Cerca:then

She may be making her first appearance on NuNorthern Soul, but Zeynep Erbay is no newcomer. A classically trained pianist who took a turn towards the dancefloor while at university, the Turkish DJ/producer earned her first release on Compost Records way back in 2007 after taking part in 2006’s Red Bull Music Academy programme. Since then, her career has been on an upwards trajectory, with releases on Fools Gold and Soul Clap Records confirming Erbay as a genuine rising star of underground electronic music.

On the Healer EP, the Istanbul-based producer showcases the more atmospheric, sun-kissed end of her productions, taking a turn away from synth-powered, disco-leaning club tracks towards something more suitable for al-fresco events, sun-down sets, and sofa-bound listening sessions.

Inspired by a poem inscribed on the back cover of the EP, Erbay’s two original instrumental tracks simply ooze with emotion. The poem tells the story of a whale searching for her family while helping others along the way, which acts as a metaphor for our wider search for belonging and acceptance.

This aural narrative unfolds firstly across ‘Heart of a Healer’, a slowly unfurling stunner in which emotion-rich chords, gentle electronic melodies and Erbay’s poignant and picturesque piano motifs, gently rise above a chunky dub disco bassline and mid-tempo, triple-time drums.

Delving further, the effortlessly emotional, life-affirming composition ‘Healer Whale’, where Erbay’s impeccable piano playing ushers in languid, jazz-flecked drums, dubby bass, sumptuous synth-strings and colourful, slow-moving chords.

On remix dutires, NYC-based Italian Danilo Braca, who also mastered the release, provides a fine club-focused fix of ‘Heart of a Healer’, laced with crunchy machine drums and undulating TB-303 acid lines. NuNorthern Soul regular Marshall Watson handles ‘Healer Whale’, first delivering a fine ‘Remix’ version that effortlessly blurs the boundary between dub disco and Balearic nu-disco, before serving up a shorter, ambient ‘Reprise’ version.

Josh Butler joins Kerri Chandler’s Kaoz Theory imprint with the ‘Piranha’ EP, featuring a collaboration with Josh Daniel and two further original compositions.

Northern England’s Josh Butler has been at the forefront of the contemporary house scene over the past decade, racking up releases for the likes of Defected, Rejected, Solid Grooves, Hot Creations, Crosstown Rebels, MÜSE and many more. Here though we see Josh returning to Kerri Chandler’s Kaoz Theory following 2023’s ‘Sunday Club’ with some fresh, dub house leaning material.

Opening the release is ‘Be There’, a collaboration with Josh Daniel, laid out across five and half minutes with dubbed out piano chords, crisp drums, a bouncy bass line and Daniel’s soulful vocal stylings.

A dub mix is offered up to follow, laying focus solely on the groove. On the flip side we have ‘Piranha’ up first, a hazy journey through dubbed out synth swells, airy vocal chants, skippy low-slung percussion and snaking sub bass tones.

‘Chess’ then rounds out the EP, laying down heavily swung minimalistic percussion, fluttering low end pulsations and ethereal atmospheric textures to create a subtly unfurling, cinematic dance floor groove.

DJ Feedback:

Junior Sanchez – Dope freshness!

Dennis Quin – Nice EP, feel the tracks

Lele Sacchi – All good deep rollers

Alexander Maier – Superb deepness in all

Ruff Stuff – Great EP! Love it!

Danny Howells – Loving this, all four tracks totally worth of support

Milos – Amazing EP, great tracks

Chris Brennan – Supremely smooth tunes, lovely lovely

Mr V – Straight fire

Originally released in 95’ via CD on the seminal U.S ambient label, Silent, Numinous Island is the result of live jam sessions between Yokota and Castle. Several original tracks were recorded to DAT tape and then mixed to create a long form audio travelogue to an otherworldly destination. The result is something similar to the KLF’s Chill Out paired with Yokota’s unmistakable sound palette and Castle’s gift for storytelling.

The vinyl edition has been faithfully edited by David Fogarty for uninterrupted hi–fidelity vinyl playback, maintaining the original track sequencing and energy of the CD version.

Futurismo are proud to present a first time reissue of the killer 1985 album: Just A Million Dreams by the uncompromising Alan Vega.

The remastered version of this LP comes with two unreleased bonus tracks produced by Liz Lamere and Jared Artaud of The Vacant Lots. It is packaged in a gloss laminated sleeve with a huge fold-out poster and contains new liner notes by Henry Rollins.

Presented in a remastered deluxe vinyl package, Just A Million Dreams, produced by Ric Ocasek and Chris Lord-Alge, takes Vega on an expedition into new territory. As an artist Vega had a crucial drive, but having a hit record was never a motive, neither was pandering to expectations, which is why Just a Million Dreams is perhaps a perfect statement for that moment, bettering the then bastions of MTV rock without even trying, an exercise in subversion that still has Vega’s unique artistry at its core. Would you expect anything less from one half of NYC legends Suicide? Perhaps not, but the hows and whys to Vega landing himself in such a mainstream position are perhaps just as fascinating as the record itself.

Here Alan Vega’s vocals sound better than ever, full of emotion and brooding honesty. Lyrics painting images of dystopian love might be a sideways move away from the intense nihilism of his past, but it’s still the real deal. Alan Vega could not be anything else. Listen to tracks like ‘Creation’ and you still get that raw emotion he spent his career honing. Set against the grandeur of mid 80’s production: big processed drums, runaway guitar solos, we get a rare peak into what Vega would sound like if he was allowed to be a rock star drenched in the sonic excesses of the era. It was a brave and unfairly misunderstood move, but the components come together to form an incredible anti-commercial, commercial album. Just A Million Dreams is the sound of Alan Vega taking on the 1980’s and winning.

With help of the official Vega Vault, two never before heard tracks have been unearthed from the 1985 JAMD recording sessions and brought to life by long time collaborator Liz Lamere and Jared Artaud of The Vacant Lots, adding a new insight to the recordings. Henry Rollins also lends a new written perspective, making this release a vital addition to the collections of Alan Vega and Suicide fans. It has been said that Alan Vega is forever, his unwavering artistic approach can be witnessed throughout his career, whether as part of Suicide or as a solo songwriter, poet or sculptor. Just a Million Dreams is just another example

Pelican and Thrill Jockey are proud to present a deluxe edition of the band"s acclaimed 2005 album The Fire In Our Throats Will Beckon The Thaw, newly remixed, remastered and featuring special bonus rarities including an early version of "Red Ran Amber," (previously only available on a split with MONO) and demos of "Autumn Into Summer," "Last Day of Winter" and "Sirius". The Fire In Our Throats established Pelican as indisputable masters of their craft. Pelican"s ability to alchemize their influences into a sound so wholly original and then expand on that sound into a work of captivating beauty remains a marvel. The album indelibly shifted the paradigm of heavy music and the ripples of that shift can be heard in the countless bands who have risen to prominence since its release. The genre-busting nature of the album"s melodicism and refined dynamics was a harbinger of things to come in a genre whose strict boundaries were rapidly being shattered; a fact recognized and cemented by the album"s critical reception, which engendered everything from an Album of the Year nod from Decibel, to pontifications about Pelican representing a rising wave of intellectualism in metal from the New York Times. Nearly two decades since the album"s release on Hydra Head Records, The Fire In Our Throats has stood as not just one of the band"s most celebrated releases, but as a watershed work of avant-metal. The album arrives with a fresh mix by its original engineer Greg Norman and mastering by Josh Bonati, imbibing the songs with a new ferocity while also granting increased clarity, highlighting the developing interplay between each member. The refreshed mix brings an additional punch to the rhythm section of bassist Bryan Herweg and drummer Larry Herweg, bolstering the brightened melodicism and interlocking riffing between guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec. The more articulate presentation of the album showcases the power of each individual player while buttressing Pelican"s distinct sound as a unified force.

Pelican and Thrill Jockey are proud to present a deluxe edition of the band"s acclaimed 2005 album The Fire In Our Throats Will Beckon The Thaw, newly remixed, remastered and featuring special bonus rarities including an early version of "Red Ran Amber," (previously only available on a split with MONO) and demos of "Autumn Into Summer," "Last Day of Winter" and "Sirius". The Fire In Our Throats established Pelican as indisputable masters of their craft. Pelican"s ability to alchemize their influences into a sound so wholly original and then expand on that sound into a work of captivating beauty remains a marvel. The album indelibly shifted the paradigm of heavy music and the ripples of that shift can be heard in the countless bands who have risen to prominence since its release. The genre-busting nature of the album"s melodicism and refined dynamics was a harbinger of things to come in a genre whose strict boundaries were rapidly being shattered; a fact recognized and cemented by the album"s critical reception, which engendered everything from an Album of the Year nod from Decibel, to pontifications about Pelican representing a rising wave of intellectualism in metal from the New York Times. Nearly two decades since the album"s release on Hydra Head Records, The Fire In Our Throats has stood as not just one of the band"s most celebrated releases, but as a watershed work of avant-metal. The album arrives with a fresh mix by its original engineer Greg Norman and mastering by Josh Bonati, imbibing the songs with a new ferocity while also granting increased clarity, highlighting the developing interplay between each member. The refreshed mix brings an additional punch to the rhythm section of bassist Bryan Herweg and drummer Larry Herweg, bolstering the brightened melodicism and interlocking riffing between guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec. The more articulate presentation of the album showcases the power of each individual player while buttressing Pelican"s distinct sound as a unified force.

Formed in 2015, The Cold Blooded Hearts are fronted by
QPR’s former player and current manager Gareth
Ainsworth (formerly of Wimbledon and Wycombe
Wanderers) along with guitarist and songwriter Lee-Van
Sergeant, drummer Luke ‘Chalky’ Sergeant and bass
guitarist Ron Campbell.
Gareth Ainsworth has been into music since he was a boy
and recently released a storming cover of Dion’s hit
classic ‘The Wanderer’. The single was dedicated to the
success of Wycombe Wanderers and became an unofficial
anthem for the club.
Lee and Gareth have been in bands together for twenty
years. They formed Dog Chewed The Handle back in
2004, after which Luke then joined as the drummer. Now
known as The Cold Blooded Hearts, they have released
their first ever album, summarising their many years of
writing together.
This vinyl edition of ‘The Cold Light Of Day’ features 9
cuts of pure rock and was produced by Yes
keyboardist, Geoff Downes – now that’s rock ‘n’ roll
football.

Ugly is Beautiful’ is the first full-length release from Gen Z’s meme-making extraordinaire Oliver Tree, who announced his early retirement in March - only to return in May with the announcement of his debut after a hacker held Oliver hostage in exchange for 1 million Instagram likes (which Oliver logged in under 24 hours).

To commemorate the digital release, Oliver partnered with Guinness World Records on his secret, longtime passion project of building the world’s largest scooter. He rode the completed 20 foot tall scooter for half a mile.

On ‘Ugly is Beautiful,’ Oliver Tree takes his millions of followers on an unpredictable roller coaster ride through a cracked world full of comic disaster. ‘Ugly is Beautiful’ then is the product of all of Oliver’s otherworldly experiences distilled into fourteen songs - the promise of his EPs, ‘Alien Boy’ and ‘Do You Feel Me?’ fulfilled. “The truth is, it’s my life’s work,” Oliver says.

A superb gatefold Sleeve by Mad Karma and a clean powerfull mastering by Stefan ZMK

The music brings a Banging Electro Hardcore, with a solid story telling and lots of sparkling Electro bright frequences... A bit like that Teknosuck 100% DJ Y.
But more in a live-set mode...

An OVNI in the actual music production. And then... A pure pleasure of course !

Companion piece to O Morto's album »Dans la Gorge d'un Monstre«. The diaristic approach goes deeper where field recordings and fragments of memory take center stage , O Morto expands his LP masterpiece to a very direct and free-flowing tape. Also based on a number of field recordings taken during a life-changing trip to Morocco that felt like a fever dream, ‘Iffrits Habitent‘ is the perfect companion piece with a more impressionistic and unadulterated account of the same travel that could well be this side of the mirror. Then again, maybe he never made it from the other side. Who’s to know?

Japanese born but nowadays NYC resident, DJ Monchan is a long-time purveyor of Disco edits and early House music, something you'll clearly hear on his debut release on GAMM.

The first track 'What is your love worth' is really something special as it starts off with a gritty and raw early house loop but then makes a dramatic turn over to high energy NY Disco...and then back to the grit.
A great jam session!

The B-side offers a deeper Disco-House track that easily could've been released in the early 90's on any of the relevant NYC labels of the time.

Hot-on-the-heels of instant sellout BIKE022, Eddie C revs up the RED MOTORBIKE again with another BIG sound on a small format...

This time we're treated to a golden-era style slice 'n splice of an absolute monster cut from '76.
On the flip, we're in tried & tested Eddie territory with a beautifully breezy jam, skilfully stretched into a dynamite dancefloor moment.
Another essential, then. One hand-stamped press.

Repress!

Funkiwala Records presents the third in the series of "Lokkhi Terra meets"albums, with the London fusionistas creating another unique sound-clash, this time with ex-Fela Kuti keyboardist and legendary UK Afro-beat ambassador Dele Sosimi, and members of his critically acclaimed Afro-beat Orchestra.

This particular collaboration has been bubbling away for a few years now, teasing audience expectations with a handful of sold out shows each year in between both bands busy schedules.
Featuring the two pianos of Kishon Khan and Dele Sosimi – Cuban percussionists/vocalists Geraldo De Armas (Yoruba Andabo), Oreste Noda (Ariwo), Javier Camilo (Ibrahim Ferrer) - a horn section led by Justin Thurgur (Bellowhead) featuring Yelfris Valdes (Sierra Maestra) and Graeme Flowers (Kyle Eastwood) to name a few – this is an All-star cast.

Kishon Khan's Lokkhi Terra have over a number of years now been quietly establishing themselves as one of London's more unusual heavyweight outfits, described as "Stunning Headliners… A majestic multi-cultural blend of sounds… effortlessly builds bridges between rolling Indian raga rhythms, Afro-Cuban grooves, Acid Jazz/funk and free flowing improvisation" (Timeout London). Included amongst the band members are London's top Cuban musicians, adding their infectious rich musical history to the city's melting pot.
When the band wanted to explore Cuban links with another of their favourite traditions, Afrobeat, who better to bring in then one of the Afrobeat originators – maestro Dele Sosimi – "Sosimi creates some of the most bewitching grooves in modern African music" E Jazz News.
Bringing together two Yoruba speaking musics - with different accents, from different sides of the Atlantic - Havana meets Lagos in London – A Cuban-Afrobeat-Experience. CUBAFROBEAT.

All About Jazz 4star review

A younger version of London's Grand Union Orchestra, founded by world-jazz pioneer Tony Haynes in 1982, Lokkhi Terra was put together by keyboard player Kishon Khan in 2005. Both ensembles have made a specialism of jazz / South Asian fusion, with Lokkhi Terra also giving as much attention to music from Cuba, where Bangladeshi-born, London-based Khan lived for a while in the early 2000s.

Cubafrobeat, as the title foretells, is a blend of Cuban dance music and Nigerian / Yoruban Afrobeat—a fusion rendered seamless by the synergies existing between Afro-Cuban and Yoruban music, language and mythology. The album is Lokkhi Terra's third and partners the band with the keyboard player and vocalist Dele Sosimi .

A young-going-on-child-prodigy member of Fela Kuti's Egypt 80, Sosimi went on to become musical director of Femi Kuti's Positive Force, before relocating to London and setting up Dele Sosimi's Afrobeat Orchestra, the finest Afrobeat band outside Nigeria, bar none, now with a string of consistently engaging albums under its belt. Cubafrobeat features Sosimi as lead vocalist on all four tracks, and on Fender Rhodes on two of them. His singing plays a prominent role in the Afrobeat Orchestra, but, such is the whirlwind impact of the band in full instrumental flight, that Sosimi is often thought of first and foremost for his keyboard and arranging talents. That may change by the time 2018 is over. Cubafrobeat is the third album in as many months to feature Sosimi as guest vocalist, spotlighting the gravitas, air of mystery, intimacy and ferocity his voice can bring to an occasion.

The first of these albums was the genre-bending spiritual-jazz band Emanative's Earth (Jazzman). One of the stand-out tracks, "Ìyáàmi," features Sosimi making obeisance to the titular Mother Goddesses of the Yoruba spirit worlds. His raw and intense invocations carry the track for nine mesmerising minutes. Otherwordly is not the half of it. Next up was dub / reggae / jazz band Soothsayers' Tradition (Wah Wah 45s), which featured Sosimi as lead vocalist on the compelling "Sleepwalking (Black Man's Cry)." Earth and Tradition are both outstanding albums and have previously been reviewed here.

Cubafrobeat is a total stonking blinder, too. It is an effectively nuanced affair, opening with the fiery "Afro Sambroso" and closing with the relatively reflective "Rumbafro." Sosimi's vocals light up the music, as do the several solos from trumpeters Graeme Flowers and Yelfris Valdes Espinosa and trombonist Justin Thurgur (a member of both Lokkhi Terra and the Afrobeat Orchestra). Sosimi and Kishon Khan's intertwining Fender Rhodes solos on "Cubafro" are also a delight, as is the drum and percussion section throughout.

The sound of summer, for sure, Cubafrobeat has enough depth and variety to make it something for all seasons.

Songlines 4star review

Lokkhi Terra are one of London's most authentic groups. They are a Latin-flavoured collective whose keyboard player and bandleader Kishon Khan segues from percussive montunos to complex Bengali rhythms and back, with jazz chops sparking funky and outward-looking fusions. Their collaboration with Dele Sosimi, Britain's foremost Afrobeat ambassador, has been bubbling for a while; here four tracks at ten minutes see musical conversations that never lose their sense of flow. An extensive line-up of stellar players, including trumpeter Yelfris Valdés, conguero Oreste Noda and trombonist Justin Thurgur, highlights the genre-crossing potential of world traditions. Opener 'Afro Sambroso' showcases batá drums from Gerardo de Armas Sarria before the track links Cuban grooves with Afrobeat. 'Timbafro' crackles and sways via Khan's organ, Sosimi's vocals and Oscar Martinez's timbales. 'Cubafro' features dazzling interplay between Khan, Sosimi and Javier Camillo's Spanish-language vocals. 'Rumbafro' is all rumba choruses, Yoruba vocals and Afrobeat horns. Rooted in their sources, but with musical threads intertwining, separating and reconfiguring – with grooves at a premium – this is a fusion lover's dream

"Almost two years after the multi-charted and heavily played 'Player's Paradise' EP, Lex returns to B2 Recordings, marking the milestone 10th release for Bengoa's rising Athens - based imprint.

The Greek artist has had quite a joyride since then, with releases on Delusions Of Grandeur, Samosa Records and his debut LP on Leng, which brought worldwide attention. Here we see him deliver his latest work, 'Fast Jags' - an unmistakable piece of his trademark nu-disco-meets-house excellence. Popping organic percussion, shaking funk-infused bass lines and an amalgamation of wandering trippy synthesisers and cinematic strings.

For this anniversary release, B2 Recordings could have no other than the man of the moment, prolific DJ and producer Felipe Gordon on remix duties! The highly acclaimed Colombian musician delivers an outstanding ten-minute journey into deep, funk & heart warming house music, playing along with jazz-tinged bass lines and intricately intertwined keys, strings and synth licks.

Rounding things up, label-head Bengoa adds a bit of rawness to the original, effectively bringing up natural percussion and trippy synth stabs, creating a club-ready house roller that you never want to end.

A perfect package for the anniversary tenth release by B2 Recordings.

The Moiss Music label seems to like to drop their EPs two at a time. They did it in February and they're doing it again in May. This eighth outing collects four more lively disco cuts, each with their own subtle influences. Berobreo's 'White Rabbit' for instance has funky undertones with loopy guitar riffs and nice breaks. The Magic Track's 'Jamming With Mom' meanwhile is more sensuous and deep, with late-night synth work and seductive vocals. Oldchap's 'I Want To Show You' has an expressive soul vocal with more low-slung grooves and Alexny's 'Not Bad' then gets quick, clipped and loopy for its lip-pouting disco thrills.

There is a wealth of talent on show on the third EP from the Fusion Sequence label which has put together this six-track deep house sizzler. The Variable Club' 'Biorhythms' is perfectly warm and dynamic for cosy backroom moments and Alpine DJ then brings an old school piano feel to 'Pepe Nony' before A Vision Of Panorama zones you out on lush chords and reverential keys on 'Kissing The Sun.' The flipside offers the more dark and heads-down 'Many Stories' while the blissed-out and feel-good grooves return with Common Mode's 'Bassface.' Body Corp shuts down with the slower, seductive sounds of 'Take It Or Leave It' which rounds out a top-class EP.

When Transform-I was released in 2009, Bristol’s Dubkasm were unmistakably prominent on the reggae scene but it is this LP - their tenth release - that put them on the map and cemented their status as outernational roots innovators and one of the most creative outfits in reggae. By 2006, Jah Shaka had been rinsing their percussive vocoder smash ‘Zulu Dawn’ (track 15) at the end of every dance for close to three years. Dubplates from the LP became firm favourites on some of the greatest soundsystems in the world, including Aba Shanti-I, Iration Steppas, and Channel One.
DJ Stryda and producer Digistep’s reputation grew still further when the pair managed to get an extremely rare vocal from the legendary Dub Judah, who at the time had not voiced a tune for many years. The resulting 7”, ‘From the Foundation’ (track 2) was the first tune to be released from Transform-I, an album which took the music world by storm with its singular blend of a deep, conscious roots reggae sound with instrumentation that drew on Digistep’s Brazilian heritage.

As the great DJ and journalist Steve Barker said in his rave Wire magazine review of the initial release, ‘Like many innovations heard for the first time, you wonder why this has not been done before’. Indeed, the LP’s blend of percussion instruments like zabumba, cavaquinho, and cuica with an absolutely stellar cast of vocalists including Tenastelin, Christine Miller, and Ras B, with a pre-Reggae Reggae Sauce fame Levi Roots recording from his living room, became timeless the moment it was released. Barker praised the album for being ‘more orthodox than expected’, by which I think he meant that the album is a completely authentic roots record, rather than an attempt to mix musical flavours to conceal a lack of ideas. Instead, ideas flew back and forth across the Atlantic, as basic tracks were laid in the Dubkasm Studio (then in Brazil, now in England) and overdubs and vocals were recorded in London, Nottingham, Bristol and Norway, with the final mixes being done at the Daddy Roots studio in Bristol. The combination is seamless both because Digistep grew up with Brazilian music, courtesy of his father, and because Dubkasm have lived and breathed reggae since their formation in 1994 – just go and listen to early releases like ‘Chemical Reaction Dub’ (1996) or ‘Hornsman Trod’ (2003) and you’ll hear heavyweight productions with a Rasta ethos immersed in U.K. soundsystem culture.

Since the album’s release, Dubkasm have gone from strength to strength and collaborated with a dazzling array of artists. Transform-I was remixed by some of Bristol’s best electronica producers in 2010, and 2013’s 12” ‘Victory’ became a huge soundsystem hit around the world, before being voiced by two of the greatest singers of all time, Luciano and Turbulence, and being remixed the following year by one of the world’s finest dubstep producers, Mala (who in 2016 released his own project fusing Latin music with electronic bass – the excellent Mala in Cuba).
The first project of its kind, beautifully reissued in its original format by Dubquake (the outfit behind France’s incredible OBF Soundsystem), Transform-I is the LP that launched Dubkasm on their current trajectory and has truly lived up to its name.

Shapes of Rhythm is proud to present the self-titled debut LP of Turkish psychedelic pop from MLDVA & Çınar Timur. This record is a celebration of the classic music and culture typically of the 70s and 80s, but which also leans into western jazz funk and soul jazz moments. If you're into the Turkish music legends of the 70s and 80s such as Barış Manço and more recently Altın Gün or Derya Yıldırım & Grup Şimşek, you've come to the right place.

MLDVA were formed in Krakow, Poland in 2013 as a DJ and production outfit. Under the influence of Greek and Turkish folk and psych-rock music they began to transform into a band, taking up instruments including the Saz which is one of the most recognisable trademarks of the Turkish sound. Two years later in 2015 they invited Turkish instrumentalist Çınar Timur to join them and this completes the line up on their debut. This electric album is packed with excellently-recorded expansive tracks which are full of energy, psychedelic deep grooves, hard-hitting breakbeats and everything else you'd expect with classic Turkish sounds.

The instrumental double-header of Neşat Erkaş' Zülüf Dökülmüş Yüze, moving into the time-honoured traditional Kozan Dağıis the perfect opening track. The introduction is an overture of sorts with two minutes of Çınar Timur's pondering guitar. This tees up the record perfectly before heading into a break-beat driven workout with the band matching Çınar's evocative and energetic riffing. The result is a tight sound and a heavy groove that sets the tone for what's to come.

With the band unveiled, Sarı Çizmeli Mehmet Ağa, written by Barış Manço (a legend in Turkish popular music), hits a relaxed, deeper and more psychedelic groove, dominated by Wojciech Długosz's dreamy Rhodes piano, set against choppy wah-wah guitar licks that characterize that classic electric Turkish pop sound. We're introduced to Ulaş Çıbuk's vocals for the first time, telling the historic tale of a charitable village lord Mehmet Ağa from 19c Anatolia known for his generosity. He shared his fortune with people inneed and as a result, died penniless. This track also features the unique sound of Çınar's Mictrotonal electric guitar.

Bir Adım Öte is MLDVA & Çınar Timur's magnificent mellow moment, marking the halfway point in their debut. The group shows that it's not all about the frenetic in a nod to western Soul-Jazz constructs. They showcase restraint, emotion and that joy in repetition of a wonderful guitar refrain. Not content with holding this down, Wojciech Długosz's Rhodes solo steps into a world that's US-influenced Soul jazzand is a lesson in reduction and feeling. Çınar Timur then takes a solo turn, keeping it western-influenced with an on the spot improvisation. When the three minutes of solos are over, we're brought back out of thedream and towards the East again.

Adımız Miskindir Bizim kicks off like a hip hop/funk crossover tune, until the chord changes muscle in, to remind you where you are in the world. As with other tracks on the debut, the tune is marked by recurring motifs, this time from Çınar's microtonal electric guitar. We've more solo Rhodes action, thist ime busier and more urgent. The lyrics–originally written by Yunus Emre – criticizevalues such as holding grudges that destroy ideas of love, friendship and peace among people which causes hostility. Adımız Miskindir Bizim concludes with an uplifting vocal vamp which switches it up unlike any of thetracks on the LP.

In Fesupanallah– made most popular by Erkin Koray – Ulaş Çıbuk sings about the simple subject ofbeing patient with never ending problems in life, and trying to find a solution for them. This cut takes a rhythmical side-step to the rest of the album. The kick drum maps out a solid four-four, but the vocals and guitar lines move around it to impose Fesupanallah as being the record's most traditionally Turkish-sounding cut.

The album's closing track Ölüm Allah'ın Emri (another Manço classic) was recorded live in the band's more familiar surroundings of Krakow's Cheder Cafe during 2020's Jewish Culture Festival. The lyrics tell the tale of someone who has accepted death but cannot accept the separation that comes with it. We open with a dreamy, psychedelic mood before progressing into a heavy-riffing rock feeling with probing synths. Ulaş delivers his vocals over the top of a stripped back, shuffling groove. As the track progresses towards a frenetic conclusion, drummer Szymon Piotrowski cuts loose, combining with Grzegorz Dąbek's synth lines.

MLDVA & Çınar Timur's debut LP is not the sound of a band starting out. Taking time to hone their craft and let influences across the global spectrum of music mature, this is the result of years of jamming, gigging and collaborating. Now, after prestigious festival appearances and their place on Saz Power – an essential modern Turkish music compilation – they're making a lasting contribution to a rich, time-honored culture. MLDVA & Çınar Timur releases Friday 30 June 2023 on limited edition vinyl LP and digital download/streaming services on Shapes of Rhythm. Global distribution by Kudos Records.

Cyphon is proud to bring you brand new music from one of Europe’s pioneers of techno and IDM, Stefan Robbers aka Terrace and Florence. His early releases for Djax-Up-Beats and his own Eevo Lute Muzique in the early 90’s were hugely influential striking a sweet spot between stark minimalism, majestic analogue lushness and dance floor grooves. In more recent years his own reinterpretation of the Detroit sound can be found on the highly regarded Dutch label Delsin.

Here on his ‘Thermionic EP’ Terrace sings out with such intensity that minds are blown. Listen to the brutal, exhilarating sequences of ‘Territorial’ which leads the new EP, and you will receive that message loud and clear. While the music is as much about the consequence of soulful depth, it is also about edgy machines communicating intimately. Sweet chords fuse and then contrast with grainy acidic sonics, leaving the tempo poised at an irresistible pace like all our futures depended on it.

As you move next onto the more subtle electro pulse of ‘Thermon’, shimmering keys dance around a frame-by-frame remembrance of robotic disco in the 23rd century. The uplifting brilliance of ‘Woodward’ follows filling the void with an explosion of colour that is all about life-affirming instrumentation, hitting you fast and loose with a cascade of arpeggios, tough drums plus an incendiary surge of melodic distraction causing the airwaves to crackle with celebration.

Completing this stunning release from Terrace are the fierce, hotwired grooves forged by ‘Ritual’, conjuring up endless combinations of an analogue model rediscovered. The sheer dancefloor animation found within each of Terrace’s productions on this EP purposefully point to and enhance Cyphon Recordings own mission to explore, propelling the emphasis forever forwards.

DJ Support:

Sean Johnston, Kevin Reynolds, Vince Watson, Gareth Sommerville, Daniele Baldelli, Dj Rocca, Massimiliano Pagliara, Craig Smith, Jason Kendig, Rarish & Yoshi Horino

Representing Seattle Funk. The Oscillators' debut album is deep, raw and energetic. Led by drummer oLLi kLoMp, the line up features members of the polyrhythmics, Rippin' Chicken, the Pulsations, Lucky Brown, the Trueloves, 45th Street Brass, The S.G.'s, and more...

REAL, DEEP FUNK WITH A PSYCHEDELIC NUDGE.

As of yet, as these words were written, the Oscillators is not a band. the Oscillators is an experimental recording collaboration that turned out swimmingly.

Our gauge was this: "Do we like it?" No agenda or goal. The main mode being simply; create what we like out of thin air. Yet the air was heavy therefore create what we like out of thick air. Magical, gravy-thick air. Molecules, olli'cules. Alchemically thick. Apparently, we needed to sample something out-of-the-ordinary… the process is called, "stackin- phat". Minimal gear, maximum vibe. In fact, this process and this gear would make most educated sound engineers cringe but the players know.

Pushing the tape…yes, tape! 4 track to be exact, pushing the tape to it's edge. First, stack two drum tracks. bounce them to one primal track. Sometimes one drummer, sometimes two; "a great drumbeat already contains melody." This is your first layer of phat. Generally, unless the muse says otherwise, you wanna bring in your bass player next, gently caress guidance and encouragement (maybe a beer or a hit a grass), then he or she can stack the next layer of phat. The next few layers are where things really take off. Maybe it's guitar then horns, maybe keys. Maybe just horns. Whatever the tune calls for. Whatever the muse "calls" for. Everyone stacking is simultaneously inspired, while hindered, by the previous layer; "constricted genius" works of magic from thin/thick air.

Most of the time the players weren't in the same room at the same time, and in some cases, haven't seen each other in years, but it sounds like a family and feels like a band. Create what we like.

The natural unfolding of this creation was affirming, in that the process of creation proved most relevant. An expression of faith and appreciation of the experiMENTAL process with no preparation for something else. Beyond fortunate for the allowance of time. "never underestimate the power of positive thought"

-Ned Blanski