quête:the time

Acid Techno supergroup The Wipeouts (Chris Liberator, Sterling Moss, Aaron Liberator) return with 2 cheeky adrenalin fuelled cuts of twisted 303's, hard-as-nails beats, and tongue-in-cheek vocals. On the flip Geezer and Rats On Acid deliver rolling Acid Techno shenanigans, with Geezer finishing off the EP with his firebrand chunky beats. A 4 track instant Acid party!!

From the minds of Direct Beat and Detroit Bass Classics, comes the first initial compilation of electro/techno heat... "Electro In The Key Of Detroit: Volume 1"...Proven dance floor dope & record crate staples that provide the hungry ears of masses the groove to move: World-Wide. 'DJ K1's "Erase The Time" (featured on Detroit's WGPR TV "New Dance Show" in the 1990s) rocked the airwaves and global clubs with its signature thumping style laced beneath alien-like melody and repetitive vocal structure. 'Posatronix' mutant-rhythm mantra, "Pure Techno Sound" pulls the weight of Detroit's street dance roots down to the origin of how to boogie in space. A sure-fire stepper that also shared popularity on TV dance show platforms from Techno City. 'Blaktony's tempo-pushing "Holla Holla" , direct from the documentary soundtrack: "AUX88: Portrait Of An Electronic Band" dvd box set (a radio Dj/mix show favorite) sees the light of day on this wax collectable, giving praise to Motor City footwork culture. Also included in this monster EP is the rare 'AUX88' voyage entitled: "Phantom Power"...a gem and collector's choice. Crafted exclusively for the laid-back option away from the party or to enjoy accompanying a night's drive. This collection of re-issued jams and new explorations 'IS' the must-have for the electro/techno & bass aficionado...See it as either a DJ's weapon of choice, or the gift from vault

Out February 22nd, Grammy-nominated Hot 8 Brass Band "Take Cover" as they bring their iconic hip hop and brass grooves to classic tracks from Joy Division, Michael Jackson, George Benson and The Jacksons. This EP features recent single "Give Me The Night" & "Love Will Tear Us Apart"

This EP features recent single "Love Will Tear Us Apart" - which received support from Rolling Stone, Songlines, John Kennedy (Radio X), Craig Charles (BBC Radio 2 and 6 Music), Ed Adoo (BBC 5Live), Gilles Peterson (BBC 6Music) and Laurent Garnier (Worldwide FM) - and new track "Give Me The Night".

The Seeds of Fulfillment by David Drazin (November 2018)

Andrew Venson founded Seeds of Fulfillment (SOF) in early 1978. In the 1960s he had played electric bass with Arthur Conley, and later the original Peaches and Herb. On the same bill with Big Brother and the Holding Company, he hung out backstage with Janis Joplin. Yes! Vince was hoping SOF would get all of us to the top. He composed three tunes for the band, and we always had a ball playing them.

Roger Myers is a marvelous drummer. We co-composed Namaste. Roger would settle on a drum pattern of four measures at a time that he wanted to keep, and I'd put chords and melody right on top of his pattern. When he layered a second drum pattern on top of the first one, we'd get two melodies at the same time. We thought we were going to collaborate on more songs this way, but it didn't happen.

Lee Savory is a very inventive jazz man. He's musically literate, and wrote excellent transpositions. I remember Lee's asking for my input while he was composing Tight Squeeze, but it was clear he had it down. Once when I was visiting a DJ who played the album in a local radio station, the total of checks next to Tight Squeeze for number of plays was by far the highest!

Randy Mather's sax playing always knocked me out. I could hardly wait to hear him solo. When he left SOF to go with Woody Herman's orchestra it was amazing, but true.

Jeanette Williams had recorded 45s for the Duke and Peacock label when she was 17 years old. Her powerful singing was incredible to me. When we needed an original for Jeanette, Vince composed it, and Roger's wife Linda wrote the lyrics.

In 1978 I was in my senior year at Ohio State University when I met Vince. He came into a bar called My Brother's Place where I was playing with a trumpet player named Bobby Alston. When I was a freshman at OSU I'd played in an off campus band called Akadama. Before that I played in my home town of Cleveland, Ohio in the Brush High School Stage Band and a jobbing band called The Midnight Combo.

Everyone in the band contributed something to Egg Cartons in a composition jam session. We rehearsed in Vince's basement, and he had covered the walls with egg cartons to make the room sound more like a recording studio. The Provider was inspired by Country Preacher by Joe Zawinul. In those days I especially admired the way Zawinul would get his soulful feelings across, but also loved Herbie Hancock and to a lesser degree Chick Corea too. It took two years (with a break of several months) for the band to conquer Self-Fulfilling Prophecy. It shows you what consideration and dedication is, that ultimately they felt it was worth learning.

We recorded at Fifth Floor Studios in Cincinnati, Ohio. While we were there I got to shake hands with Bootsy Collins, who was recording in the rooms downstairs at the same time. Years later, Fifth Floor burned down and all the master tapes were destroyed.

* The third of the Death To Digital EPs drops hard. This one, like the first two, aims to provide a selection of distinct and varied old skool tunes, from producers with very different approaches and sounds, but very similar attitudes. Wislov just gets better with every release, and his track The Time Is Out is certain to put a smile on your face. Meanwhile, KF label stalwart Dj Deluxe FINALLY gets his KF Radio anthem 'Glorious' released, and what a wicked tune it is. Apparently the sample has something to do with wrestling, but dont let that put you off, its glorious all the same! Recent KF signee Abyss displays his rare talent for touching that sweet spot between drum and bass and jungle, that era of The Invisible Man and LTJ Bukem, when the atmosphere, bass and breaks were where it was at. Many attempt this style, but Abyss has it perfected, and Falling is like a 95 classic you have never heard until now. And of course, Shoreman, hot off his Deep Waters EP, shines super strong with Growing Stronger.

This Album Is A Curve Ball. Mr. G Is Showcasing Some Of His Deep And Sample Oriented Works On ''a Part Of Me Vol.2.'' A Touching Collection Of Tracks Taking The Listener Into The Depths Of The Uk Based Artist's Perception.

The Nomads EP is a new chapter for the Austrian duo. Not only is it the biggest project for RoyGreen & Protone to date it also includes hand drawn Artwork & Stickers by a Florine Imo and is rich of different musical flavours. It's a thing from the heart... you can see, hear & feel it.

Commix completes his Generation EP series with part 3, carrying on from where the 2nd instalment left off. Again, the EP explores Commix's influences from electronic music and beyond, culminating in an extremely polished final part that we're excited to release.

Michael Jackson / Dangerous - On Limited Picture Vinyl

Nothing more to say!

Dirty Projectors Melden Sich Mit Neuem Album Lamp Lit Prose Zurück!

Lamp Lit Prose Erscheint Nur Anderthalb Jahre Nach Dem Selbstbetitelten, Lezten Album. Man Darf Es Getrost Als Yang Zum 2017er Yin Verstehen. Die Dunklen Zeiten Des Break-up-albums Hat Longstreth Hinter Sich Gelassen. Nun Herrscht Hoffnung Statt Das Gebrochene Herz. Die Stärke Aus Der Neuen Lebensbalance Macht Lamp Lit Prose Zum Wahrscheinlich Zugänglichsten Album Des Dirty Projectors Kataloges. Songtitel Wie I Feel Energy, I Found It In U Oder (i Wanna) Feel It All Sprechen Für Sich. Zurück Sind Die Gitarren, Zurück Sind Auch Die Verschlungenen Gesangsharmonien. Lamp Lit Prose Ist Das Wiederbekenntnis Zu Den Soundidealen Von Dirty Projectors. Produziert Wurde Lamp Lit Prose Vom Gesicht Der Band, Dave Longstreth, In Seinem Ivo Shandor Studio In Los Angeles. Und Wieder Hat Er Eine Illustre Schar Von Gästen An Bord: Syd, Empress Of, Amber Mark, Haim, Rostam, Robin Pecknol, Dear Nora Sowie Nat Baldwin Und Mike Johnson, Die Beide Schon Sein Vielen Jahren Die Rhythmus-sektion Der Dirty Projectors Ausmachen.

"phantom Dancehall" Is The Exploration Of The Greensleeves / Vp Records Catalogue By Dj Spooky Aka Paul Miller. The Musical Tapestry Is Built On Samples From Familiar (and Not So Familiar) Reggae Tracks Over Electronic Beats And Melodies Produced By Miller And Protégé Stephen Levitin (stage Name Apple Juice Kid). Selected Tracks Include The Keyboard Work Of Alex Thompson Aka Fourth Shift. Guest Vocals From Walshy Fire (major Lazer) And Dancehall Newcomer Sanjay Added To Vocal Samples Of Busy Signal, Lady Saw And Garnett Silk Give The Project An Eclectic, Modern Dancehall Flavor!

Paul Miller, Better Known By His Stage Name Dj Spooky Is A Music Producer, Arranger, Dj, Author And Performance Artist. His Unique Brand Of Experimental Hip-hop, Dubbed 'illbient' Has Resulted In Collaborations With A Diverse Range Of Artists Including Ryuichi Sakamoto, Kronos Quartet, Lee "scratch" Perry And Killa Priest. With Remix Projects For Trojan Records, Manifold Records And Six Degrees Among Others To His Credit, Miller Created "phantom Dancehall" For His Exploration Of The Greensleeves/ Vp Records Reggae Catalogue.

For Fans Of: Major Lazer, Dj Shadow, Kevin Yost

Twenty-eight Years Ago, Pissed-off Twelve-year-olds Around The Universe Discovered A New Planet, A Black Planet. Public Enemy's Aggressive, Benihana Beats And Incendiary Lyrics Instilled Fear Among Parents And Teachers Everywhere, Even In The Border Town Of Laredo, Texas, Home Of The Future Founders Of The Latin-funk-soul-breaks Super Group, Brownout. The Band's Sixth Full-length Album (out May 25th) Fear Of A Brown Planet Is A Musical Manifesto Inspired By Public Enemy's Music And Revolutionary Spirit.

Chuck D., The Bomb Squad, Flava Flav And The Rest Of The P.e. Posse Couldn't Possibly Have Expected That Their Golden-era Hip Hop Albums Would Sow The Seeds For Countless Public Enemy Sleeper Cells, One That Would Emerge Nearly Three Decades Later In Austin, Texas. Greg Gonzalez (bass) Remembers A Kid Back In Junior High Hipped Him To The Fact That Public Enemy's bring The Noise' Is Built On James Brown Samples, While A Teenaged Beto Martinez (guitar) Alternated Between Metal And Hip-hop In His Walk-man, And Adrian Quesada (guitar/keys) Remembers Falling In Love With Public Enemy's Sound At An Early Age. when I Got Into Hip Hop, I Was Looking For This Aggressive Outlet . . . And I Didn't Even Understand What They Were Pissed Off About, Because I Was Twelve And Lived In Laredo . . . But I Loved It And I Felt Angry Along With Them.'

Joseph Abajian (fat Beats' Owner) Must Have Sensed The Deep Hip-hop Well Lying Beneath The Versatile Band's Latin-funk Veneer. i Thought Their Sound Would Work Covering Public Enemy Songs,' Abajian Says, And, it Was Good To Know They Were P.e. Fans . . . We Came Up With A Track Listing And They Went To Work.' Despite The Band's Eagerness To Work On New Original Material (an Album Of Original Songs Is Slated For Next Year), They Couldn't Pass Up The Opportunity To Pay Homage To This Iconic And Influential Posse.

Translating Sample-based Music To A Live Band Turned Out To Be More Of A Challenge Than They Anticipated. Adrian Tried To Get Inside The Bomb Squad's (public Enemy's Producers/beat-making Team) Head In Order To Find The Inspiration To Reinterpret P.e.'s Songs: imagine The Bomb Squad Going Back In Time And Getting The J.b.s (james Brown's Funky Backing Band) In The Studio And Setting Up A Couple Analog Synths And Then Playing Those Songs.' While Some Songs Closely Follow The Original Musical Blueprint, Others Use The Source Breakbeats As Jumping-off Points Later Sweetened By Trombonist Mark speedy' Gonzales' Horn Arrangements, Synth Wizardry Courtesy Of Friend-of-the-band Peter Stopschinski, And Dj Trackstar's Turntable Scratches. But Don't Listen Expecting To Hear Paint-by-numbers Recreations Of Classic Public Enemy Jams. our Approach Is Never In The Tribute Sense,' Adrian Explains. we've Always Taken It And Made It Our Own, Whether It's The Brown Sabbath Thing Or This Public Enemy Thing.' Coming Off Numerous Tours As Brown Sabbath And Even A Stint Backing The Late Legend Prince, Brownout Is Arguably The Tightest And Funkiest Band On The Road Today And They're Psyched To Bring This Revolutionary Music To The People. For A Band Without An Overt Political Agenda, They Collectively Couldn't Resist The Opportunity To Play This Music Live, Especially Now. if There's Any Way That We Can Use The Already Political And Protest Nature (of P.e.'s Music), We Would Like To Try,' Beto Says. the Album's Title, Fear Of Brown Planet Is Definitely A Relevant Idea Today And We're Not Afraid To Put It Out There, Because We Want To Speak Out.' By Reinterpreting These Hip Hop Classics In Their Unique Style And Channeling The Spirit Of Public Enemy That First Echoed Around The World And Captured Their Imaginations All Those Years Ago, Brownout Is Doing Exactly That.

A seminal album of the 1980s DC Punk sound, the album was the first to feature drummer Dave Grohl, who replaced Stax for the album, and stayed with the band until they disbanded in 1990.  This was the first ever album the now world famous musician ever played on.

Since disbanding, several incarnations of Scream have reunited/resurfaced for tours and recordings since. Members of the band went on to form countless other influential acts, including Nirvana, The Foo Fighters, Wool, Queens of the Stone Age, Goatsnake, The Suspects, and others.

Southern Lord is proud to be chosen to reissue Scream's everlasting 'No More Censorship' album. The band found the original multi-track tapes and Southern Lord had them baked/prepped for a remix at Grohl's 606 Studio. The new mix sounds vital and intense; the entire packaging, layout, and design are completely different from the original, including unreleased photos of the band during that era.

Scream was formed in 1981 by vocalist Peter Stahl, and brother Franz Stahl on guitar, Skeeter Thompson on bass, and Kent Stax on drums. The next few years would see the addition of second guitarist Robert Lee Davidson and keyboard player Bobby Madden, following three LPs through Discord Records — "Still Screaming" (1983), "This Side Up" (1985) and "Banging the Drum" (1986) — Scream's 'No More Censorship' was released via reggae label RAS Records in August 1988.

* This EP contains four stunning tracks, covering various styles of hardcore, and its the absolute bomb. For a start, Sanxion brings the piano flavor with a track that lives and breathes the traditional Kniteforce sound, bought to a fine shine the way a truly skilled artist can. Meanwhile, Nicky Allen destroys the dance floor with his hyper hardcore track, one that I have been playing at everyone in the vicinity for the last few months or so. Flip the vinyl over and we move into darker territory. TNO is a more recent signing to the Kniteforce label and his first offering is all dark and atmosphetic, but with a relentless pace and undeniable energy. And to round the EP off, Mannik mentasms the hell out, and gives you a small taste of what his forthcoming EP will be like - crazy, dark, authentic old skool that breaks all the rules and shows true skill and panache.

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Garden City Movement's debut album 'Apollonia' is set for release on 16th March 2018. The trio of Roy Avital, Yoav Saar and Johnny Sharoni produce a blend of sounds drawn from their diverse cultural worlds, ranging from art-pop to experimental house to horizontally-aligned vibes.

Since surfacing at the close of 2013 with their breakout track 'Move On', Garden City Movement have released 'Entertainment' and 'Bengali Cinema' EPs, the 'Modern West' 12' in collaboration with The Vinyl Factory, climbed the Hype Machine Popular Chart with multiple singles, recorded live sessions for Boiler Room, Majestic Casual and FACT, opened for Bonobo, Caribou, Alt-J and played all over the world. The band's music video for 'Move On' received a nomination for Best Music Video at the LA Film Festival, won Best Video of The Year' at the MTV Israel Music Awards and the video for 'She's So Untouchable' screened at Raindance Film Festival in London.

Recording through 2017 at their studio in Tel Aviv, Garden City Movement took the time to explore their sound as a band. From the combination of dream-like vocals and cinematic-RnB in singles 'Slightly All The Time' 'Before I Fall' and 'A Means To An End' to the leftfield four-four of 'Mediterranea' and 'Sans Titre' or the ethereal jazz of 'I Knew Before I Met Her (That One Day I Would Lose Her)' and worldly influences of the title track - the heightened craft in their production is firmly felt across the album's 18 tracks.

After releasing three EPs, which each had a very tight deadline, recording the album has been a chance to grow. It's the first time we have been able to really take the time and experiment a lot in the studio, try to develop and deepen our language, come up with new sounds, and take our techniques even further'. - Garden City Movement

The album takes a darker path lyrically, exploring the breakdown of a fading relationship and the depression, loneliness and abuse that follows. While not explicit, this melancholy grounds the album in the real world. The fusion of forward facing production and confessional account of human-interaction frames an emotional and honest album of modern soul music.

Balance Recording introduces another underground imprint 'Balance Traxx' Inspired by time spent in Italy , this new series called (word of Mouth) also 'Parola di bocca'. This 4 tracker feature something old and something new. A new imprint project with Chez Damier and Ben Vedren new
joint venture H2H called 'Road Trip' a house grove with a limited mix by Hugo LX. The project also features Chicago producer Garrett David (Courtesy of Balance ) with this
underground track that's been played at the Panorama Bar over the last year, We also bring you the classic by Chuggles 'Thank You' produced by Ralph Lawson and Chez Damier with remix by
UK's Classic underground producers Xpress2, the last track is a remix of French Connection 'Speechless' with remix by Italian producer Nicholas. The project was created as a DJ Tool project.

Kool Keith, is an American rapper from The Bronx known for his surreal, abstract and often profane or incomprehensible lyrics. Kool Keith has recorded prolifically both as a solo artist and in group collaborations. After being part of the legendary hip hop formation Ultramagnetic MC's he debuted in 1996 as a profound solo artist. He is generally considered to be one of hip-hop's most eccentric and unusual personalities.

By the big audience Kool Keith is mostly known as the voice of the number Smack My Bitch Up' by the Prodigy, a fragment used without his consent.

Black Elvis/Lost in Space is the fourth studio album by mc Kool Keith, but recorded under the alias of Black Elvis. This is the first album performed under this alias.

Kool Keith uses very complex rhymes on various subject matters from Black Elvis' viewpoint on half of the album and on the other half elaborates on space travel and being lost in space. This is the first album for which Keith handled all of the production, although drum programming was done by Kutmasta Kurt and Marc Live.

DimDj has no control over his life. Machines, records and noise boxes took over years ago. This is more than confirmed by this 5-track journey from acid techno to the old-school electro and further to Kuno's dystopia, who delivers a complete acidic rework over PTN1.

All tracks produced by DimDJ.
A3 - Vocals by Trenton Chase
B1 - Remixed by Kuno
B2 - Additional synth work by Wirenightmare Music

When I was a child, I spoke to Helen.

Helen is a pop group from Oregon. Liz Harris (vocals/lead guitar), Jed Bindeman (drums/tambourine), Scott Simmons (bass/guitar), and Helen (back up vocals).

Originally started with the intention of being a thrash band, it turned into something else entirely. The Original Faces was recorded over a period of several years in Portland by the band members, their friends Nick, Chris and, largely, Justin Higgins. Written together, some songs based on Liz and Scott's demos.

Composer, musician and producer Nils Frahm steers the new edition of Late Night Tales, set for release on 11th September. A hypnotic voyage through modern and classical composition, experimental electronics, jazz, dub techno, soundtracks and soul; Frahm's Late Night Tales haunts and beguiles. It's not mixing, so much as gently layering, like a particularly fluffy goose-down duvet folding in on itself, the folds part of the attraction, the layers part of the overall picture being painted. Many of the tracks have been edited, effected and re-made. The subtly overdubbed parts on Rhythm & Sound's 'Mango Drive' adding to the haunting hypnosis, while choral interruptions aid Miles Davis' 'Générique' on its journey towards the light. Meanwhile, on Boards Of Canada's 'In A Beautiful Place Out In The Country', the tempo is somewhat sluggish, the organs slurred, as Frahm slows it down to a funereal 33rpm that nevertheless fits perfectly. The purring of his girlfriend's cat Cleo transitions playfully between Nina Simone's definitive version of 'Who Knows Where the Time Goes' and unearthing the gentle electronics of Dub Tractor. Eddy Arnold's 'You're The Only Star', a country tune that sounds like its transmitting from a mid-west diner wireless circa 1947, is straight from the soundtrack to an imaginary David Lynch movie, comforting and dismaying all at once. This crackly reality abounds, as on Finnish band Gentleman Losers' 'Honey Bunch', that adds an unsettling texture, with a sound that is modern but as nostalgic. Frahm's own tracks bookend the mix, opening with an inspired "rework" of the infamous silent John Cage piece '4:33' ("I sat at the piano in silence and worked from


there. I listened and took in the atmosphere and this is what came out of it") and ending with a solo piano version of 'Them', taken from his recently released score of the film 'Victoria'. The traditional Late Night Tales spoken word epilogue is voiced by actor Cillian Murphy (Inception, Batman, 28 Days Later), reading a short story by Edna Walsh (Hunger, Disco Pigs).

"...don't ask if there will ever be a Volume 2. We don't know yet. What we do know is that if we ever come across a similar tour de force as Don McCaslin's composition, Praise Poems, then there will certainly be one..." These were the final words of the sales notes for Praise Poems Volume 1 - which we proudly released earlier this year. And indeed, since then, we have discovered a tune which led us to continue to curate this series of obscure, soulful, jazzy and spiritual sounds from back in the day. The song to which we refer to is Abraham Battat's jazz-samba masterpiece, Fly Away. Fly Away is a righteous combination of sonorous jazz guitar, crackling drums and warm acoustic piano. Floating through the tones as if in a private concert for you in your very living room, it is an earnest, honest vocal performance bringing a rainbow message of freedom and liberty to the world. This is the standard by which we judged the entirety of this compilation. Though they may be known in some circles, selections by Richard Martian, Larry Covin, and The Gingerbread Express are in the same category of pure beauty. Of course, good luck finding a copy of Larry Covin's Masquerade or the Portis Brothers' Summer Love. The single hit you receive while doing an online search is the exact same copy from which we took the master. To find a needle in a haystack is a cakewalk compared to turning up a copy of some of these gems to be found here.

Kevin Saunderson's Detroit-based imprint celebrated its 25th Anniversary back in 2012, and the label's continued to cement its legacy with key vinyl reissues over the past couple of years. The recent campaign included Saunderson's Just Want Another Chance, the track which contains the "Reese" bassline—rivaled only by the Amen break as a formative element of drum & bass—as well as '90s releases from MK, Kreem (Saunderson's duo with Juan Atkins) and Chez (Damier) N (Ron) Trent.

The two remix compilations dwell on Chez N Trent versions produced during the 1993 through 1995 period, when they released enduring originals like "Morning Factory" and "The Choice." Volume One contains remixes of Sonya Blade and Miller/Scott Project while the second EP includes Damier and Trent's versions of Kreem as well as Saunderson's seminal vocal house group, Inner City. Chez N Trent's takes on Naomi Daniel's "Feel The Fire" and Essar'ay's "Forces" are also included.

Limited edition 8 track double 12" featuring some of the best tracks from now out of print MEMBERS ONLY 12" singles plus some tracks never released on vinyl previously. Tracks compiled from cassettes and overdubbed by ANNE CLARK, FGTH, BANANARAMA, LAST POETS and more. Hand stamped white labels.

Listen to this if you like: anything that we've put out last year, wrapped together in a lovely double pack of a 12 and 10. The Roundup part 1 is the first part of an annual recurring event: the big Heist family remix EP, where all artist names get put in a big bowl, and by luck of the draw, find themselves remixing (and remixed by) another Heist artist. We've got Max Graef remixing Detroit Swindle and turning the break up into a full on Graef-affair. The label heads themselves take 'The Organ Grinder"'s 'Change all the time' and turn into a deep Chicago-esque tune and completing the 12, there's Frits Wentink's take on Bluebottle, experimenting with his trademark shuffle. On the 10, Standout track of the first year of Heist 'Jungle' gets a lovely rework by Nachtbraker, giving it a more 4x4 feel than the original and The Organ Grinder who turns Frits Wentink's Schrewd into a full on Filter house cut. The artwork is handmade and photographed by Baster. Sincerely yours, Lars & Maarten

18+ - Trust
Out 10th Nov (shipping next week) - Pre order Now
'Trust' is the debut album from 18+. The band, Boy and Sis, have been operating since 2011 and have evolved through several media formats of music, performance and visuals which graphically explore identity, gender, sex and morality.

The sound of 18+ has bewitched its audience; sonics which are at once over-bearing and subtle, the delicate voice of Sis spitting sweet nothings over fucked-up beats and hooks which hack their way into your subconscious and never leave. Their mixtapes to date have existed in the dark underbelly of the world wide web, and their debut single 'Crow' sold-out of physical copies in unbelievable time.
Available on 2XLP or CD

It's not easy making jams that really work the crowd just as well in Bristol as in Berlin. Nor any other city for that matter. It's those crossover artists that really stand out for us with tunes that do so much more than just ride the wave of what's hot. Enter The Organ Grinder and his sick 3track EP for Heist. 'How did I get here", the A1 track, might sound like something you'd ask yourself when you realize you're in the wrong place at the wrong time, but for us, this track is everything but that. This track has the most gritty and rolling percussion we've heard in a long time, a looped key with a hint of sleazy techno and some subs that will easily blow your grandma's porcelain to pieces. Add some odd FM frequency noises and you've got yourself a killer tune. Changes all the time takes a more drawn back approach, aptly characterized in the vox: 'repetition, with tiny changes all the time.' A set of carefully placed stabs. pads and strings along with a great arrangement that keeps you wanting more of that warm but rough groove. The Valley of doom takes you on a journey through the whole B-side with a stripped down, almost dubby techno vibe, nicely countered with The OG's signature slamming and gritty percussion. I hope you will enjoy this record as much as we do. Sincerely yours, Lars & Maarten

We call them the rat pack of our beat scene. With all diversity in sound, the three producers are unified in their love for dope beats and high-proof drinks, both catered and consumed with style and expertise.

Suff Daddy, the globetrotting gin connoisseur and minimoog player with domiciles in Berlin, Düsseldorf and Sydney. He has released three solo albums and has worked with artists like Miles Bonny, Fleur Earth, Ta-ku and Elzhi. After a one year stint in Sydney, he returned to Berlin this spring.

Brenk Sinatra, the Wien-Kaisermühlen homeboy, Westcoast rap fanatic and producer of the forthcoming MC Eiht album. Last year Brenk released the critically acclaimed S3 album together with US singer Miles Bonny and has laced beats for an armada of MCs from both sides of the Atlantic.

And last but not least Dexter, the Stuttgart based trip maker and platinum producer with a day job as a pediatrician. This June Dexter released his second solo-album 'The Trip' a homage to the psychedelic rock era and one of the most innovative and genre bending hip-hop albums of 2013.

All three first met at the Hi-Hat Club, the producer series that we started a couple of years ago with the goal to push and celebrate the art of beat making. With their respective volumes 'Suff Draft' (Suff Daddy), 'The Jazz Files' (Dexter) and 'Chop Shop' (Brenk Sinatra) each of the guys put the instrumental hip-hop thing on a new and different level. None of their beats need a MC to be complete, they are full songs in their own right.

The official birth date of the Betty Ford Boys was the 2012 Beat BBQ in Cologne where Dexter, Suff and Brenk performed together for the first time. Right after the now legendary gig, that was ended by police forces Suff Daddy left for Sydney so that most the recordings for the Betty Ford Boys debut album took place in the cloud. Right after his return to Berlin, the Boys jumped on the bus and played their first club tour which finished with a gig at the Splash Festival.

On August 30th, the Betty Ford Boys release their first album 'Leaders Of The Brew School' on Melting Pot Music. The record combines the best of three worlds and has a surprisingly chilled Westcoast vibe. It's perfect summer music, it's edgy and relaxed at the same time and keeps you thirsty for more ....

E-FREQ return to UTTU with 2 HOTT klub traxxx - 1st up TIME 2 FREQ - a KOSCHMICHE ELEKTRONIK journey into the unknown traversing through the outer reaches of dance music genres fusing kraut-electro into a cosmic brew of psychedelic-laced houz muzik - on the flip Elysium Dream absorbs acid tek-breakz braindance alongside jungle DRUMM n’ BAZZ bassbin warblers for maximum pumpage!

On Board Music returns with its next remixes package. Following the "Point C Remixes" in 2024, the Rotterdam based label now revisits four tracks taken from its charity compilations "The Meaning of Time" and "The Meaning of Time II" - all reimagined by fellow On Board artists. Born during the global health crisis of 2020, "The Meaning of Time" series explored the shifts, fractures, and altered perceptions of time experienced during that period. This new remix edition not only reshapes selected pieces through the vision of close label affiliates and takes them closer to the dancefloor, but also sees all tracks freshly remastered by Neel. The four tracks were given a new life in two different ways - by remastering and reinterpretation. Luigi Tozzi treats Polygonia's aquatic ambient piece "Magnetic Force" and pushes the track deeper into dark and hypnotic late night territories. Vera Logdanidi's emotionally charged arpeggiated electronic work "Water bubble Floating In Space" receives a peak-time reinterpretation by Non Series head Psyk. Swedish artist Dorisburg reworks Human Space Machine's "Danz7" into a dreamier and more percussive journey. Closing the release in true deep On Board fashion is label head Laura BCR, who reinterprets Bas Dobbelaer's "T2310" in an earthy and textured manner, while keeping its ambient techno & dubby spirit vividly alive. Photography by Marius Renard.

CYRK return to their Time Zero imprint with The Future EP, a powerful homage to Belgium's new beat legacy. The release features three original cuts alongside a remix from fellow Belgian artist Shero featuring Ki Jeal. The release will be available digitally on Wrong Era

Kultiger Track: Explosive Afro-Funk-Version von ,I Bet You Look Good On The Dancefloor" von den Arctic Monkeys.

This retail variant contains 2 LPs pressed on dreamy Watercolor vinyl and includes a trifold die-cut sleeve and 16-page booklet

After a five-year hiatus, Basic 7 returns to Tripmastaz "Respect The Craft.Enterprises" sublabel with his highly anticipated new EP. Renowned for his dynamic live sets, he delivers a solid four-track release that fuses quirky electronics with infectious dancefloor beats.

The first 12” from the Rosario-based label Under.Time comes courtesy of T.G.O.N, the duo formed by Fakk and Luciasensacional.

The release unfolds across four tracks, moving between techno, electro and synthpop. Built around pressure and movement, the record evokes the streets of their hometown after dark, carrying a sense of drama, speed and latent intensity.

Ben is a Detroit-based producer who makes up half of Symptoms of Love, along with BPT records alum Ryan Spencer. He here brings us a 4 tracker of the absolute highest order. It both sounds like music that no one else is making, while also sounding like a pastiche of everything that you've ever liked in the past. The magic formula baby!!!!!!! Shall we walk thru the music together?

BPT founder and music's #1 man Jeremy Castillo has described the EP absolutely brilliantly as such: "YMO style dissonant electro with a Detroit touch on the a side, with pitched down Patrick Cowley psychedelic Macarena on the B-side.

The A1 and title track is an incredible statement of intent from Ben - it really does sound like if Hosono grew up in Detroit listening to Electrifying Mojo. It's an absolute blast of sunlight coming through your headphones. Press play and watch your vitamin D levels rise baby!!!

A2 cut "Music Remembers" is a groovy joy ride reminiscent of Galaxy II Galaxy, complete with re-pitched vocal chops and 808 claps galore. This will hit SO hard on a spring day if you live in a city currently blanketed in snow.

On the flip, B1 "Whose Water" will be a big hit with anyone who dug Dam Funk's Garret project. Introspective downtempo synth fans rejoice!!! And we wrap a stellar outing with B2's "New Sun" - a propulsive Cosmic workout that will open up any dancefloor. The psychedelic Macarena is right baby!!!

Re-issue albumsampler 2/2 from the "Circles in Time" album of Tommy The Cat !

Since arriving at the back end of 2023, Chris Massey's Thief Of Time quickly evolved from a solo project into a live 3 piece alongside fellow electronic explorers; Lady Lady and Mike Grubert.
Where dark is light, light is dark and emotions are electronic, We Are Cosmic is a natural evolution of The Thief Of Time project, with elements of contemporaries like New Order, Pet Shop Boys, The Fuck Buttons, Chromatics and The Cocteau Twins being present alongside current inspirations such as Nabihah Iqbal and Night Tapes.

Re-issue albumsampler 1/2 from the "Circles in Time" album of Tommy The Cat !

2026 Repress

Due to high demand, MEU has revisited two of Mr. K’s classics, previously only available as 12-inch extended mixes, and asked the master editor to pare them down to 7-inch size.

A true top-five peak record at the Garage, Thelma Houston’s “I’m Here Again” was “a highlight whenever Larry played it,” Danny Krivit recalls, “and he played it a lot!” Danny’s edit is a homage to Larry and Frankie Knuckles – in particular a similar private edit that Frankie did back in the day and shared with Krivit. “It was on reel to reel and I didn’t copy it correctly and lost it,” Danny remembers. “Reels were problematic! When I tried to get it again from him, unfortunately he had lost it too.” The song (likely an attempt by Motown to capitalize on the previous year’s monster hit “Don’t Leave Me This Way”) is, in its original form, a virtual retake of Thelma Houston’s breakout single, from the subdued, schmaltzy intro to the “oooh BABY!” leading to the chorus. What sets “I’m Here Again” apart though, is the incredible second half of the song. Naturally, it is here that Mr. K’s edit focuses. Over a vicious groove reminiscent of the Originals’ “Down To Love Town” breakdown (Michael Sutton wrote and produced both “Love Town” and “I’m Here Again”) Houston delivers soul-stirring ad libs as the band crackles with electricity behind her, the piano chasing a descending string riff so eagerly. Pure dancefloor peak energy! And the very first time having all these parts on a 7"!

For our flip, Danny has reached deep into the earliest foundations of his voluminous collection, and come out with a psychedelic pop classic rearranged for today’s sound systems and setlists. Recorded in the Beatles’ Abbey Road studio at the height of the Summer Of Love, the Zombies’ “Time Of The Season” is firmly linked in pop culture to the late ‘60s and the Vietnam era, breaking big in the summer of 1969. Krivit’s edit highlights the parade of lush sonic textures that ornament the hip composition, from the iconic, exquisitely echoed bass-clap-exhale riff that opens the song to the cascading Hammond organ solos of Rod Argent. “It’s a song from my childhood that really struck a chord,” Danny says. “Over the years I often played a rough edit which always seemed to go over great. The song seemed to get better and better, and age like fine wine.” We agree!

These two songs have both appeared on previous (separate) MEU 12-inches, but are presented here in custom new edits for the 7-inch format.

Rico Friebe's earworm sequel to last year's single „So Many Hints“ and deep take on narcism and manipulative behaviour.

Craigie Knowes day-one affiliate The Burrell Connection rejoins Craigie Knowes for his much anticipated EP ‘I Waste My Time So You Don’t Have To’. Featuring the fantastic ‘E Before I’ which has been heard in various forms across Berlin’s underground in the past few months, accompanied by an additional version taken from The Burrell Connection’s recent LIVE performance in Tresor, invited by Wania’s LNS & DJ Sotofett.

The B-Side comes correct with the dubbed-out power of ‘Celestial’ alongside the quintessential Burrell Connection galaxy-spanning pads and bass combo on ‘Ensemble’. One for the real heads, from dub to club.

Moto Music proudly presents Time Synthesis, a sonic collaboration of the living legends Dan Piu and DJ Estimulo, creating a future past guaranteed to last. Experience the dynamic aurora of class, seamlessly guiding your senses through savory flavors of funky Detroit and atmospheric Techno hybrids to the smoothest of sunset coastal Deep House designs marinated to move bodies on the dancefloor and influence the mind. Indeed a synthesis of good times where the future of authentic house and techno was never left behind. Perhaps the dreamy chords and confident bassline of Strobes" unlocks your center of rewards via groovy techno modes, or its the Estimulo Ambient class pass of Wayne" that's the perfect sound for your late spring sunsets and nights in the rain; never the less with Moto Music since 1994, complete quality is here to adore in this ep menu of four…

Written and produced by Dan Piu & Estimulo

It’s been a journey, but thanks to the guys at Universal Music we are very grateful and privileged to bring you this fine piece of modern soul music on vinyl.

Both tracks, on the 7-inch, are taken from the MP3 only 2020 album “Vintage R&B”.
It’s an Anglo-Swedish affair, delivered to you by Swedish songwriters, composers and musicians, Henrik Wikstrom and Anders Lewen, together with UK producer Andrew Stannard.

Side A “Time to Make A Change”, features in Episode One of the 2023 BBC documentary “Fight the Power – How Hip Hop Changed the World”. A track to surely get the dancefloor moving.
After some deliberation of which track to include as a Side B, it was decided as a “Thank you” gesture to invite Universal Music to pick the song of their choice from the MP3 album. “Good, Good Feeling” was the proposal, a song title that is reflected in the composition.

The top side, with its driving beat and the strong vocal ability of Liverpudlian Tommy Blaize, is reminiscent of a Motown track at the peak of its popularity. After listening to the lyrics, it is understandable why this track was used in a “Civil rights” segment within a documentary. A timeless message that can be applied to many social and personal life situations. Listen to the tight musical arrangement. These guys know what they are doing. A track that will surely even get my ageing hips loosened up for the dancefloor. Don’t be tricked by the “paused” ending, a wonderful touch!

The title of the flip side, “Good, good feeling” is exactly that……… A “good feeling” song. Here, the tempo is lowered slightly and the sixties vibe here also leads to a more mainstream direction compared to the A side. Those floaty soulful tones from the UK’s Louise Marshall are very pleasant to the ears, lifting your spirits on any day of the week. Like the A side, get your earlobes in to that musical arrangement. There was no holding back with the broadness of musical instruments in the studio and I especially like the sound of the flute happily skipping throughout. Overall, an enjoyable easy listen.

Colemine Records is excited to put out their first 45 with The Charities, a sweet-soul band out of sunny California. The group's sound is a melting pot of cultures, exhibiting a mix of soul, r&b, rock, and funk. The A-side of this 45, 'Fatal Attraction,' explores just that. In some relationships, the very qualities that draw you in can also lead to your destruction. She's captivating_beautiful, intelligent, and charming_but beneath the surface, she's narcissistic and self-centered, with no regard for the pain she causes. When you're lost in the intensity of love, it's easy to overlook these darker traits. But when the time comes for her to move on, she'll strike without hesitation, delivering a blow that cuts deep. Her words, sharp as a knife, tear through your heart with cold precision. As you bleed out, she offers nothing but a final, indifferent goodbye...."It's Not Our Time," on the B, tells the story of two lovers who find themselves at a crossroads, torn apart by the struggles they face in this chapter of their lives. Perhaps in the future, they'll rekindle their love and spark a new flame_one that burns even brighter then before. It's a bittersweet goodbye, with the belief that the distance and time apart will only strengthen their bond when the moment is right.The tracks are produced by Anthony Masino and were recorded at Penrose Recordings in Riverside, CA.

The Journey EP by Kriz Da Rhythm & P.O.T. was released in 1993 on Loriz Sounds, first Techno label from Vienna (Austria). Today it sees the light again in this reissue presented by Dj Trackdigger and completely remastered on Time To Impact, a Wave Makers project.

Over three years in the making, Needle Mythology Records is delighted to announce a super deluxe, expanded remastered reissue of The Lilac Time’s 1991 masterpiece, Astronauts. Released as a triple vinyl, triple CD or single vinyl, only 1000 copies of each format will be produced, there will be no further pressings. Both the 3LP and 3CD editions will come with an extensive 11,000 word oral history of Astronauts and liner notes by Needle Mythology co-founder and longtime Stephen Duffy fan, Pete Paphides.

All three albums including a 2024 remaster, a collection of works in progress entitled‘Softened By Rain The Making Of Astronauts’ and a live compilation ‘Any Road Up The Lilac Time Live 1990/91’ have been mastered for vinyl by Miles Showell at Abbey Roadand will be housed in a triple gatefold sleeve with a colour inner sleeve and new artwork for each disc, which has been especially created by designer Mike Storey. The main sleeve for Astronauts itself will replicate the original artwork but with the four distinctive “blobs” rendered in a red “foil” texture. In addition to these three disc sets, 1000 single vinyl remastered copies of Astronauts will also be made available, in a cherry red vinyl edition to match the outer sleeve.

With the shoegaze and baggy movements at their zenith, The Lilac Time’s fourth album was released at a moment when the left-field music zeitgeist was shaped by the nascent shoegaze, baggy and grunge movements. Whilst Astronauts conformed to none of those trends, neither was it the record Stephen had in his head when he finally finished working on it. We’ll never know how that record would have sounded, but it’s hard to imagine a better version of the album he did end up making. The songwriter who brought ‘A Taste of Honey’ and ‘Hats Off, Here Comes The Girl’ into the world envisaged the sort of choruses that would jump from the single speaker of your favourite transistor and lodge themselves into the collective memory bank.

But while he really was writing some of his most beautiful melodies, Astronauts is a family of songs that demands to be kept together in the sundazed cloud of inspiration that created it. It constitutes a partial retreat from the outwardfacing utopianism of its predecessors, choosing instead to dwell on the journey taken to get to this point. That this is an audibly different band to the pastoral expeditionaries of the group’s previous releases is almost entirely down to the departure of Nick Duffy and the arrival of Sagat Guirey. Suddenly, accordions, banjos and mandolins are out; jazz guitar is in. Sagat’s filigree work on the outro of ‘A Taste for Honey’ acts as a sublime parting shot to a lyric which acts as a wiser, wistful companion piece to Stephen’s 1985 solo hit ‘Kiss Me’, something tantamount to the camera retreating to reveal the years elapsed between the time depicted and the present day. The distance between the carefree youth of pop stardom and the first intimations of mortality can be measured between the first and second verses of the quietly devastating ‘Madresfield’; from the depiction of the deserted cricket pavilion obscured by fresh snowfall to the sudden shift in perspective from subject to protagonist: ‘No one ever told me/That killing time is harmful/For time cannot recover/What soon the ground will offer.’ For all of that, however, the resulting album didn’t correspond to the vision its creator had for it. At a loss as to what to do with it, Stephen surrendered Astronauts to Creation with no plans to promote or draw attention to it. The consciousness shift of which Stephen had hoped The Lilac Time might be a precursor hadn’t happened. Or, rather, it had – but it had happened elsewhere, in the Haçienda and Shoom and in Ibiza. Not on the hills of Herefordshire. In a nod to that sea change, Stephen handed over one song, ‘Dreaming’ to Hypnotone, who

BOY Records re-issues one of the most wanted records.
It's Time Modem - Welcome To The 90s from 1990!!!
Re-mastered edition. Don't feed the Discogs Sharks!

"The only career-spanning best-of compilation available on vinyl for the first time for pop sensations A-ha. The band turns 40 this year with a documentary currently available on streaming platforms and their biggest song “Take On Me” back on the Spotify Top 100 streaming. Now seems like a great time to get this back to market - with two new tracks included!
These tracks are currently available digitally and previously on CD"

Quentin Tarantino, geboren 1963 in Knoxville, Tennessee, gilt als einer „der einfl ussreichsten Regisseure seiner Generation“ und wurde bisher mit zwei Academy Awards, zwei BAFTA Awards, vier Golden Globe Awards und eine Palm d'Or geehrt. Zu seinen berühmtesten Filmen zählen "Pulp Fiction" (1994), "Jackie Brown" (1997), beide Teile von "Kill Bill" (2003-2004), "Death Proof" (2007), "Inglourious Basterds" (2009), "Django Unchained" (2012), "The Hateful Eight" (2015) und "Once Upon a Time in Hollywood" (2019). Auf vorliegendem Album wird eine Auswahl der besten Songs
vorgestellt, die Tarantino als Soundtrack für einige seiner fi lmischen Meisterwerke gewinnen konnte.

This Summer The Florentian Cabaret showcases his sound once more as he explores new creative avenues with the launch of his own eponymous label. The label will give the thriving Italian talent a chance to showcase the full spectrum of his sound with no boundaries, sharing all of his refined tastes, and influences he has absorbed over the years. The “Space. Time. Gravity.” EP features four classy cuts, timeless trips inside the mind of The Florentian Cabaret.

Playful drum patterns lead the way in the title track, conversing in harmony with the nostalgic 80s synths, teasing you down an animated path of disco leaning house energy. Emotional textures crafted for the dance floor moments. “Stairs On Mars” is built upon an underground energy of time gone by, slick hi-hats drive the track in combination with a raw and rugged bass, nodding towards the heydays of rave. Distinct and progressive peak time movements steering the release into an alternative direction.
“Rocket’90 leads you down a pacey path of low end paradise, in combination with spaced infused acid tones. A transition track for when you want to switch things up, and steer the dance floor to new heights. Hypnotic as it moves, progressing into classy peak time action as the atmosphere continues to simmer. Next up we have the aptly named “Stars”, as this pulsating and driven track will take you exactly there. Nostalgic drums maintain a steady and transcending groove, conversing with the mechanical pads and synths which spiral around the heart of the track. Constructed for the rave, and the tastemakers of modern dance music!

The fourth studio album „Pain Matters“ by Rico Friebe came totally unexpected to him as well as it comes to you now!

Deeply affected from personal occurences within the further realms that already spawned „Anthems For A Lost Generation“, Rico fell into an abyss where anything became possible – anything raw, spell-binding, meditative and bold as „Pain Matters“!

The first release off of Detroit and Chicago party brand Snack Time's new imprint

K S R introduces this pulsating collection features Lee Holman's EP, showcasing his mastery of the genre. Don't miss the mind-blowing remix by "Kaiser", the label owner. Brace yourself for an exceptional auditory adventure. #KSR011

In Time: The Best Of R.E.M. 1988-2003 is more than a greatest hits collection, it’s an opportunity to reflect on the astonishing creative and cultural influence of one of the most innovative and enduring bands of modern rock history.

This compilation of eighteen tracks serves to remind us all over again of R.E.M.’s key role in shaping the sound of the last three decades. With “Losing My Religion,” “Man On The Moon,” “What’s The Frequency, Kenneth?,” “The Sidewinder Sleeps Tonite,” “Orange Crush,” “Everybody Hurts” and many more, In Time lives up to its title as an indispensable musical document of our era. The set also features the tracks “Bad Day” and “Animal” which were released for the first time as part of this collection.

*Repress*

Each deluxe limited-edition numbered box set contains six 12" vinyl discs--mastered from the original tapes--including alternate mixes, 7" versions, live shows & more

Germany's MANOOZ dials in a big one for STARCREATURE/GLOBAL CARESS. Heavyweight hardware house that is like a teleporter back to 1988. “JACK THE BASS” starts off with a hypnotic command, impossible to deny, followed by “TIME 4 HOUZE”, with some of the best house lyrics ever

Ambient-Post-Rock aus San Diego, dem Rückzugsort der Millennials für Post-Hardcore. Aufgenommen zwischen den Tourneen zu "Tristeza", verwebt das zweite Album von The Album Leaf zarte Gitarrenklänge, klimperndes Klavier, nachdenkliche Synthesizer, unheimliche Feldaufnahmen und treibende Percussion zu einer Meditation über das Vergehen der Zeit. Diese remasterte 25-jährige Jubiläumsausgabe entspricht dem Original, mit neuen Anmerkungen des Autors Adam Gnade und bisher unveröffentlichten Fotos. Eine beeindruckende Stunde akustischer Photosynthese.

Crystal Clear Vinyl. Ambient-Post-Rock aus San Diego, dem Rückzugsort der Millennials für Post-Hardcore. Aufgenommen zwischen den Tourneen zu "Tristeza", verwebt das zweite Album von The Album Leaf zarte Gitarrenklänge, klimperndes Klavier, nachdenkliche Synthesizer, unheimliche Feldaufnahmen und treibende Percussion zu einer Meditation über das Vergehen der Zeit. Diese remasterte 25-jährige Jubiläumsausgabe entspricht dem Original, mit neuen Anmerkungen des Autors Adam Gnade und bisher unveröffentlichten Fotos. Eine beeindruckende Stunde akustischer Photosynthese.

Follow-up to their distinct sold out eponymous debut in 2023, and a vibrant expression of their singular song craft - Produced by Ringlets and Michael Logie (The Mint Chicks) in Auckland at The Lab and mixed by Isaac Keating at Abbey Road Studios - Opened/supported in NZ for the Foo Fighters, Black Country New Road, Water From Your Eyes

Laufey’s deluxe album, A Matter of Time: The Final Hour, is the closing chapter of her beautiful, critically acclaimed, and GRAMMY® Award-winning third album, A Matter of Time.
With four new songs, this 19-track deluxe album is an introspection about learning to live with one’s anxieties — embracing uncertainty, accepting the passage of time, and finding calm after the storm.

The first resonant space Zosha Warpeha played in was the Emanuel Vigeland Museum in Oslo, Norway. Built as a mausoleum, its walls reach up into a gradual archway, creating an environment where sound expands and reverberates for twelve seconds before decaying into silence. Warpeha was greeted only by dim lights when she entered, and it wasn’t until she had spent several minutes listening that she was able to make out the frescoes that covered every inch of the room: graphic depictions of the cycle of life from conception through death. As the sound of her Hardanger d’amore encountered the walls and these slowly emerging scenes, they obscured its point of origin in both time and space, augmenting its own life cycle. The experience sat in the back of her mind over the next several years as she developed her own patient style of composition and performance, one that comes into full bloom on her new album I grow accustomed to the dark.

When Warpeha was selected as an artist in residence at Brooklyn’s ISSUE Project Room in 2025, she saw it as an opportunity to more intentionally explore how her music might fill a room with ample natural reverb. I grow accustomed to the dark documents two single-take solo performances for Hardanger d’amore and voice at IPR, with both pieces composed in a unique tuning system developed to interact with the space itself. Listeners can trace resonance from the contact of the bow on gut strings into the body of the instrument, its five sympathetic strings offering another layer of refraction, before the sound is thrown about the cavity of the room. The echoes emerge like a photographic double exposure, or wisps of smoke that linger in the air, creating ghostly harmonic convergences that blur the line between what is there and not-there. Sound begins to act like light, a synesthetic alchemy that transforms drones into beams and ornamental trills into flickers.

Both side-long compositions, “filament” and “visual purple,” exemplify a duality that animates Warpeha’s music: an expressive, individualistic style that draws on extensive knowledge of her instrument’s history in folk traditions, and an austere, devotional quality maintained by focus and precision. Though very different in character and structure, both pieces evolve slowly through numerous repetitive phrases, passages of stillness, and bursts of intensity. “filament” opens with a cycle of delicate melodic fragments played and sung around a drone before blossoming into an outpouring of swooping arpeggios, harmonics flying from the strings like sparks off a bonfire. The disorienting pulsation of harmonic beating forms the core of “visual purple,” the close-tone dissonance building to a swarm of open strings ringing boldly throughout the space. After the knotty tones reach their climax, the piece collapses into studied quietude, hushed, but without any drop in intensity.

When Warpeha first visited the Vigeland Museum in 2019, she was in Oslo to deepen her relationship to the Hardanger fiddle through the study of Norwegian traditional music, which is primarily passed down aurally. The experience of learning songs by ear, not only internalizing the tune but also absorbing the techniques and tonalities by listening, was a crucial step in her development as a composer. The years since have seen her sharpen those skills as a prolific member of the New York avant-garde and improvised music communities. Warpeha’s music encourages listeners to join her in this journey, to listen closely with each repeated phrase and through each dramatic shift. Like the frescoes on Vigeland’s walls, with time and intention, the depth of I grow accustomed to the dark comes on like a revelation.

Half speed vinyl edition of the classic album, 'Warrior On The Edge Of Time' by HAWKWIND. Recorded in 1975, the album is a ground-breaking classic from Hawkwind’s long career. Featuring a line-up of DAVE BROCK, NIK TURNER, LEMMY, SIMON HOUSE, SIMON KING and ALAN POWELL, the album is arguably one of the finest rock albums of the mid-1970s. This new Atomhenge half speed master edition of has been cut at AIR Studios utilising the original master tapes. The half-speed mastered cutting process offers the finest audio reproduction and this new edition is the definitive LP release of this classic album

Headline: Alexis Taylor von Hot Chip setzt seine Soloreise fort.

Alexis Taylor zählt zu den markantesten Singer-Songwritern des UK, der mit seiner unverwechselbaren Stimme ein beachtliches Solowerk geschaffen hat. "Paris In The Spring" ist sein bisher persönlichstes Album, das individuelle wie auch universelle Gefühle offenbart. Die Texte scheuen sich nicht vor eindringlichen Themen, doch musikalisch präsentiert sich die LP unbeschwert, beschwingt und zeitgemäß, mit eleganten Disco-House-Elementen, sinnlichen Basslinien und von Vangelis inspirierten Klanglandschaften.

Taylor hat für diese lebendige Klangwelt namhafte Künstler ins Boot geholt, darunter Nicolas Godin (Air), The Avalanches, Lola Kirke, Oli Bayston, Étienne de Crécy, Elizabeth White (Pale Blue) und Green Gartside (Scritti Politti). In dieser Welt trifft ein intimer Country-Stil auf die eingängige Popmelodie von Paul McCartney, den futuristischen Funk von Sly & The Family Stone und, so Taylor, "Synthesizer, die im Regen stehen gelassen wurden". Hier verschmelzen britisches Americana und französisches Flair – irgendwo auf dem Mars. Das Ergebnis ist ein Album über die Freiheit von Zwängen, von Vorurteilen, von Genregrenzen. Taylor experimentiert mit verschiedensten Musikstilen – Country, Folk, Disco – und hat sie zu etwas Einzigartigem verwoben.

With their upcoming sixth studio album, “What A Time To Be Alive” , The Lone Bellow embarks on a bold new chapter while honoring the deep bonds that have defined their journey. Written collaboratively for the first time with their full touring band—founding members Zach Williams, Brian Elmquist, and Kanene Pipkin joined by drummer Julian Dorio and multi-instrumentalist Tyler Geertsma—the album channels the raw, ecstatic energy of the band’s live show into a dynamic collection of songs that pulse with warmth, honesty, and human connection. Recorded live in Muscle Shoals, AL, after a writing retreat in a converted Kentucky firehouse, the album is both a celebration and a reckoning: of friendship, loss, love, and resilience. From the gritty, Stones-tinged opener “After The Rain” to the soul-stirring closer “What A Time To Be Alive,” the record captures the joy and vulnerability that have long defined The Lone Bellow’s sound—lush harmonies, heartfelt lyrics, and genre-blurring arrangements steeped in folk, rock, and gospel. The album’s creation was marked by setbacks, including the theft of early recordings, but the outpouring of support from their fanbase reaffirmed what the band has always known: their music is a shared experience. That spirit echoes throughout the album, whether in anthems like “Common Folk” and “I’m Here For You,” or in intimate reflections like “You Were Leaving” and “Night Goes Black.” Since their acclaimed 2013 debut, The Lone Bellow has appeared on The Tonight Show, Austin City Limits, and The Late Show, topped Americana charts, and headlined storied venues from Carnegie Hall to the Ryman Auditorium. But with their next album, they reaffirm their commitment not just to making music, but to building community—on stage, in song, and around the table.