Search:the venture

Experimental Rock / Abstract Hip-Hop / Post Industrial music Pascal Bouaziz used to be the singer and leader of French rock band Mendelson, and "Bruit Noir" (Black Noise) is his side project. This is a completely new venture, a departure from everything he's done over the last 20 years, bringing together hard-hitting lyrics and biting sounds. Boaziz has improvised lyrics over music by drummer Jean-Michel Pirès, who has played with Bed and Married Monk, a blend of the stripped-down clarity of Pérec's A Man Asleep and the stormy punk of Suicide. Crossing the boundaries of the politically incorrect, Bruit Noir offers a raw, hard-hitting album, where the sincerity of the words blends with the intensity of the compositions.

The prolific Brussels-based ensemble Razen is back on Hands in the Dark with a new stunning collection of fascinating improvisations: ‘Hier l’An 4000’.

Based upon the theme of reincarnation hypnosis and inspired by the writings of Donoso and Slauerhoff, 1940s SF drawings, sky burials and a fantasy of future music where savagery and sophistication meet, the band ventures here into reverse mesozoic exotica. Each piece leans on sampled hand percussion (by grace of the legendary Algerian percussionist Abdelmajid ‘Guem’ Guemguem), augmented by Brecht Ameel, Kim Delcour and David Poltrock’s trademark devotional approach on early music wind instruments and pre-digital keys and synthesisers, spiralling down into their own rabbit hole of repetition and changes.

As gorgeously illustrated by the contemporary British painter Nicholas William Johnson: whilst proposing a futuristic trance-like trek through magenta night skies, toxic radiations and a hostile flora, Razen has never sounded more ecstatic and disruptive.

In a realm where the threads of fate intertwined with the tapestry of existence, there existed a timeless construct we call “MENG”. This transcendental domain pushed a sanctuary where an unholy wisdom was safeguarded. Within its twenty-two walls, the experiences of countless sages and seekers resided, forming a reservoir of enlightenment, of vision and of identity.

Among the enigmatic texts that adorned the shelves of The Memory Palace, one stood out—the "Tubular Heaven," a chapter that held the essence of the universe's patterns and transformations. The book we speak of is the Book of Change - I Ching. Legend has it that the Memory Palace embodied the vibrations of those who sought its wisdom, guiding them to the Slow-Chain’s pages where hexagrams unveiled the secrets of existence.

Amidst this cosmic dance of knowledge, there lived a young wanderer whose name we do not say out loud. Driven by a deep yearning for understanding, this Warrior ventured into the city of Tanoy. With every step, he felt the resonance of centuries long gone, as if the walls whispered to him the essence of reality itself - “you may fall as long as you stand up again. Repeat this 1000 times and you will understand me. Only then can we control the sound.” As he reached for the illuminated Book of Change, a light was cast onto a newly fabricated realm of questions.

One hexagram, in particular, was essential. The cryptic symbolism was perplexing. Upon meditation, we slowly begin to realize that life is indeed a tapestry of imperfections, yet from these glitches we arise with profound growth and transformation.

As our curiosity spikes, we delve into the pages that follow, discovering an unexpected connection between I Ching and the world of Jeans, no denim. In ancient times, the craft of weaving denim mirrored the wisdom of these hexagrams. Just as threads interwove to create a durable fabric, I Ching reveals how life's experiences intertwine to form a meaningful existence. Denim, like life, is sturdy yet adaptable - a true testament to the harmonious balance between falling and standing.

As this journey comes to a gentle end, we must stress that hexagrams prove that other divination systems exist. It has become clear that the patterns hitherto observed are not confined to one culture, tradition, mind or body. Instead, they echo throughout history, manifesting in various divination systems across our globe. Hexagrams are a universal language, transcending boundaries and demonstrating the interconnectedness of humanity's pursuit of higher understanding.

We can now truly emerge from the Memory Palace, carrying the wisdom of everything above us. It’s time to Drag A Friend into this Made Up Reality. Or is it? We now understand that life's glitches are the catalysts for growth and that just as threads wove together to create denim, experiences wove together to create a meaningful existence.
As we walk beneath the open sky, we whisper into the wind, "Hexagrams are the echoes of universal truths, proving that the search for wisdom knows no bounds."

The chimes tingle in the deep subset of your imagination. As the pages of the Book of Change unfurl one last time, the shimmering tapestry of our shallow minds unravels.

We have revealed the kaleidoscopic corridors where perceptions dance in hallucinogenic symphony to the hymns of our rich minds.

Never Before Reissued On Vinyl! After the smash success of Deee-lite's debut record World Clique, and their now-iconic dance club hit "Groove Is In The Heart", anticipation was high for a follow-up from the New York-based dance music trio of vocalist Miss Lady Kier, and producers DJ Towa Tei and Super DJ Dmitri.

For their sophomore record Infinity Within, Deee-Lite opted to venture in a different direction of sorts. The club-embracing disco-funk sounds and groovy vibes of World Clique were everpresent, but while that record contained themes of global togetherness, Infinity Within took a more socially aware route, with politically charged themes of environmentalism, (To show their bonafidese, Infinity Within was one of the first titles to be issued in an ecologically friendly Eco-pak.) sexual liberation, voting rights, and critique of the juidicial system.

Taking major inspiration from the ancient Chinese divination text I Ching, Miss Lady Kier would later explain that Infinity Within was a natural progression for the group, not a departure. Elaborating in an interview with Reflex Magazine, she remarked: "The reason why we titled this new album Infinity Within to balance out World Clique’s idea of looking outward and thinking about unity is if you look outward, you should look inward to see what you’re doing as an individual.

Because people seem to be so passive I’d like to see people turn their TV sets off and start protesting." Infinity Within was not the overwhelming commercial success that World Clique was, but it's tracks shined on the Billboard Dance Club charts, with it's lead single "Runaway" reaching #1 on the chart, bolstered by a Gus Van Sant-directed music video.

The record also featured a slew of top-tier collaborators, including Parliament veterans Bernie Worrell, Maceo Parker and Bootsy Collins (Returning from their appearances on World Clique) as well as Bootsy's brother Catfish Collins, legendary house DJ Statoshi Tomiie, and rap verses from Michael Franti, Jamal-Ski, and a pre-"Tennessee" Arrested Development.

Even though critical reaction at the time was cooler than their debut, over the years Infinity Within has been considered an underrated
gem of 90's dance, a classic of early club and house music, and a remarkable follow-up for Deee-Lite.

Phase O' Matic, an eccentric treasure hunter, ventures to the Parcel Islands after hearing about Erik and Huber's psychedelic antics. Intrigued by tales of a telepathic shark guarding a hallucinogenic treasure (Shadowfin), he dives deep into the South China Sea wearing his signature glowing shark tooth necklace.

Amidst swirling colors and cosmic jellyfish, Phase communicates telepathically with the school of sharks and ends up locating something he did not expect to find: hundreds of aged vials labelled 'Acid Lean'. Phase O' Matic quickly realized that the 'Acid Lean' vials were the very eau de vie Serb and Paramedic initially sought. He decides to deliver the treasure to Qassem Acidmani himself, hoping to claim the elusive reward promised by Gandalf OG.

Infernal Sounds strip things down and go back to basics with their next endeavor, returning to their roots by releasing a two track single by debutants, Frenchless. Not only is it their first venture on the label, but this is their first ever release under this moniker from the mysterious deadly duo.

For their next venture, Infernal Sounds brings together two titans in the scene marking #IFS026 with a collaborative EP from returning family member Chad Dubz, and debutant Somah. The Business EP is a goliath, featuring full-throttle sounds on the title track 'The Business' to kick things off properly. 'Naraka' follows in the same vein, producing a rough and rugged low end which you can feel deep in your chest, whilst 'Amplify' provides a stripped back, bass heavy affair. 'Unresolved' closes the EP, rounding things off with a more melodic skanker.

The release has already received some strong support in the scene from the likes of Truth, J:Kenzo, Sicaria Sound, N-Type and many more, making it a must own 12".

The American rock/metal band Alter Bridge released their third album AB III in 2009. It was a new venture in which they combined progressive metal and hard rock. The album received acclaim from many music critics. Rob Laing from MusicRadar called it “one of the guitar albums of the year” and Rick Florino from Artistdirect gave the record a perfect 5 out of 5 score and said “it’s a sprawling masterpiece that illuminates just how brilliant this band truly is". "Isolation", the band’s most successful single to date, is one of the many highlights the band recorded for this album. It doesn’t matter if you like to call it a metal or a hard rock album, because it’s the music that speaks for itself.

Alter Bridge was formed by Creed bandmembers Mark Tremonti, Scott Phillips and Brian Marshall. They recruited vocalist Myles Kennedy, and have since released five albums, all of which charted in both the UK as well as the US charts.

Chuwanaga proudly presents Jasual Cazz's inaugural album "Memory Guard". Delving into the heart of jazz fusion, the French trio bridges the nostalgia of bygone years and the avant-garde essence of tomorrow.

Memory Guard surely brings some flavours of the seventies and eighties era with their vintage synthesizers. "Better Before", the joyful "Double Comète" or even "Tell Tale" re-enact this legacy while keeping it always groovy and thoughtful.
But, as if plucked from the ethereal realm of dreams, "Tell Tale", "Mèches" or "Libellule" sound like hidden places, mysterious pieces of music and time where the memory moves forwards.
In the meantime, "Temple", "Jungle Meat" or "L'Arche" venture into modern sonic realms, embracing post-jungle influences that propel jazz into uncharted territories. Body and mind can now synchronize.

Painting an auditory landscape that unfolds in a myriad of hues and forms, Memory Guard really follows the inventiveness of the actual jazz scene but with the emotional intelligence of the French jazz-funk heritage.

Jasual Cazz is the brainchild of Theo Boero on bass, Pierre-Louis Vanier on keys, and Japhet Boristhene on drums, hailing from the vibrant city of Lyon, France.

It almost seems churlish to regard Celtic Frost as one of the great extreme metal bands, because they were so much more than that. It’s better to hail them as among the finest extreme and experimental bands of the 1980s. Refusing ever to do what was expected or demanded, the band constantly changed musical direction, always brought in surprising influences, and kept people guessing as to where they might venture next. Their catalogue of albums is formidable and unmatched. Each is not only unique, but part of an entire tapestry that only now can be appreciated for being a remarkable part of music history. Despite, or maybe because of, constant turmoil on so many fronts, Celtic Frost achieved an artistic level few others would even have dared to dream of aspiring towards. They climbed high because they were never afraid to fall. Which is why the band are now rightly regarded as icons, and iconoclasts.

Emperor's Return is the second release by the Swiss extreme metal band Celtic Frost. It was released in 1985 as an extended play and was their first record featuring American drummer Reid Cruickshank (a.k.a. "Reed St. Mark"). The band's bleak publicity photographs from this period had an influence on the fashion and style of the developing black metal genre. This EP has been out of print and available on its own since 1985.

It almost seems churlish to regard Celtic Frost as one of the great extreme metal bands, because they were so much more than that. It’s better to hail them as among the finest extreme and experimental bands of the 1980s. Refusing ever to do what was expected or demanded, the band constantly changed musical direction, always brought in surprising influences, and kept people guessing as to where they might venture next. Their catalogue of albums is formidable and unmatched. Each is not only unique, but part of an entire tapestry that only now can be appreciated for being a remarkable part of music history. Despite, or maybe because of, constant turmoil on so many fronts, Celtic Frost achieved an artistic level few others would even have dared to dream of aspiring towards. They climbed high because they were never afraid to fall. Which is why the band are now rightly regarded as icons, and iconoclasts.

Emperor's Return is the second release by the Swiss extreme metal band Celtic Frost. It was released in 1985 as an extended play and was their first record featuring American drummer Reid Cruickshank (a.k.a. "Reed St. Mark"). The band's bleak publicity photographs from this period had an influence on the fashion and style of the developing black metal genre. This EP has been out of print and available on its own since 1985.

The Ventures return with their first all-new studio album in 24 years! Teaming up with Hi-Tide Recordings - global leader in surf music - “New Space” seeks to echo and pay homage to The Ventures “In Space” album, originally released in 1964, one of their biggest-selling and most popular albums of all time, still iconic and loved by fans the world over.

Daniel Ögren is one of the key artists in Sweden’s contemporary, underground music scene. He has already accrued quite the back catalogue, both as a member of the sensational quartet Dina Ögon and also as a solo artist with eight albums already under his belt. ‘Fastingen-92’ was originally released as a limited-edition vinyl pressing in 2020 on the independent label Sing A Song Fighter Records (the same label that first introduced us to Dina Ögon's music). The album came to our attention after hearing Daniels' solo band performing live at the Stockholm Jazz Club, Fasching. The band featured Love Örsan and Christopher Cantillo of Dina Ögon fame (who also records with the incredible Sven Wunder), and their sensational genre-busting set blew us away. It convinced us that this now out-of-print album needed to reach a wider audience.

‘Fastingen-92’ doesn't sit in one genre, it draws from Daniels's love of South American folk music, soul, Nordic folk music and film soundtracks, resulting in something unique, dreamlike and transformational.

It features 'Idag’, an epic, beautiful, cinematic song that introduces the ethereal vocalist Anna Ahnlund. ‘Idag’ has gained a cult following and Daniel has stated that it was the spark that started the Dina Ögon project. Tracks like 'Annalena' and 'Kristinehamn by Night (for Christopher)' sound like a new club sound that hasn't yet been invented (which Nicola Cruz would spin in his DJ sets), mysterious, hypnotic, and engaging. Other songs like 'Maj (for Tintin)' and 'Picasso' venture into blissed-out Scando-Balearic realms. Daniel's love of nature and the inspiration he draws from the geographic environment of the Swedish countryside can be felt in these tracks, they take you to other places and times and are simultaneously familiar, ancient and alien.


Alongside the collaborations with Anna and Christoper, the album features Josefin Runsteen playing the drums on 'Idag' and Swedish musicians Edvin Nahlin and Ulrik Ordin. The majority of the album was played, recorded and mixed by Daniel. For the Mr Bongo edition, we have added the bonus track 'April’, which was previously only available digitally. ‘Fastingen - 92’ is a truly remarkable record that gets into your soul, so please delve in!


'A joint venture label release covering 80s synth pop classics over 2LPs at an incredible price! . The likes of Ultravox, Paul Hardcastle, Japan, Soft Cell, The Human League, Aha, Jan Hammer, Harold Faltermyer, Yello, The Cure, OMD and many many more

Daniel Ögren is one of the key artists in Sweden’s contemporary, underground music scene. He has already accrued quite the back catalogue, both as a member of the sensational quartet Dina Ögon and also as a solo artist with eight albums already under his belt. ‘Fastingen-92’ was originally released as a limited-edition vinyl pressing in 2020 on the independent label Sing A Song Fighter Records (the same label that first introduced us to Dina Ögon's music). The album came to our attention after hearing Daniels' solo band performing live at the Stockholm Jazz Club, Fasching. The band featured Love Örsan and Christopher Cantillo of Dina Ögon fame (who also records with the incredible Sven Wunder), and their sensational genre-busting set blew us away. It convinced us that this now out-of-print album needed to reach a wider audience.

‘Fastingen-92’ doesn't sit in one genre, it draws from Daniels's love of South American folk music, soul, Nordic folk music and film soundtracks, resulting in something unique, dreamlike and transformational.

It features 'Idag’, an epic, beautiful, cinematic song that introduces the ethereal vocalist Anna Ahnlund. ‘Idag’ has gained a cult following and Daniel has stated that it was the spark that started the Dina Ögon project. Tracks like 'Annalena' and 'Kristinehamn by Night (for Christopher)' sound like a new club sound that hasn't yet been invented (which Nicola Cruz would spin in his DJ sets), mysterious, hypnotic, and engaging. Other songs like 'Maj (for Tintin)' and 'Picasso' venture into blissed-out Scando-Balearic realms. Daniel's love of nature and the inspiration he draws from the geographic environment of the Swedish countryside can be felt in these tracks, they take you to other places and times and are simultaneously familiar, ancient and alien.


Alongside the collaborations with Anna and Christoper, the album features Josefin Runsteen playing the drums on 'Idag' and Swedish musicians Edvin Nahlin and Ulrik Ordin. The majority of the album was played, recorded and mixed by Daniel. For the Mr Bongo edition, we have added the bonus track 'April’, which was previously only available digitally. ‘Fastingen - 92’ is a truly remarkable record that gets into your soul, so please delve in!


Making their debut appearance on Steel City Dance Discs, Clouds, an irrefutable powerhouse of sound consisting of Liam Robertson and Calum Macleod, exercise their intensely unapologetic musical personality with their latest venture with Mass Hysteria, for SCDD040.

The Scottish duo have become recognised for their heavenly balance of euphoric soundscapes, ladened with break-neck percussion, ecstasy-induced melodies and rupturing drum patterns. All of these highly characteristic elements are found in Mass Hysteria; an EP that highlights the hard-edged nature of Clouds’ ever-evolving style.

Mass Hysteria is a five-piece project that is nothing short of atomic. Typically energy-fuelled, the duo coordinate a masterful blend of hard-hitting, four-to-the-floor basslines: a seemingly perfect marriage for an EP that sets the listener deep into a cosmic whirlwind of electronic emotions.

ENG On his 13th album Jay-Jay has captured something magical on every track "Rorschach Test" is the newest venture of the Swedish Trip Hop Crooner Jay-Jay Johanson, who's been hailed as one of the most influential artists, and best voices of his generation, kind of legendary pioneer from the late 90's. On his 13th album "Rorschach Test" Jay-Jay has indeed captured something magical on every track. From « Romeo », « Why wait until tomorrow » until « Cheetah ». A strong sign that he's still on top of his game.

In 1972, a foursome of design students set out to make a record. This was, in many ways, a strictly creative endeavor. The quartet — composed of Dave Pescod, Alan Lewis, Phil Rawle, and Ted Rockley — were all trained, not as musicians, but as creatives. Art school heavyweights, the four were well-versed in the methodology of intentional experimentation, in the delicate balance of pushing the limits without completely unmooring oneself from a guiding creative intention. Emboldened by a high-brow familiarity with thoughtful experimentation and all the non-conviction of non-musicians, Bowes Road Band’s stint in the world of popular music yielded a record that is as much mind-melting as it is a direct product of its time. Their sprawling LP “Back in the HCA” embodies the exigence “art for art’s sake,” but it is for art’s sake that this record, however off the deep end it seems to travel (hear: “Doctor, Doctor”), remains a unified, and stunning, body of work. The LP’s do-ityourself garage rock noisemaking meets highfalutin creative processes. “Back in the HCA” is warbling psychedelic freakout (“Two Fingers,” “Doctor, Doctor”), Donovan-esque English countryside folk stylings (“Inside My Head,” “Goodbye to Rosie”), and avant-garde jazz improvisions (“Grass is Grass,” “Tomorrow’s Truth”) in one luminous release.

Originally an 9-track LP, Jakarta, Uno Loop, and Bowes Road Band decided to mine the six most cohesive tracks for the reissue, though the extras may be released somewhere down the line. Cohesion efforts aside, “Back in the HCA” stands alone in its singular conception of a genre-bending continuum — it evades definition. That said, the LP can easily be situated in the sonic environment in which it was conceived. By the end of the 60s, England was crawling with blues-based rock outfits that were starting to venture into prog rock territory. You can hear this popular dint cast over the folkier side of the LP. But Bowes Road Band was armed with their non-musicianship: they existed completely liberated from the motivating yet ultimately paralyzing lust for stardom. Enjoying this liberation, Bowes Road Band was utterly free to make noise. This freedom meant drawn out sax interludes amidst sweetly folk stylings (“Grass is Grass”) and Shaggs-like fuzzed-out freakouts that spiral into a void (Doctor, Doctor). This freedom also meant straight-forward tuneful cuts like “Goodbye Rosie” that conspicuously introduce heavily distorted auto-organ accompaniment mid-track amidst poignant lyricism. Bowes Road Band crafts a unified sound and then cracks it open.

With a completely off-the-radar status, Bowes Road Band could only press 50 copies of the record — 10 for each of them and 10 for the school. The band’s lifespan was to end there, or so they thought. “Back in the HCA” was the accidental fruit of a Berlin flea market treasure hunt by Jannis Stürtz, DJ and co-founder of Habibi Funk and Jakarta Records. After finding and sharing the LP with a few colleagues, Stürtz managed to get in touch with the band, get ahold of the master tapes collecting dust in Ted Rockley’s attic, and start the reissuing process. The record is still adorned with its original cover art designed by Alan Pescod, both reminiscent of bygone school days and the Zoom calls of yesterday — in short, reunion. Its re-discovery was happenstance and ought to be listened to as such. That is, “Back in the HCA” was not made to be listened to on a broad scale, or, at least, was not made with this goal in mind; it is neither in its time nor of its time. Of course, the group explicitly cites the folk tunes of the English countryside, the distorted rock groups that reigned during the record’s conception, and the fringes of psychedelic music that only the uber-underground might recognize (e.g., “Dreaming of Alice”). Yet still with these obvious influences, “Back in the HCA” always existed beyond the domain of both traditional musicianship and conventional commodification. Bowes Road Band’s DIY musicality beams through in technicolor across “Back in the HCA.” The vinyl includes an 8-page booklet detailing the albums creation and interviews with the band.

Lead single “Grass is Grass,” out July 14 along with album pre-order, encapsulates the record’s range: the track unfurls into a sprawling sax-driven trip following a sundrenched, Donovan-esque intro w/ lyrics “naively about parks and gardens, not marijuana!” The keyed-down folk cut “Goodbye to Rosie” is single 2 and elevates stripped-down acoustics with golden tinges, out August 4th. Focus track “Tomorrow’s Truth” constructs the fuzzed-out underbelly of acid folk. Listen for echoes of late Beatles, Mark Fry, and Donovan (if they were armed by an unshakabele willful naiveté). Like Sgt. Pepper’s on a shoestring budget—take a trip to the underground with LP “Back in the HCA,” available everywhere physically and digitally on September 1st via Jakarta Records and Uno Loop.

Besides online promotion from label profiles, the album will be further promoted by external agencies within the UK and US.

Remastered for its 10th Anniversary, the newly cut vinyl edition of Ripely Pine features the bonus track “Up In The Rafters,” long a live favorite that really should have been on the album in the first place. More than anything, Aly Spaltro has 20,000 second-hand DVDs to thank for her first album. Despite being recorded at a proper studio in her recently adopted home of Brooklyn, Ripely Pine showcases songs conceived during her tenure at Bart’s & Greg’s DVD Explosion in Brunswick, Maine. Little did customers know, the same store they’d drop off their Transformers movies was providing the ideal four-year cocoon for the development of a major musical talent. Spaltro worked the 3:00 PM to 11:00 PM shift. Each night, after locking up, she’d walk past Drama and Horror, pull out her music gear from behind a wall of movies, and write and record songs until morning broke. She did this every day, drawing strength from the monotony of her routine and testing out multiple techniques, approaches and instrumentation. Anger, confusion, love, happiness and sadness reigned, and the songs ran rampant, with little form or structure. Isolated for those many hours, Spaltro let melodies morph together, break apart and pair up. This is how she taught herself to write music and sing. Taking the name Lady Lamb the Beekeeper, Spaltro became one of the most beloved musicians in Portland. Her live shows were unhinged, as melodies followed an internal logic only apparent to Spaltro herself. She sang and played guitar, and the songs offered a vivid yet brief snapshot of her expansive world. At 23, with years of writing and performing music already under her belt, she ventured to the next milestone—recording an album. This would be the first time she did so in a professional studio and the first time she shared the process with anyone else. Luckily, she met Nadim Issa at Let ’Em Music in Brooklyn. He was taken enough by her abilities to dedicate nine full months toward the recording of Ripely Pine, and she with his producing abilities to ease comfortably into making him a part of her recording process. She wrote everything—all the songs, all the arrangements. And the two of them assembled an album that finally fit what existed in Spaltro’s mind. Keeping the songs’ stark rawness, the record is a pure representation of her sound. Ripely Pine shouts the introduction of a new talent from every groove. These recordings come as close as possible to conveying the intense majesty of her live shows, and, much like those performances, a narrative breathes through the record’s progression. The album opens with urgency and anger, settles into reconciliation and reciprocation, and ultimately reaches toward resolution, realizing infatuation leads to a loss of self; instead, embracing one’s own strengths is the most powerful thing of all.

Odd Nosdam really doesn’t need an introduction, unless you’ve been living under a rock for the last 20 years then undoubtedly you’ll know what’s up, and what an absolute humbling pleasure it is to now introduce Nosdam to the Where To Now? catalogue with two new cuts that flow from ethereal, meditative contemplation through to downtown abstracted machine damage..

The record opens with ‘End is Important’, A looping, spiritual lament which forces observation, or resolution around the concept of ‘Endings.’ Passages from Tsunetomo Yamamoto’s ‘Hagakure’ seep in and out of the mix throughout, where spiraling and glistening arpeggios dance across a glorious choral mantra, intended to elevate minds towards some kind of plume of awakening. This is a heady and deep cut which finds Odd Nosdam in full introspection mode.

‘Here to Know’ recalls the work of Patrick Cowley in his best downtown ultra slow swinging funk suit, or the more obvious nods to John Carpenter’s Assault on Precinct 13 OST. However, this is far from a straight up ode to creeping machine funk - Nosdam’s injection of energetic, pulsing synth stabs move the piece into a more surreal territory, creating a masterful and experimental injection of life and colour into an otherwise smoked out landscape.

“Where I found myself when Where To Now? reached out - asking if I'd consider a vinyl release with the label - was over in Barcelona spending time with loved ones at my family's apartment in the district of Sant Gervasi.

After my initial contact with WTN?, I ventured north to Cadaqués to visit Salvador Dalí's house in Port Lligat, where Gala & Dalí spent some 50 summers. While inspired asf touring the glorious property, I captured recordings from a looping video screening in an open air theater. These recordings became the foundation of Here To Know.

Sometimes there’s a break in the road. End Is Important was realized after re-watching the Jim Jarmusch film, Ghost Dog. Stealthy and evanescent, a familiar voice carries this slow-diver with a message to the world warped cruiser in all of us.” - Odd Nosdam

Stephen Steinbrink discovered a short YouTube video of a street magician who approaches a highschooler walking home in Barstow, California. “Here, let me show you my idea,” he says, as he places a quarter on the kid’s hand. The magician performs some relaxed flourishes, and the coin vanishes. In silence, the kid stares at his hand at the nothing where there once, indisputably, was something, until his wonder finds a single word: “Cool.” The title of Disappearing Coin, the new album from Oakland songwriter Stephen Steinbrink, comes from this short clip. “When I look at it now,” he says, “I relate to the kid, who’s obviously uneasy in his body, and going through the experience of being a teenager in the early 2000s growing up in a bleak desert town like I did. I also relate to the coin, an inanimate disc of possibility. And I relate to the magician, an absurd facilitator of sending what is tactile and concrete into the wispy conceptual realm.” “I’ve watched it probably a hundred times,” he says. “It cracked me up but also blew my mind open the feeling of wonder I experienced watching this video became a guide as I navigated new ways of staying in the realm of what’s both real and magical.” Following the 2018 release of Utopia Teased, Steinbrink completed an apprenticeship in the nearly-lost art of Stained Glass, becoming a glazier at a studio that over three years, fully restored the enormous 90-year-old windows in San Francisco’s Grace Cathedral. He committed to his Buddhist study, beginning lay monastic training before the process was thwarted by the pandemic. He dove deeper into music production for other artists, engineering two albums by Boy Scouts released on Anti- Records in 2018 and 2021. Steinbrink delighted in the way these pursuits pulled at the thread of ego’s tapestry and decentralized him from his craft, allowing him to embody a new role as a creative caretaker engaging in practices that felt communal and restorative. “As I slowly began writing for myself again, I tried to imbue my new songs with this sense of playfulness and wonder I felt while exploring these other interests.” He says. Feeling unlocked from the pressures of perfection that he often felt in his earlier work, creating Disappearing Coin felt buoyant and healing. “The album feels like an integration of all of my past musical selves zeroing in on the present,” Steinbrink explains, “I felt free to explore new ways of writing, through different perspectives, experimenting with fictional songwriting, visual archetypal language, and total collaboration.” This “total collaboration” was a joyous new venture after years of solo performing and recording. The album can be seen as a 42 minute session of show and tell, the manifestation of Steinbrink repeating the mantra of “Here, let me show you my idea” to himself over and over. Disappearing Coin is at once a welcome return for the veteran Steinbrink and the debut of a totally new artist, one who has found a new path to himself with new goals of openness, curiosity, and self-acceptance. “Recalls the magic pop purity of Arthur Russell...its minimalism manages to feel enlightened and transformative.” PITCHFORK // “Melodic and self-assured. Steinbrink delivers his knotted lyricism with a smooth lilt.

Factory Benelux presents a limited (500 copies only) 180g black vinyl edition of Part-Primitiv, the fifth studio album from post-punk trailblazers Section 25, originally released in 2007.

Recorded after a hiatus lasting almost two decades, Part-Primitiv saw founder members Larry and Vin Cassidy joined by former Tunnelvision guitarist Ian Butterworth, as well as multi-instrumentalist Roger Wikeley. Combining raw postpunk power and retro-futurist electro, the album marked a convincing return to form and drew praise from reviewers.

"Haunting, melancholic beauty - part post-rock, part trance" (Plan B)

"A vibrant, fierce collection of songs played with all the intense, live-wire energy one could want. Well worth the wait" (All Music Guide)

"The music on Part-Primitiv is informed by all phases of the band's back-catalogue, incorporating their early post-punk impulse alongside their later disposition towards electronic music. She's So Pretty is one of the band's closest brushes with pop music, while Power Base is a surprisingly straight-forward venture into techno, with its rampaging drum machine" (Boomkat)

Two tracks, Dream and Better Make Your Mind Up, were written and sung by Jenny Cassidy before she lost her battle with cancer in 2004. Best known for her beguiling vocal on 1984 club hit Looking From A Hilltop, on subsequent SXXV projects Jenny would be replaced by her daughter Beth.

Versatile 5 track futuristic techno release from Mike Buhl on Eddie Hale’s DENUDE. Atmospheric, Detroit tinged and dubbed-out grooves. Rounded out with a masterful remix by techno veteran Tobias that maintains the original theme but ventures into darker and heavier territory.

Irish DJ and producer, Ben Prophet, has caught the attention of some of the electronic scene’s most influential names in recent years. Currently residing in the underground music hub of Newcastle, his dark and exhilarating tracks have proven to captivate dancefloors. Now the artist is set to embark on his most monumental release to date, with the four track EP ‘From Dusk’. Staying distinctly true to himself, the EP channels Prophet’s love for bassline, electronica, and techno, whilst placing a key focus on mechanical vocals that add a mind-bending element that listeners can get lost in. ‘From Dusk’ will be released to the world via HAAi and Alice Pelly’s Radical New Theory label, a proven base for projecting emerging talent.

‘From Dusk’ is an EP that serves as a bold declaration. Prophet was determined to take listeners on a journey across the four tracks. Never resting on his laurels, the artist ventured into many corners of the dance world, whilst maintaining a core signature sound. Opener ‘Telepathy’ Sees Prophet build an emphatic, heavy hitting techno track, centring around a manipulated spoken-word vocal. It’s a sound that holds nothing back and is showcased again on ‘Down The Rabbit Hole’. Equally dark in its design, Prophet once more places distorted vocals at the forefront, this time displaying an industrial take on breakbeat. On the flip side, we see ‘Ocarina’ and title track ‘From Dusk’ turn the dark energy on its head with a distinctly melodic approach which adds a touch of psychedelia and high emotion to the EP. What’s clear is there’s something on ‘From Dusk’ for anyone that loves club music.

Speaking on the release, Prophet states:“HAAi has been one of the biggest inspirations for my sound, so to have become friends and to release my music on her label Radical New Theory is a massive moment for me. I’ve taken a different approach on each track, but each has my signature sound and is ready for the dance floor.”

HAAi also offers an insight into why she wanted to release ‘From Dusk’ on Radical New Theory: “Ben Prophet’s tracks have such a driving force and a dark energy to them, which is so powerful in the club. I’m extremely excited to get this record out in the world.”

Prophet’s previous releases ‘Hyper Funk EP’ and ‘King Of Rock’ on Chapeau music and Happy Wax Records respectively reached dancefloors across the world with regular plays from the likes of Mall Grab, Skream and VTSS. His gritty and energetic productions are born for the peak-time dance floor where its power creates intoxicating effects. No longer a hidden gem of the North East, the artist's music has gathered serious momentum and ‘From Dusk’ might well be the record that makes Ben Prophet a household name.

‘From Dusk’ is the third release on Radical New Theory, a label created in 2020 by HAAi and Alice Pelly which aims to shine a light on unique emerging talent, and the inevitable stars of tomorrow. Last year the label released LUXE’s debut ‘Belonging EP’ which was championed by MaryAnn Hobbs on BBC 6Music, and the artist has since gone on to tour across Europe. Whilst Ozzy, who released the labels first record ‘Een’, has since released on Barnt’s Schalen imprint. Radical New Theory was born out of a love for the craft of dance music and the careful consideration of what they release ensures the highest standards. A safe space for emerging talent, be sure to keep your eyes out for what comes next from the label

S Transporter is Izaak S and Ryan Spencer, a pan-American duo of exact origins unknown. With roots spanning from Detroit to San Francisco, the project is somewhere around four years old, though no one remembers exactly when it started. The songs were initially demoed in Ryan's bedroom and promptly forgotten about in the chaotic whirl of both members’ efforts in other music projects, DJing, and party-throwing ventures until Ryan played them at his weekly, Monday Is The New Monday (co-founded with PGS' Ben & Zach). Immediately, the songs burst with new life into our ears, and we excitedly requested to hear more. In a tale every creative can relate to, Ryan simply didn't know if they were any good. We found them extraordinary.

What followed were several months of additional recording sessions in a collective effort to finalize the tracks, done at Ryan's apartment in Southwest Detroit, Izaak's in SF, and the Portage Garage in Hamtramck. Bay area DIY underground luminary Anya Ghiorzi joined the group and contributed her vocal talents to the songs, which began to exhibit a sound representative of the genre-collisions featured at MITNM– from krautrock and boogie to trance, acid, and house– in a way other PGS releases have hinted at, but have not fully expressed until now.

S Transporter is the name of the EP, the project, and all four songs. A maximalist sound with a minimalist presentation, naming the songs - so many years after their inception - would, perhaps, take away from the feeling that struck all three of us the first time we heard them on a club-grade sound system.

Izaak S and Anya Ghiorzi are San Francisco residents, musicians, and DJs in the Loveshadow dance collective.

Ryan Spencer is a Detroit resident, DJ, co-founder of Monday Is The New Monday, and is a member of Freakish Pleasures.

"S Transporter 1"
Uptempo, backspin-laden electro/acid with a winding 303 bassline that reveals itself slowly over the pulsing breakbeat backbone. Immersive, haunting and enchanting.

"S Transporter 2"
Downtempo electro. Slap bass. Heavy boogie. Sensual vocals reminiscent of early Chris N Cosey carry you through this industrial funk heater. Heavy synth lines and rhythmic grooving guitar that is club-ready for dance floors of all kinds.

"S Transporter 3"
A fast paced, percussion forward adventure with balaphone melodies and bending synth pads. Spoken words guide the journey, arriving at a movement inducing Juno ascension that dances into a calm end.

"S Transporter 4"
Encompassing the seemingly disjointed, individualistic styles of S Transporter 1-3, ‘4’ combines elements of the entire release into one final gesture. ‘4’ could be Byrne/Eno ("Regiment"), but it's something else - the product of decades of dance music history, distilled by two musicians & DJs into one song.

credits
releases July 19, 2019

PGS 010
S Transporter
"S Transporter"
EP

2015-2019
Written, Mixed and Produced by Izaak S & Ryan Spencer
Vocals by Anya
Bass on “2” by Lucas De Leon Turner
Percussion & additional production on "3" by Shigeto
Percussion on “3” by Julian Spradlin

Mastered by Josh Bonati at Bonati Mastering
Recorded at Izaak's apartment in San Francisco, Ryan's apartment in Southwest Detroit and the Portage Garage
Records Pressed at Archer Record Pressing, Detroit, MI
Design by Will
MMXVIX

»Blank Vault / White Stains« is the new solo album by Franz Joseph Kaputt (DRNTTCKS, Otomatik Muziek, Hager/Kaputt). Under his S.U.V. alias, he presents nine highly personal, improvised synthesizer miniatures, accompanied by heavily delayed drum machines and enveloped in clouds of feedback. The music unveils a background rooted in years of noise exercises and ventures into the territories of dark, psychedelic folk, while showcasing a fondness for delicate synthesizer sounds and repetitive song structures. Layers of sound and rhythms collide and arrange themselves to create an idiosyncratic ambient/kraut music that explores the borders of when intimacy becomes toxic. It also delves into how relationships involving kink strategies can be used in a way that don‘t render one powerless or hurt, but ultimately leading to empowerment.

Side A is kind of an utopian dark room, filled with peculiar beats, drones, and dreamy synth arpeggios. Pleasure and joy are subversive acts that challenge and upend stereotypical role models. The pieces revolve around the mutual and consensual exploration of individual boundaries and the transformative states that emerge within these encounters – a unique entity, a »Body Of The Mind« if you will, is formed between individuals. Side B then represents the counterpart. Acid synths, distortion cascades and looped pianos evoke the regression from this playful and subversive approach on to sheer brutality and perverse destruction.

On June 16th momentum continues apace for Alex Paterson’s Orbscure records, with the new album by Chocolate Hills – his duo project with Paul Conboy. Purveying world class melodic ambience and plenty beyond, colours in this high-fidelity-headphone-wonderland range from languid chill, kitsch exotica, library music, space age pop, ye olde folk and even drum and bass – all seasoned with (in)appropriately random plunderphonics from Paterson’s infinite goodie bag. Loosely based around a nautical journey to the Bermuda triangle and back, this is a fantastic voyage, but seas remain calm – more ‘Life Aquatic’ than ‘Moby Dick’. Tracks gently bob and float on bass which is roomy and buoyant like the hull of a ship, whilst luxuriously fluffy clouds meander overhead, before their vessel dives deep below to marvel at aquatic delights, guided by sonar. Paul Conboy’s approach as a member of cult analogue tinkerers Metamono – who use no computers, only old pre-digital gear – has carried over into his new joint venture. Both groups write, record and perform at same time, then later edit for release. For ‘Yarns from the Chocolate Triangle’ Paul set himself and Alex up with assorted gear, including a record deck, synths and drum machines, then the pair recorded the raw version of the album on the fly. These long live jams where then then discreetly augmented, embellished and edited, with a nip and tuck in Logic. As well as releases as A.P.E. on Dorado and Far Out recordings, TV and film scores plus his ongoing membership in Metamono, Conboy recorded three albums as part of Bomb The Bass, with whom he also toured Australia jointly with The Orb. On a boat trip over to Bali, Paul made Paterson pancakes, and their friendship was sealed. Having stayed in contact, many years later the duo began an exploration of ideas with their 2019 debut ‘A Pail Of Air’ on Painted World records (who’ve also released records by Nik Turner from Hawkwind, Youth, Roger Eno and Jaz Coleman). So far the duo have performed a low key gig at Paterson’s unofficial lair The Book And Record Bar, plus a bigger stage at the Roundhouse, alongside Leftfield, GAS, Ulrich Schnauss and System 7. Clearly making a lasting impression on Alex, the duo’s name was first referenced on The Orb’s own ‘Chocolate Hills Of Bohol’ remix of their single ‘Assassin’ in 1992, which was the same year Alex got blown away when visiting the prehistoric geological formations and enchanting jungles of the Bohol province in the Philippines.

The Endless Coloured Ways is a collection of songs by legendary singer/ songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences From Fontaines D.C. to Guy Garvey, Aurora to Feist, and Self-Esteem to David Gray, each artist has offered their own incredible take on a timeless classic "Nick Drake was not that concerned with promoting himself as an artist but I think he would have been overjoyed to hear his art promoted by so many vibrant and talented artists such as the ones we approached. Each track is an example of a fellow artist adopting Nick's art as if it was their own, submitting to the song, and the results prove to me that talent can so often win out over mere skill or 'personality'. We are honoured and so grateful to all our friends, old and new, who took part in the making of this set." - Cally Calloman, Bryter Music "Having initially exchanged a list of our favourite artists and realised how much our tastes overlapped, Cally and I set out on this venture with one simple brief - to ask the artists to ignore the original recording of Nick's in terms of arrangement, production and singing style; basically, we were asking them to reinvent the song. First of all, it was humbling to hear so many similar responses, saying how important Nick's music was to them, and how much they wanted to be part of this project. But as the results came in one by one, we were staggered by the brilliance and invention that each artist had shown. They had done what we asked - they had made the song their own." - Jeremy Lascelles, Chrysalis Records

The Endless Coloured Ways is a collection of songs by legendary singer/ songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences From Fontaines D.C. to Guy Garvey, Aurora to Feist, and Self-Esteem to David Gray, each artist has offered their own incredible take on a timeless classic "Nick Drake was not that concerned with promoting himself as an artist but I think he would have been overjoyed to hear his art promoted by so many vibrant and talented artists such as the ones we approached. Each track is an example of a fellow artist adopting Nick's art as if it was their own, submitting to the song, and the results prove to me that talent can so often win out over mere skill or 'personality'. We are honoured and so grateful to all our friends, old and new, who took part in the making of this set." - Cally Calloman, Bryter Music "Having initially exchanged a list of our favourite artists and realised how much our tastes overlapped, Cally and I set out on this venture with one simple brief - to ask the artists to ignore the original recording of Nick's in terms of arrangement, production and singing style; basically, we were asking them to reinvent the song. First of all, it was humbling to hear so many similar responses, saying how important Nick's music was to them, and how much they wanted to be part of this project. But as the results came in one by one, we were staggered by the brilliance and invention that each artist had shown. They had done what we asked - they had made the song their own." - Jeremy Lascelles, Chrysalis Records

Brian Jonestown Massacre, Velvet Underground, TOY. “Upon the highways of Freedom, where Evil is like a Ferrari… “ Unbeknownst to its members, Index For Working Musik was born on an evening in late 2019 amidst the discovery of a collection of faded b&w photocopies that had been marinating on the floor of a urine-alley in the Gothic Quarter of Barcelona. An assortment of sacred and profane imagery were crumpled amongst an essay on early Christian hermits, entitled Men Possessed by God, the meaning of which was enticingly vague. Received together, they planted the seeds for a new endeavour. Though Max Oscarnold and Nathalia Bruno were already engaged in a creative ping-pong of sorts, the results to this point had only totaled a 30 min long ½ inch tape containing one track and four interludes. They needed a page and they needed ink, and they needed a place and it needed energy. Suddenly by chance or divine intervention, their experimental venture had been given form and direction. Back home in London’s cursed smog, they moved themselves and their 8-track studio into a basement in E8, where the project’s gravitational pull gained strength, quickly developing into an unexpected collective with the incorporation of drummer Bobby Voltaire, double bass player E. Smith and guitarist J. Loftus. As the world shifted around them and the Plague Years followed, it became increasingly clear that they were not going to leave that small basement room. The scarcity of light or outer world presence was less a limitation, instead the main tool at hand, allowing the recording to stretch for boundaryless days in architectural isolation, and forcing them to make straight forward free guitar music, adopting a ‘first thought, best thought’ approach. 35 minutes of repeat phrased guitars, slow-clipped drums and dulcet vocals where the recurring landscape is the desert. Reel-to reel-loops of Afghan music compete with the found sound overlays of voices recorded at the queue of the pharmacy and drum machines borrowed from Spanish heroes, channelling both far-off climes and snippets from a closer reality. It’s a strange psychic brew, built of imagined mysticism and domestic realities, of fever dreams and days that stretched into weeks of months. What was sparked by that discovery in the Gothic Quarter was actually a realisation that what they were looking for was with them all the while, buried as it was in piles of voice memos and recorded guitar feedback. Men Possessed By God they may be not: it was self-possession that was to guide their way in the end. “Life, despite all its destructive changes, remains indestructibly powerful and joyful

As far as debut EP’s go, Life In Exile is a spellbinding introduction to the sounds of CRTB, a producer and DJ whose name is beginning to burn hot on the tongues of punters up and down the land, with good reason.

Characterised by pulsating, bass-driven grooves and masterful percussion, Newcastle born, London based CRTB has unveiled a monster of sound with his latest venture, where the producer flexes an ungodly blend of four-to-the-floor basslines, contagious melodies and synths to create a visceral soundscape, infectious enough to cause dance-floor destruction wherever these sounds land.

From the pulsating percussion of It Never Ends, to the rattling rapture of Nothing Moves You; a track that erupted in Mall Grab’s Melbourne Boiler Room set, this EP has energy coursing through its veins. This energy fuels the hypnotic sounds of Temper, and the radioactive rhythm of Nature Boy, where CRTB brings fellow heavy-hitter KETTAMA into the fold, resulting in an unforgiving, atomic anthem.

Life In Exile is an EP that sees its creator, CRTB, conduct wild, electronic experiments of sound to devastating effect: a sign of things to come from one of Newcastle, aka the Steel City’s most exciting prospects.

200 Black Vinyl Only.

Neu-Romancer is the solo venture of Australian musician Laura Bailey, who’s razor sharp Italo production shines bright in her debut EP on Fleisch. Titled ‘Neue Romantika’, a nod to her Berlin relocation, these four tracks entangle the nostalgia of the New Romantics and the heartbreak of a not-so-far-off digital dystopia.

‘Neue Romantika’ brings oneself into the now, for a brief moment of synthesized beauty. The EP is closed out with an ethereal remix of the title track by ongoing collaborator and Fleisch custodian Zanias. Written, produced and mixed by Laura Bailey

Additional production and mixing by Kris Baha Additional vocals on ‘Remnants’ by Kris Baha Additional vocals on ‘Neue Romantika (Zanias Remix)’ by Alison Lewis ‘Neue Romantika’ (Zanias Remix) mixed by Ewan Kay Mastered by Sam Berdah at the Wall Studio Artwork by Hidrico Rubens

Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort.

The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on "Paraphernalia," blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.

Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro – the albums that precede and follow, respectively, this watershed title. Commonly branded a "transitional" work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging "Stuff" and frisky "Paraphernalia" glancing toward the future while keeping solid footing in the past.

Similarly, so do "Country Son" and "Black Comedy." In his original review for jazz authority Down-Beat, Larry Kart observes: "Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on 'Country Son' recalls a fragment from his 'Summertime' solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on 'Black Comedy,' his most straight-ahead solo here, the orderly pattern of the past is displaced and fragmented."


Flavoured with humuor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explode with creativity, purpose, and color.

Shortly after Arnic's debut on the imprint, Tresydos is back for its second EP of 2023 with another fresh talent. Signed by Italian artist Deyayu, "A Taste Of Intelligence" showcases Alessandro's colourful, deeply cosmic productions. Seamlessly blending elements reminiscent of house, trance, breaks, garage and dub, Deyayu's 4-tracker gathers a versatile collection of contemporary house music drenched in feeling and groove that sits superbly within the evergrowing catalogue of Tresydos.

While the EP's A-side is drizzled in interstellar melodies, chunky basslines and bleepy warm textures, its B-side ventures into jazzier territory with "film noir" undertones where syncopated and funky drum programming perfectly complement the bouncy bass and tumbling synth leads. The EP includes a dub-infused deep-house groover exclusive to Bandcamp, adding extra depth and

The latest venture in the ToneShift imprint from UK-based label Comma Traxx welcomes emkay and Janthe to the Comma releases catalogue alongside label boss Hannd and frequent releaser Cosmic G. Each track stands out individually but works together seamlessly to create a complete compilation package. Hannd’s ‘Ratio Extract’ acts as the modernized progressive house representative on the VA, merging intricate sound design with developing goa’esque melodies forming a fine line between euphoric uplift and rolling peak time ammo. emkay’s ‘Rays Of The Sublime’ does as the title suggests, sending the listener into an uplifting state of bliss, combining raw break percussion with intricate synth developments - a strong representation of why the talented producer is a name to be reckoned with at the moment. Cosmic G draws on old-school goa trance influences for ‘Life Pride’ fusing tribalistic percussions tastefully immersed with deep and atmospheric sound design. Janthe’s ‘Conversations’ blends dubbed-out house flavours with prog-like rhythms to bring the fantastic finishing piece to the compilation puzzle.

For twenty years, Dynarec has been pushing the boundaries of electro on some of the best known labels. Little will his listeners know, there is another side to this prolific French producer’s machines. Speakwave is a lesser known, and heard, moniker of this analogue artist and the debut vinyl release of this nom de plume is set for release on Bordello A Parigi.

Fans of the Dynarec sound are treated to the same wonderous compositions and melodic structures with something else added.

“Cartographic Venture” is a ten minute introduction to this new style. Crisp drum patterns support cold flourishes and stabbing synthlines before distant vocals arrive. The track balances the frostier edges of electronics and wave to create a lonesome and longing synth pop ballad. “Coming On Monday” has a different energy. The pop element of the predecessor remains, lyrics are vocoder dipped while confident key shifts are countered by strong rhythm patterns. The closer, like the 12”, defies definition. Burbling notes and sharp snares give an edge to

“Exposition to Revolution”, but there is also a more inviting nurturing side coming through in the spiralling skyward melody. A release that shows another fascinating side of this multifaceted musician.

Change is good. It’s inevitable. It’s the general nature of how the universe works all around us. Change comes in many forms, and this particular one is the debut EP from 2Phargon. While it might be the debut, the veteran producer behind the new alias isn’t a stranger to Dirtybird, Lee Mortimer aka Friend Within.

The EP features three brand new tracks under the new guise covering a wide landscape. “Feel A little Strange” is a monster attention grabber - the perfect piece to kick off the new venture. “Micro” is fast-paced filled with moments of drifting away before snapping back into stride. Rounding it out is “Dwelling”—a bubbling kaleidoscope of sound.

We welcome the change with open arms.

Hailing from the gatekeeper city of Malmö towards the European continent - Bathouse story is a long one & a tale of progress. Starting out as a duo venture back in the mid-10’s & then put on hold, Bathouse re-surfaced in 2020 with the release of their self-titled debut album.

Making themselves known as a must experience live band in Malmö for their intense delivery & crushing volume - Philip Lindskog (drums), Jesper Olsson (vocals & guitar) & Denise Madsen Hult (bass) went into Studio Sickan again in 2021 with Joakim Lindberg (MF/MB) and recorded a scorching 13 minutes worth of noise, worthy anyone of the heavyweights. 



’Helping Bats Helping People’ is Bathouse 
sophomore album & will follow the two singles ’Enjoy’ & ’Ideal Specimen’, taken 
from the album.

For fans of The Hospitals, At The Drive-In, 
 Unsane, Bent Spanner Arty Banner & 
 Bathouse.