Coolness ausgestrahlt, sei es in Form des Americana Noir und des lakonischen Back-to-Basics-Rock'n'Roll ihres selbstbetitelten Debüts oder des glühend strengen Abenteurertums ihres zweiten Albums "Play With Fire". Die Band - bestehend aus Sade Sanchez (Gitarre/Gesang), Irita Pai (Bass) und Ellie English (Schlagzeug) - begann als informelle Angelegenheit, aber die schwülen und betörenden, von Hall umhüllten Songs, die sie schufen, fanden beim Publikum Anklang und brachten das Projekt über den isolierten Raum von Freunden und Gleichgesinnten in Südkalifornien hinaus in die weite Welt. Auf ihrem neuesten Album "DOGGOD" geht das Trio über die bisherigen kreativen und geografischen Grenzen hinaus - das Material wurde in Paris produziert und die Tracks im Motorbass Studio in der Rue de Martyrs aufgenommen. "DOGGOD" erkundet ein breiteres klangliches Terrain, setzt ein größeres Arsenal an Sounds ein und erforscht größere existenzielle und kosmische Themen, ohne dabei den für die Band typischen Sinn für das Verbotene, das Verlassene und die Vorahnung zu verlieren. "DOGGOD" ist ein Weg, das universelle Rätsel der spirituellen Natur von Liebe und Hingabe anzugehen. "Ich habe das Gefühl, eine Art Dienerin oder Sklavin der Liebe zu sein", sagt Sanchez. "Ich bin bereit, für die Liebe zu sterben, indem ich ihr diene, für sie leide oder nach ihr suche - so wie ein treuer, ergebener Diensthund es tun würde." Der Titel des Albums ist ein Palindrom, das DOG und GOD zusammenfasst - eine Verherrlichung des Unterwürfigen und eine Subversion des Göttlichen. Es ist eine Anspielung auf die Reinheit von Hunden und eine Anerkennung ihrer bedingungslosen Liebe und ihres beschützenden Wesens, die im Widerspruch zu den verschiedenen abwertenden Assoziationen stehen, die mit dieser Spezies verbunden werden. "Es gibt diese symbolische Verbindung zwischen Frauen und Hunden, die die untergeordnete Stellung der Frau in der Gesellschaft zum Ausdruck bringt", erklärt Sanchez. "Und alles, was solche göttlichen Eigenschaften verkörpert, hat es nicht verdient, als Schimpfwort benutzt zu werden." Diese widersprüchlichen Erkundungen von Liebe und Unterwerfung manifestieren sich in der sanften und rauchigen Garagerock-Alchemie der Band, mit einer neu entdeckten Nutzung der disziplinierten Zurückhaltung und eisigen Instrumentierung des Post-Punk. Der Album-Opener "Icicle" zeigt, wie L.A. Witch aus dem Proto-Punk, der Psychedelia und den düsteren Riffs der 70er Jahre in die von Refrains durchtränkten Gitarren und den verlorenen Minimalismus von Joy Division und den frühen The Cure reist. Es wird eine Parallele zwischen romantischem Selbstmord und Märtyrertum gezogen, die sich im zweiten Song, "Kiss Me Deep", fortsetzt. Hier beschreibt Sanchez eine Liebe, die so rein ist, dass sie die Zeit übersteigt und sich über mehrere Leben erstreckt. Es ist ein Lied über Leidenschaft, vorgetragen mit dem weltlichen und verletzten Stoizismus der frühen Goth-Pioniere. Von dort aus geht die Band zur Leadsingle "777" über, einem Song über Hingabe bis hin zum Tod. Ein treibender Beat, ein treibendes, verzerrtes Riff und Sanchez' ätherischer Gesang vereinen sich zu einem Song, der sowohl düster in seinem Fatalismus als auch sinnlich in seiner treuen Leidenschaft ist. Auf dem gesamten Album "DOGGOD" weichen L.A. Witch nie von ihrer Muse ab. In "I Hunt You Pray" legt Pai einen hypnotischen Basslauf hin, während English einen zyklischen Krautrock-Groove einsetzt und Sanchez das Bild eines verlassenen Hundes am Straßenrand malt, der allein in der Nacht ist und sowohl als Jäger als auch als Gejagter lebt. Auf "Eyes of Love" macht sich die Band die meditativen Mid-Tempo-Wiederholungen, dekonstruierten Akkorde und esoterischen Betrachtungen über Liebe, Tod und Spiritualität zunutze, die Lungfish zu einer so beliebten Band gemacht haben. Es unterstreicht die Parallele zwischen der unerschütterlichen Liebe in den Augen eines Hundes und der Selbstaufopferung eines Erlösers. Auf "The Lines" nimmt die Band den treibenden Puls des Post-Punk und fügt dem Mix eine Extraportion Chorus hinzu. "Chorus ist ein moderner Effekt, der auf der Idee beruht, die leichten Tonhöhenunterschiede eines Chors nachzubilden. Es gibt eine schimmernde Qualität, die uns zurück zu diesem spirituellen, göttlichen Gefühl bringt", erklärt Sanchez. Gepaart mit dem Einsatz von Orgel und einer grüblerischen Moll-Melodie, beschwört der Song gleichzeitig das Heilige und das Sakrileg. Der Titeltrack "DOGGOD" hat vielleicht die größte Ähnlichkeit mit dem Material des Vorgängeralbums "Play With Fire", in den schlanken und gemeinen Gitarren auf eine raue Rhythmusgruppe und verträumten Gesang treffen. Aber während ihr vorheriges Album ein Aufruf war, seinen eigenen Weg zu gehen, bleibt "DOGGOD" dem "Bis dass der Tod uns scheidet"-Thema des Albums treu und geht sogar so weit, ein Maß an Unterwerfung zu beschreiben, das in gefährliche und ungesunde Gefilde übergeht, wobei Sanchez singt "hang me on a leash / `til I wait for my release". Letztendlich ist "DOGGOD" eine perfekte Verkörperung des Ansatzes von L.A. Witch. Es ist gleichzeitig romantisch und bedrohlich, ehrfürchtig und profan, eine Feier und ein Klagelied. Es spannt den Bogen zwischen Vergangenheit und Gegenwart, indem es vertraute Klänge aufgreift und sie für die Jetztzeit aufbereitet. Aber es läutet auch eine neue Ära für die Band ein, die über die Kodachrome-Erinnerungen an das Amerika der Jahrhundertmitte hinausgeht und tiefer in den mittelalterlichen und gotischen Energien von Paris und darüber hinaus gräbt, während sie gleichzeitig ein besudeltes Herz erforscht.

Oslo's own Leoparden returns with the new album Disko Inferno, which draws inspiration from everything from 80's disco and pop to Nigerian boogie and laid-back 90's West Coast beats...

Leoparden's lyrics - witty and relaxed - capture everyday moments from life in Oslo, while the music pulses with infectious energy and a playful spirit, crafted for a proper boogie on the dance floor.

Ltd Edition single LP in shrink-wrapped, Gatefold sleeve.

Zeta Reticula and Helga Neuer return for their second and final collaborative EP on Mechatronica, with an outstanding collection of interplanetary electro rollers for the mind, body and floor. In loving memory of, and dedicated to, Helga Neuer aka. Damjan Bizilj.

Bangers from Nesh Mayday and Wonka, remixed by eachothers : melted styles in an Acid 160 BPM night music sound.

Rave.

Superb 4rth venue for the Studio 23 reloaded !! 2 Bangers mental from 69 DB, one pumpin jewel from Ixi and an Electro-funk from her for the finish !

Enjoy !

The second track is here the masterpieace... XP techno mental with a space kick and many creative surroundings sounds

Nach einer 14-jährigen Karriere, in der Calum Hood als Teil der international erfolgreichen Band 5 Second of Summer weltweit Konzerte gab, veröffentlicht er nun sein erstes Soloalbum. Die 10-Track-Sammlun thematisiert den Prozess des Innehaltens und der persönlichen Weiterentwicklung.

Neugierig und introspektiv betrachtet Calum Hood das Wunder in allem: Liebe, Sehnsucht, Trauer, Trauma ein Sonnenuntergang, die komplexe und unvorhersehbare Maschinerie des Lebens. Dieser Ansatz manifestiert sich im Debütalbum ORDER CHAOS ORDER, das einen charakteristischen Stilmix aus beina rauschendem, ursprünglichem Indierock mit einem Hauch Intensität und Emotionalität präsentiert.

Opaque Red Standard LP. Aufgrund des Effekts ist jede Vinyl ein Unikat und kann sich leicht von der Abbildung unterscheiden.

Repress and remaster of the Dead End Limited 03 PLUS 8 remixes.

Repress and remaster of the Dead End Limited 03 PLUS 8 remixes.