Search:ti mo

Hibernation is over, and the good times are here! The Alec Falconer & Harry Wills duo under their alias Snoozin' B release a 4-track banger with only one quote : Some swingin’, some thumpin’, all groovin’… still snoozin’.

In 1969, singer and police lieutenant Pedro Gregorio López started recording a series of instrumental tracks and songs on the MAG record label in Peru, ranging from guaracha to cumbia, all cooked with musical eclecticism and simmered to appeal to a wide audience. Many of these musical ingredients combined on the 1971 album entitled "Cocinando", in reference to the similarities between Peruvian cooking and tropical music. López began his career as a singer and orchestra conductor many years earlier, when he joined the backing singers for Lucho Macedo's Sonora. After completing his police training, he adopted the stage name Martín López, in order to preserve the anonymity his job required. Between 1969 and 1971 Martín López y sus Estrellas recorded all the tracks comprised on this album, including salsa, guarachas, rumbas, chichas and boleros, proving their knowledge and mastery of the tropical music lexicon. It is not surprising since the orchestra was made up of the most talented label’s session stars: including the double bassist Joe di Roma, singer Pablo Villanueva "Melcochita", percussionists Ñiko Estrada and Coco Lagos, and trumpeter Tito Chicoma. "Cocinando" is an epic historical treasure that captures the explosive impact of the tropical music movement on Peruvian culture.

Audrey Powne's eagerly anticipated debut album has been met with widespread acclaim from a host of tastemakers and musicians. Garnering over 500 plays on UK radio, her music has reached an audience exceeding 2 million listeners. Many have touted her work as a strong contender for Jazz Album of the Year—a remarkable achievement for a debut release. This exceptional remix pack features a soulful interpretation from the illustrious DJ and producer Joe Claussell, profoundly inspired by the album cut "Souled Out." Claussell unveils three exquisite and spiritual remixes, each highlighting unique elements of Audrey's original production. Joaquin's Deep Version is quintessential Claussell, merging the bassy textures of a vintage King Tubby dub with vibrant percussion and dance-inducing beats. The "Sacred Rhythm Mix" is an essential for the dancefloor, weaving a seamless progression of expertly crafted sonic layers that culminate in a boogie-style crescendo, destined to be a summer anthem for DJs. The Cosmic Arts Interpretation Mix completes the trinity expertly with an enchanting downtempo mix expertly seasoned with orchestral and percussive elements which breathes even more magic into Audrey’s incredible vocal display on this track. True to Claussell's renowned craftsmanship, these remixes speak for themselves—listen and be transported. Adding to the allure of this remix pack are the superb renditions of "Feed The Fire'' by the legendary deep house producer Atjazz and the dynamic New York duo musclecars. Both remixes have garnered critical acclaim, elevating this package to an unprecedented level of excellence. Available for the first time on vinyl, these mixes are presented by BBE Music in a double pack, ensuring unparalleled sound quality that is spread out for maximum audio fidelity—a must-have for discerning DJs and vinyl aficionados who prize top-tier music pressed on wax. This release is not just a collection of tracks but a treasure trove of sonic brilliance, making it indispensable for enthusiasts of high-quality, heartfelt music.

A sense of destiny hangs over Sentir Que No Sabes, Mabe Fratti’s fourth solo-credited album released in a five year span. Her work has always possessed a finely tuned sense of drama capable of expressing a range of emotional states, and across this new album, she conveys the struggle to process various relationships or situations–and the actions that come next. Sentir Que No Sabes is urgent and clear, poppy, generous and approachable, while showcasing a considerable emotional hinterland. It is also, as Fratti is quick to mention, “groovy.”

Written and recorded with her partner, multi-instrumentalist, and co-composer Héctor Tosta (I.La Católica, Titanic), Sentir Que No Sabes is the result of an intense, detail-oriented process. Fueled by a new confidence gained in their collaborative project, Titanic, and its critically acclaimed 2023 LP, Vidrio, the two hunkered down in the familiarity of their studio (aka Tinho Studios) to bash out the initial sonic coordinates of her new record. “We talked and talked, and discussed ways of playing and recording, until things became inevitable,” Fratti explains. “We recorded a bunch of demos at our home studio and that meant we had a lot of time to re-edit and experiment. We really dug in. We were super focused on detail.” Tosta also took up the controls as producer and arranger-in-chief for all additional instruments. The album was later completed at Willem Twee Studios in Den Bosch in the Netherlands, and Pedro y el Lobo Studios and Soy Sauce Studios, in Mexico City.

For the final studio recordings, the pair were joined by drummer Gibran Andrade and trumpetist Jacob Wick to fill out and expand on Tosta’s percussion and brass arrangements. This small group of friends were able to work quickly and openly, and without fear: a testament to the exhaustive groundwork put in at Tinho Studios. This can be heard in three short, intermediary tracks that also manage to be the most aggressive on the record: “Kitana” (a scratch-laden instrumental that acts as a strange prelude for the last track, “Angel nuevo”) and a pair of two-minute instrumental interludes, “Elastica” I and II. None are throwaway mood pieces; rather they act as emotional cue cards, and hint at the way Fratti and Tosta created the overall atmosphere of Sentir Que No Sabes.

A strong sense of rhythm irrigates the sound from the jump, as heard on the glorious opening track, “Kravitz.” Here, the brilliant plucked cello line acts as a bassline and props up the steady thump of the kick drum. The cello’s growl serves as a conduit for a set of slightly paranoid lyrics that tell us “Quizás haya oídos en el techo” (“maybe there are ears in the ceiling”), while the song also introduces another staple of the record: the clever brass stabs, whistles, parps, and other interjections that paint a canvas of traffic in a city. It’s a postmodern, widescreen sound that for some might recall The Blue Nile’s Hats.

Sentir Que No Sabes is a record full to the brim with a modern pop sensibility, invoked by the sort of magpie spirit that ensnares anything it can find, repositioning sounds for the here and now. The keys and melody on the melancholy “Pantalla azul” (“Blue screen error”) transport us back to the glossy mid-1980s. “Oídos” (“Ears”) is a beautiful slice of contemporary, hybrid pop, in which Fratti’s vocal lines delicately spin themselves around the lean structures erected by the brass and drums, and the descending “plink” of a set of piano chords. Then we have a gloriously strong ending with the swell of “Angel nuevo” (“New angel”), another cinematic track full of gentle, instrument-rich swells and eddies that manages to be almost endless in its range–and yet intensely personal, as Fratti’s voice is close, almost whispering in your ear. A much needed lullaby for our fractious times.

The lyrics, for their part, have a stop-start quality to them, and hint at the small, incremental emotional taxes we pay through just living our lives. They circle around the music like birds waiting to swoop. There is something of the spiritual in all of Fratti’s work that expresses itself in a form of yearning: she looks to new horizons while personal dramas find themselves internalized, contextualized, and then dealt with through metaphor. Here, she was keen to mention Tosta’s constant encouragement in her finding a path to best sing or phrase her words to impart their maximum effect. “Hector was super inquisitive about my lyrics and asked me questions about what I meant, which sometimes is something you don't wonder so much about in isolation,” Fratti explains. “Besides, he is a great poet, and you can see that in what he did on the Titanic record. This made me go deeper into my lyric writing and definitely transformed it into something that I feel super happy about now.”

Take “Enfrente” (“In Front”), a track that initially comes across as a languid, glossy number, with plucked cello strings standing in for a bass line and brittle synth parts. Soon we catch on to a brilliant minor chord switch, which mirrors the fear and doubt expressed in the lyrics as someone “trembles up to the podium” in a “search for meaning.” There’s also the startling introduction of a vocoder in “Quieras o no” (“Whether you want it or not”); it comes precisely at the point Fratti sings “Quieras o no es un desastre” (“Whether you want it or not, it's a disaster”). Moments like these leave room for interpretation and, over time, create a strong bond between the listener and the record.

In fact, across Sentir Que No Sabes, each phrase–whether instrumental or vocal–becomes at some level emblematic of acts and moods that impart deep emotional significance. We see this best on “Intento fallido” (“Failed attempt”), which could be the score to feeling trapped in self-doubt, only to suddenly be sprung free by the song’s gloriously upbeat ending. On “Márgen del índice” (“Index margin”), the quicksilver switch between initial disharmony and a beautiful melody is breathtaking, all augmented by evocative arrangements, textured production, and the slightly playful, gnomic lyrics. The track’s emotional ecosystem allows another brilliant ending, which uses the simple repeated phrase, “Cómo lo va a ver?” (“How are you going to see it?”).

So what to make of Sentir Que No Sabes? High gloss Pastoralism? The sound of a city-bound, post-post modern soulscape? No matter the emotions evoked, it's the work of an artist coming into their own, and creating a benchmark record.

DJ Support: Massimiliano Pagliara, Lauren Lo Sung, Make A Dance, ADMNTi, Jeremy Sylvester, Locky, SUCHI, Daisy Moon, Martyn Bootyspoon, Storm Mollison

Beeyou Records proudly presents False Promises, the latest EP from Dennis Quin, an artist known for his timeless, soul-moving House music.

First up on the A side Reactivate delivers a high-energy garage vibe with punchy basslines and crisp percussion. This is then followed by Diamond Hunting is a bumpy 4x4 track that works on every dancefloor.

Flipping on the B side Dennis opens up with Accidentally that blends classic House grooves with playful modern production, followed by False Promises (Original Mix) bounces with a lovely vocal and vibrant House energy. The EP finishes off with Well Conducted a track that howcases Dennis’ other styles with a downtempo, chilled vibe.

After an extensive catalog of digital deep, minimal and tech house releases, Mole Music makes its debut in the realm of vinyl with a fresh selection of dancefloor weapons from a fine array of artists, each offering their unique takes on deep house, tech, and minimal sounds. The A-side kicks off with JHNS "Nevermind", a minimalistic, low-end heavyweight groove driven by rubbery drums and a tight bassline. Steve End & Colau follow with a silky late-night hypnotic track, while El Funkador closes the A-side with an uplifting, drum-shuffling deep house cut, complete with funky synths and chord progressions. On the B-side, "Night Strobe", a collaboration between Alben, LAJE, and Erratic, brings a retro-futuristic feel with a fast-paced, garage-tinged vibe. This sets the stage for HOT DLVRY's "Friction", a thumping deep groove led by spacious chords and keys, all anchored by an analog bassline. To round off this well-balanced compilation, Craftsmanship delivers a warm, humid deep house sound featuring bold chords and punchy drums - one of the defining motifs of this standout EP.

Leya Touch & soFa elsewhere aka Dream Baby Dream combine their left-of-centre musical perspectives on an otherworldly new self-titled album that arrives on Hell Yeah this September and will get a Japanese domestic release on CD. The duo's beguiling mix of occult synths and treated vocals ride dubbed-out mid-tempo rhythms on a retro-futurist record that blends cold wave, cosmic disco, dub and trance.

Dream Baby Dream describes themselves as "two children who refused to grow up" and now they offer a glimpse into their very own fantastic land of dreams. This journey into diverse flavours spontaneously started after a cosy dinner and after just three sessions resulted in the album presented here. Playful yet sometimes gloomy, this music echoes life, both imaginary and real - the highs, the lows, the dark moments and the joy, trance-inducted love zones, daydreams and everything in between. It is a coherent hole but one filled with surprising turns, moments of deja vu and plenty of outsider dance floor delights.

Leya Touch is a rising voice and live act on the Brussels alternative scene. Together with soFa, a veteran DJ and producer who released on many forward-thinking labels worldwide, they provide signature vocals and synths that challenge typical genre categorisations.

Opener 'Love Zone' sets a strangely seductive basic channel vs dreamy pop vibe with wispy cosmic melodies and oodles of echoes as Touch's vocals draw you in. Lose limbed percussive jumbled and sci-fi motifs define 'Badalamenti On Fries', 'Curry Con Sax' has an avant-guard sense of soul and melodic curiousness and 'Diskoteka' is a jittery mix of retro synth sounds and whispered vocal coos that shimmer like stars in the night sky. Elsewhere there's the malfunctioning Kraftwerkian electronics of 'Körperkonsum', goa-filter madness of 'Banana Trance' and the eerie interplanetary dub of 'Carpenter On The Beach' while 'Whale Rider' and 'The Rude Red Lady' bring warped lines and enchanting vocalisations that sound like nothing you have heard before.

This is an exultant album of new musical rituals, tiny soundscapes, dehumanised words and combinations of the past, present and future that never fail to excite and intrigue.

Limited to 300 copies

Time Passages celebrates their 10 years of existence with a stellar line up of artists.

We pressed this vinyl for the club sound lovers.

Lots of percussion and catchy harmonies with influences from New York, Detroit and a touch of English style.

You will be listening to the real underground house.

On the "a" side we feature one of our residents and creators of Mostly Records Bs As deep, which includes a track with his alias System T.

On the "b" side from Italy we present for the first time a great friend and artist Nicola Brusegan, who really knows how to make music for the dance floor.

After more than ten years, four albums and countless shows, Swiss artist Joell Nicolas takes a turn and releases her last album as VRVN. Despite being an ending, Storia is also a place for beginnings. For the first time, VRVN brings together her semi-modular synth with an acoustic instrument, but not just any: a church organ. Filled with air like a dragon, it becomes both emancipating and dangerous, weaving its sounds with synthetic ones, together with voices and lyrics: in English and –also for the first time– in French.

Three years of musical research condensed in ten tracks, sometimes structured as songs, sometimes as sensitive soundscapes. Stemming from an exploration of textures over structure, Storia meanders through intimate topics, such as childhood, silence, risk, healing and transformation.

With the support of Ville de Lausanne and Canton de Vaud.

“Django” and “Japanese Funk Machine” are 2 mid80s outstanding avant-garde dance tracks released by UnknownmiX, a Swiss avant-experimental group with unique vocal, punkish/art-pop/minimal wave atmosphere, solid synth and percussions in an anarchic world.

At the center of the project were the very talented vocalist Magda Vogel and the well-known experimental composer Ernst Thoma, who with this radical project sought to push boundaries and explore extremes with sounds that moved between tribal and distorted far ahead of their time.

The remixes were made by cosmic wizard Daniele Baldelli, assisted by the faithful Marco Dionigi, and Delphi (half of Tiger & Woods).

Open Space is proud to present our first ever full-length LP by LA’s newest 3-man band, Puli. Some words from our dear friend Matt McDermott below:

In recent years, a cadre of musicians from the east side of Los Angeles have reestablished the city of angels as the first city of Balearica. Alex Ho’s “Move Through It” followed in the lumbering footsteps of Project Sandro’s “Blazer.” Now, there’s a new landmark for the floating west coast sound. Swirling, the first album from LA supergroup Puli.

If you’ve got your ear to the ground you know the names involved here. Drummer and producer Damon Palermo’s pedigree stretches back a good 15 years or so, starting off with dub punks Mi Ami. Phil Cho is one of the busiest DJs, musicians and advocates for the deep stuff in LA, throwing legendary hillside parties under the Third Place banner. John Jones, the preternaturally talented guitarist and electronic tinkerer, records as AV Moves, is a key member of the Suzanne Kraft and Baba Stiltz live configurations and plays in The Trilogy Tapes-affiliated act Geo Rip.

But this listing of personnel and credentials puts too fine a point on it. Puli are three close friends who go to parties, DJ and get tacos together, repairing to their Chinatown studio a few times a week and coming out with remarkably textured, idiosyncratic downtempo jams. Building off the solid foundation of their 7-inch of heavyweight dubs for Melbourne’s Constant Delay, Swirling is an exploration of new horizons in chill out.

“Ramona” acts a statement of purpose—with halftime/double-time dub-tinged rhythms, hazy yet bright synth motifs and atmospheric guitar from Jones, not terribly far from the expansive approach of Japanese dub aesthetes Pecker. “Cloudy,” meanwhile, is a sort of deconstructed and bittersweet Balearic pop featuring Cho’s ethereal vocals. “Bongo Springs” is steppers’ house not far from close LA peer Benedek or the Mood Hut crew up north.

But what truly sets this record apart is the space and layers in the production—while it’s nominally an electronic record, Puli is a band that has slowly crafted these songs in the rehearsal space. “Havana Jam” cruises along a sliding roundwound bass guitar take with dubby chords and textural guitars. Palermo’s hand drums and live percussion enmesh perfectly with icy pads on “Leech Seed Dub.” Cho is back on the mic for the gorgeous closer, “C.S.B.”, underpinned by breakbeat and trunk-rattling sub bass. Puli doesn’t sound like anyone else, and is ultimately reflective of the city itself. Listening to Swirling feels like navigating a warren of side streets in the eternal sunshine. Take the drive and dive.

Eaux proudly announces a new collaborative mini-album from label boss Rrose and Polygonia. Containing six tracks and over 40 minutes of music housed in a fully printed sleeve with artwork by Jon-Paul Villegas, the record focuses squarely on the dancefloor while infusing it with the kinds of psychoactive drones, intricate polyrhythms, and relentless modulations that have come to identify both of their approaches to sound. Featured heavily are their shared interests in sonic shapes that resemble natural forms and conjure tactile feelings, in this case related to themes of skin-like surfaces and circulatory systems experienced simultaneously on a micro and macro level. While several of the tracks hover in a flexible tempo range between 125 and 130 bpm, "Stretcher" reaches up to 142, and the closing track "Vena Cava" trades the kick drums for spectrally processed percussion and endlessly diverging high-frequency pulses.

The story behind the release starts in 2022, when Rrose reached out to Polygonia after noticing that her tracks were appearing in their sets more frequently than any other artist. Never before had Rrose proposed a collaboration with someone they hadn't met before, but there was such an obvious connection in their approach to sound that it felt necessary. As it turns out, Polygonia had only become interested in techno after hearing Rrose perform at a festival in 2018. It all made sense, and they began sharing sketches and unfinished ideas with each other, trading them back and forth until they reached completion. Without any announcement of their collaboration, the two artists have since been asked to share the stage together several times. It seems there are other people out there sensing a connection...


Bios:

RROSE

Rrose is an alias of the multi-disciplinary artist Seth Horvitz, born and raised in California, and currently based in London. Active since 2011, the Rrose project explores the intersection of hypnotic techno, experimental composition and psychoacoustic phenomena with a meticulous touch. The first major breakthrough was 2012's "Waterfall" for Sandwell District which followed "Motormouth Variations," a collaborative project with composer, improviser, and activist Bob Ostertag. After the shuttering of Sandwell District, Rrose established Eaux, a home for further solo productions and collaborations. Building on his studies in electronic composition and history at Mills College, Rrose's electronic pieces blur the lines between thrillingly claustrophobic club tracks and destabilizing sound art explorations. In 2015, she released an extended version of James Tenney's postcard composition "Having Never Written a Note For Percussion" for solo gong, and in 2018 collaborated with Charlemagne Palestine on "The Goldennn Meeenn + Sheeenn" for two grand pianos. These works overlapped with the development of Rrose's singular techno: EPs like "Vanishing Pools," "The Ends of Weather" and "Arc Unknown" as well as 2019's debut LP "Hymn to Moisture" and last year's follow up "Please Touch." Rrose is also active as a touring DJ and live performer, equally comfortable commanding sweaty warehouse dancefloors and seated audiences in historic concert halls. Appearances include Unsound, Atonal, Semibreve, Dekmantel, Mutek, Sonic Acts, Nuit Sonore, Mostra, Parallel, Theatre Graslin, Nextones, and Berghain.
-----

POLYGONIA

Polygonia represents a multidisciplinary music and art project conceived by Lindsey Wang from Munich, Germany.

She draws inspiration from her many years of practicing various acoustic instruments and her keen interest for other cultural forms of expression, which she translates into the digital language of electronic music and art.

Her productions' soundscape exudes a mystical, organic quality, featuring intricate and compelling rhythms. Polygonia's sound palette ranges from energetic, groovy Deep Techno, Downtempo, Grey Area to textural and/or harmonic Ambient. Besides, she is not afraid to include influences from the genres House, Drum and Bass, Electro etc.. In addition inspiration from nature play a major role in many of her productions. Exemplary for her style are for instance her 'Otro Mundo' EP (2023) on Bambounou's Bambel Imprint, her 'Bloom' EP (2022) on the American record label Sure Thing, the release 'Deformed Human Nature' (2021) on her own label IO, as well as the album 'Abbilder einer vergessenen Welt' (2021) on the Korean label Huinali.

Her DJ and live sets too reflect her passion for different genres. Depending on the time of day and setting, Polygonia shows a different musical side. What unites all her dance music sets is the hypnotizing effect that invites to completely lose oneself in the world of sounds for a longer period of time. Several voices from the audience also confirm that the musician always tells a complex story within her mixes, allowing for very clear highs and lows. In the same set there can be very harmonic passages, which provide emotional moments and on the other hand extremely texture-heavy dark tracks, which establish a connection with the subconscious and put the listener in a kind of trance.

Polygonia has already visited numerous of prestigious venues. She is now a regular at Tresor or Berghain in Berlin and additionally started her residency in 2023 at Munich-based BLITZ club.

RARE & PREV. UNRELEASED PSYCH-FUNK AND GARAGE ROCK !!!

Say hello to Down & Wired Vol. 7 as Perfect Toy Records unleashes yet another instalment in its long-running compilation series! Once more, the label provides a delectable selection of obscure funk and soul-influenced psychedelic and garage rock tracks to delight even hardcore collectors of both genres.

And make no mistake, there is plenty to discover among these eleven tracks. At the funkiest end of things, Function's Free Style morphs from West Coast psychedelia to country funk to swamp rock and back again in its sub-three minute length, Dandy King provide psychedelic funky-soul and The Whiz Kids take a heavy dose of funkiness with them into psych-rock territory – sample fiends watch out for the fat twenty-second drum break towards the end of the latter! Purer psychedelia can be found in the offering from Third Stone while Würzburg band Prisma provide all-out epic psych-rock carnage. And if rock carnage is your thing, you'll be feeling the dirty garage rock onslaught of The Comin' Generation and a previously unreleased cut by Synod - soon to be a 45 single on Perfect Toy. That just leaves The General Store, The Soul Society, The Vestells and another unreleased cut from The Villagers (from whom the label will be dropping more unreleased material soon!), to close the circle by adding a heavy dose of garage soul.

A worthy successor to the previous volumes, Down & Wired Vol. 7 is once again accompanied by an insert containing detailed information and photos of the bands and a download code is also included with every vinyl LP.

Now celebrating 20 years since the original release of 'Salsoul Nugget' in April 2001, M&S enlists Mighty Mouse and Mark Knight for some amazing remix to celebrate this milestone anniversary.

Mighty Mouse pulls out all the stops with expertly chopped vocals and loops that builds intensity with a breakdown that is equal parts intense and euphoric and is sure to get the club absolutely heated.

With a career that spans across two decades, DJ & Grammy-nominated producer and Toolroom head honcho Mark Knight jumps on board the Salsoul Nugget mix package. It's fair to say Mark Knight knows his way around creating records that connect with house music lovers. 2020 highlighted Mark Knight’s more soulful house roots and follows his desire to create timeless dance records that stand the test of time, including the Sunday Shouting sampling 'All 4 Love' (feat Tasty Lopez). 2021 saw the release of ‘Everything’s Gonna Be Alright’ with Beverly Knight and the London Community Gospel Choir. For his mix of Salsoul Nugget, Mark beefs up the drums for the main rooms while being respectful to the original.

The original vocal and original extended vocal mix and original extended Klub Mix are on the flip.

They’re Only Chasing Safety is the fourth studio album by American melodic hardcore band Underoath. It was released on June 15, 2004, through Solid State Records. Following the release of their third studio album, The Changing of Times (2002), half of the band's members were replaced. After finalizing the line-up with vocalist Spencer Chamberlain, the band recorded They're Only Chasing Safety with producer James Paul Wiser (Dashboard Confessional, Further Seems Forever, Paramore). In the heavy and punk music scene, the album is considered a watershed moment.
The blend of heavy metal and hardcore influences with a strong pop/punk sensibility spawned a new branch of heavy music. The sound eventually became synonymous with the scream scene of the mid-2000s. The record went gold in 2011

Exploration, collaboration and curiosity define the rhythm at the beating heart of Mehmet Aslan’s exemplary compositions. The Swiss-born producer of Turkish heritage has already forged a singular path through production, DJing and full-band performances, navigating the more esoteric corners of Berlin’s club culture without sacrificing his musical heritage or innate creativity.

A conceptual new LP ‘Auguri’ follows on from 2021’s gnomic, ornate ‘The Sun Is Parallel’, which saw Aslan musically associate with the likes of Valentina Magaletti and Niño De Elche. ‘Auguri’ also has its foundations in collaboration, born out of a musical lab at Lyon’s annual
Nuits Sonores, the forward-thinking festival with whom Aslan has maintained a lengthy creative relationship.

The resulting audio-visual performance, ‘Bird Signals For Earthly Survival’ introduced Aslan, to the Greek filmmaker Stratis Vogiatzis. Drawing on the philosophy of Donna Haraway and envisioning new ways of being, of living on earth, Aslan and Vogiatzis crane their necks to the sky to witness flocks of birds performing spectacular movements in unison. Fluid and ancient, their organic waltz provides inspiration for Aslan’s extension of the project, spanning sonic shades of electro, ambient and modern folk psychedelia.

On the coastline of Vogiatzis’s home country of Greece, as in many places across the world, climate change threatens to effect the ancient migration pattern of millions of birds, just as their fellow beings on terra firma become increasingly entangled in a man-made disaster of their own creation. In unison, ‘Auguri’ is adorned by artwork from designer Xavi Bou. Known for his ‘ornithographies’, this striking visual captures avian life not only as a force, but a wry observer.

“We need to transform our connections with other living beings to protect the Earth and live together harmoniously”, reflects Aslan. “Personally, this project has made me more sensitive to this issue. I wanted to give back in return for the inspiration I've received."

Perhaps upending expectations of a more traditional ‘ambient’ album, Aslan commits some of his finest compositional work and understated songwriting to this urgent imperative, creating original music that nonetheless, has nature flowing through it. ‘Critters’ presents a spectral sound collage on which Aslan himself speaks from the texts composed at the residency, conjuring visions of “the birds flying… shape of the future”. Meanwhile, the undulating, psychedelic ‘Pigeon Blinks’ takes inspiration from more domestic scenes, charting the unexpected roosting and hatching of an egg on a kitchen window, while ‘Auguri’ gives the album it’s title in connecting to a higher plain, demonstrating Aslan’s ability to lure melody and catharsis from looping hypnosis.

Opener ‘Spectra’ provides a forceful, almost industrial breakbeat that establishes the exigency of the album as well as its sense of wonder, while ‘Euphoria’ reaches the potency of its promise slowly, with Aslan’s modular melodies meeting the flourishing percussion of guest player and multi-instrumentalist, POPP. Finally, ‘Aura’ delivers a cinematic conclusion, mixing an elegiac organ motif, haunting guitar chords and the prophetic sense of a scorched earth. Here, with patience and soaring production, Aslan once more makes the abstract and the unthinkable somehow tangible, mixing in sampled birdsong.

Accordingly, ‘Auguri’ is being released in accordance with EarthPercent, the music industry’s climate foundation, co-founded by Brian Eno. A portion of the album’s publishing will be credited as part of ‘The Earth As Your Co-Writer’ initiative, allowing artists to directly credit The Earth in their new compositions. Here, streaming and publishing from Aslan’s recorded sounds are automatically paid back to a number of vital initiatives worldwide.

Leaning into some of the most vital questions and anxieties of our time, ‘Auguri’ is not a project without a sense of hope. From studio to sea, Mehmet Aslan continues to look to the skies and beyond.

FOR FANS OF... Durand Jones & The Indications, Pale Jay, Kelly Finnigan, Niel Frances, Bobby Oroza, Holly Walker. Colemine Records is proud to present a brand new 45 from Aaron Frazer featuring two tracks from his debut LP. The funky and drum heavy "Bad News" has a timely message at a time when people willfully ignore the warnings about everything from climate change to systematic racism. Frazer recorded the tune in Nashville and he brought together a bevy of talented musicians, including members of The Memphis Boys, who backed Dusty Springfield on "Son of a Preacher Man" and Aretha Franklin on "Natural Woman." On the flip, "Done Lyin'" shows Aaron's vulnerability throughout the song. Heavy and tough production from Dan Auerbach paired with Frazer smoothly singing his heart out is a match made in sweet soul heaven. Introducing, LP that this 45 comes from has been streamed 78.8 million times on Spotify alone. Aaron Frazer has 5.2 million monthly listeners and 70k followers on Spotify

Balmat began our journey in 2021 with the release of Luke Sanger’s Languid Gongue. Now, three years later, we turn an important corner as the Norfolk musician rejoins us with Dew Point Harmonics, the first repeat appearance on the label. Sanger’s new album feels like a natural extension of his inaugural record for Balmat: It’s a bewitching collection of esoteric synth sketches that slips unpredictably between consonant repetition, poignant melodies, and gnarled bursts of noise that catch in the ear like burrs in hiking socks.

That natural metaphor is perhaps not accidental. Despite having been composed on Sanger’s diverse array of hardware and self-written software, many of the tracks were first conceived while Sanger was hiking in a particularly wild and isolated section of the Norfolk coast. The field recording that opens the album, on “6am Beach Walk,” was taken on one of his many early-morning walks there, in which he and his dog might go for miles without seeing another soul. The album’s title was inspired by the overnight condensation covering the long marram grass in the dunes, glistening in the early light (and drenching everything coming in contact with it) before evaporating in the morning sun. Indeed, the concept of dew point—the temperature at which water vapor condenses into a liquid—feels like the perfect metaphor for Sanger’s music, in which foggy ambience is distilled into glistening quicksilver orbs, transient spheres of perfection eventually absorbed back into the atmosphere.

A shapeshifting collection of richly detailed and deeply expressive electronic miniatures, Dew Point Harmonics is both a testament to the mysteries of transformation and an invitation to get lost in the wilderness of your own imagination.

Citirax's next outing takes the form of a debut album from Los Angeles-based duo OP-ART. This pair, like so much great music of recent times, is born out of the creative isolation of lockdown and features Andrew Clinco, who you may know for his work with Drab Majesty. The alias they have adopted is an acronym of "Oblique Pleasures Amidst Rough Times" which they say reflected the challenges of their formation. Musically the duo is inspired by the 1960s visual art movement so embraces layered, psychedelic soundscapes with a minimalist approach and takes cues from New Wave artists like John Foxx and early OMD. OP-ART in particular focuses on analogue synthesis and gear like the Arp Odyssey and Moog Rogue while exploring time, romance, and existential themes with real emotional depth.

Ambien Baby is the collaborative project by D Tiffany and NAP, which serves as a borderless zone for both friends to channel a freewheeling experimentation with whatever sounds they happen to be jiving with in the moment. Simply put, Ambien Baby is two BFF's letting loose with no rules, just pure freak and joy. The nature of this joint exploration is clearly evident throughout their raucous and varied releases, which have ranged from downtempo to electro and deep into techno and trance regions.

We're delighted to have Ambien Baby landing on Turbo for their collaborative debut on the label. The Canadian connection bears fruit with the Masa EP, which lifts off from a psychedelic foundation drenched in Latin influence. Across the three original tracks, D Tiffany & NAP shift through percussive breakbeats, dubbed-out techno, and trippy vocal chops a-plenty. Roza Terenzi & DNGDNGDNG provide remixes for the late-night affairs.

This formidable double A- side single is comprised of two stern, industrialised workouts functioning in the murky, under- explored area where gothtronica combines with authoritative EBM. Slicing samples from an untapped musical realm where electronically tinged postpunk segued into new wave, experimental pop and, eventually early rudimentary house. Both of these tracks carry hints of that era's melodic archetypes and employ merciless rhythms to hammer them into the psyche. The standalone release acts as a companion to upcoming 8-track EP on Lex, and follow's March's expansive 'Parade/ Watchers' 12" on Erol Alkan's Phantasy Sound and 2020's acclaimed 'Lowlands' EP and 2016's 'Why Did I Pick Vienna To Use As A Metaphor For Rest of Your Life?' LP released on Where to Now? All of U's sonic output is consistently unexpected and exciting. U's work is constantly morphing and takes listeners on journey into the unknown.

After 17 albums and a prestigious GRAMMY® Awards nomination, Ibrahim Maalouf returns with a new and highly innovative musical project. In terms of philosophical, historical and musical aspects, T.O.M.A, which stands for "Trumpets of Michel Ange", is a great adventure that takes us to a world where folklore and modernity become one. As always, Ibrahim's music strikes the perfect balance between sophistication and approachability, making it both challenging and inviting for a diverse audience. "T.O.M.A” is first and foremost a mixed album, a true blend of influences where the festive and nostalgic East is expressed with a rare freedom.

"T.O.M.A" is also the name of a brand of trumpets created by Ibrahim in collaboration with French manufacturers. It is this unique instrument, invented over half a century ago by his father, that Ibrahim plays on stage, and on which he now educates the new generation of trumpet players.

Last but not least, 'T.O.M.A' is a big celebration that brings together generations, amateurs and professionals alike, along with special guests!

With T.O.M.A, Ibrahim lays the cornerstone of an ambitious life project combining lutherie, French cultural exceptionalism, teaching, albums and live performance, and above all aiming to bring us together around shared values.

Willie Roy Turner a native Mississippian, migrated with his family to the South Side of the city of Chicago during the 1950’s. Initially taking up employment at the Golden Rod Ice Cream Company, his first foray into secular music arose when he was accompanied by Muddy Waters Band at Smitty’s Corner Club and performed an impressive recital of the 1959 Big Jay Neely standard “There’s Something On Your Mind” at an Open Mic Night sometime in 1963. A regular talent show entrant, Duke would eventually meet and befriend fellow Mississippian, Garland Green. Green himself had been spotted at the Trocadero Theater by the then husband and wife team of Mel Collins and “Joshie” Jo Armstead, who signed him to their Giant Enterprises production company where he recorded several excellent singles for MCA’s subsidiary, Revue and Uni labels. Green’s third Revue single release, “Ain’t That Good Enough” was composed by Jo Armstead, brothers Howard and Walter Scott and session drummer Ira Gates. It was Green who introduced Duke Turner to the Scott Brothers. The Scott Brothers Review (later known as The Scott Brothers World), one of Chicago’s most respected bands, operated their own production company, Capri Productions, producing songs on both their own and other labels artists. With the Scott’s, Duke recorded his first 45, the upbeat funk mover “Doggie Dog World” b/w “Put Some Soul In Your Dance”. The tracks penned by Duke and respected arranger Johnny Cameron was released on Don Clay’s Omega label in 1968.



Duke then formed his own company, Spinning Top Records, initially releasing “Shake Your Rang-A Tang (Rang-Dang-Du) to be followed by a second single “(Let Me Be Your) Baby Sitter”. Originally intended for release with a b-side entitled “Friendship Or Friends” the studio engineer on the project Ed Cody persuaded Duke to drop “Friendship” in favour of a part 2 version of “(Let Me Be Your) Baby Sitter”. “Friendship Or Friends” was sadly never revisited and with Duke moving to several different addresses across the ensuing years, the tapes eventually became lost. Fast forward half a century, and following a conversation with collector Malcolm Collins who divulged the existence of a acetate of “Friendship Or Friends” won on e-bay by a British collector Russell Gilbert (now living in the Netherlands), the idea of releasing the song was born. When contacted, Russell was only too happy to loan to us the acetate as a mastering reference. Upon receipt of the acetate, we realized in addition to the unreleased “Friendship Or Friends” the version of “Baby Sitter” was a longer and different mix to the released 45 version. After confirming and reacquainting Duke with his long-lost masters a licensing deal was struck which will see the long overdue release of “Friendship or Friends” along with the alternative mix of “(Let Me Be Your) Baby Sitter” as part of a 3- track EP courtesy of Soul Junction Records that also includes the original 1974 version of “Give Me Some Sugar, Baby”, a song now finding favour with the ‘Lowrider’ scene. “Give Me Some Sugar, Baby” became Duke’s signature song, which he recorded again in 1983 under the title of “Sugar Baby Your Love” with his then band ‘Torch’, which included two young musicians that Duke had previously mentored, Terry Coffey and Jon Nettlesbey, the successful 90’s songwriting partnership responsible for several RnB/Pop hits for Howard Hewitt, Alexander O’Neil, Teddy Pendergrass and Keith Washington. Their credits also include Joey Diggs “Always Coca-Cola” hit commercial jingle.

During the early 1980s, “I Specialize In Love” by the American singer Sharon Brown, who happens to be the niece of the songwriter Phil Medley, gained popularity as a club hit. The track was officially released in March 1982 by the prominent Profile Records label based in New York City. Notably, the song marked the debut production of Eddie O Loughlin, who later went on to establish the renowned Next Plateau label. “I Specialize In Love” achieved a remarkable feat by spending three weeks at number two on the US Hot Dance Club Play chart. Its success extended globally as it also charted on the UK Singles Chart and secured a position in the Dutch Top 15, solidifying its status as an international club hit. Moving on from Ben Liebrand’s Classic Rework and his more club-oriented DJ Mix of the track, it’s now time to unleash the Ben Liebrand Le Disco Mixes. You just know from the filtered kick intro, and the funky, ass-shaking bassline to expect an awesome, authentic, disco-fied party jam for today: six and a half minutes of dancefloor delight. all other singles, extended versions only.

For over a decade, Mako has been a distinctive presence, both as an individual and through his music, a talent we've proudly showcased at Metalheadz.



This September, we are honoured to release his third album on the label, and his second solo endeavour, which serves as a seamless continuation of his earlier work. His 2020 album, 'Oeuvre', represented years of dedication and refined production, solidifying Mako's esteemed place within the Metalheadz family.



Now, four years later, we're thrilled to present 'Oeuvre – Part 2'. This 12-track album is a celebration of Mako's deep passion for music, while also reflecting his sometimes disillusioned views on a modern era that often seems to pass us by. In a world where individuality can struggle to shine amidst an overwhelming flood of content, Mako's superior production stands out as a beacon, demanding not just recognition, but active listening.



Mako's commitment to his musical community is evident throughout the album, with contributions from long-time collaborators Fields, Hydro, Villem, and Mikal, each bringing their unique expertise to the project. The album also features a special collaboration with the late Marcus Intalex, a friendship that blossomed in the years before Marcus' untimely passing and one that continues to bear fruit.



Diving into the heart of the album reveals Mako's charm as a producer: from the captivating vocals in 'Feed You', the sleek homage to techstep in "Suspension', to the pure dancefloor energy of 'Direct Source', a track long favoured by Goldie. As expected, Mako also delivers deeper, more contemplative pieces like the album's opener 'True Expression' and the graceful melodies of 'Overshare'.

For over a decade, Mako has been a distinctive presence, both as an individual and through his music, a talent we've proudly showcased at Metalheadz.



This September, we are honoured to release his third album on the label, and his second solo endeavour, which serves as a seamless continuation of his earlier work. His 2020 album, 'Oeuvre', represented years of dedication and refined production, solidifying Mako's esteemed place within the Metalheadz family.



Now, four years later, we're thrilled to present 'Oeuvre – Part 2'. This 12-track album is a celebration of Mako's deep passion for music, while also reflecting his sometimes disillusioned views on a modern era that often seems to pass us by. In a world where individuality can struggle to shine amidst an overwhelming flood of content, Mako's superior production stands out as a beacon, demanding not just recognition, but active listening.



Mako's commitment to his musical community is evident throughout the album, with contributions from long-time collaborators Fields, Hydro, Villem, and Mikal, each bringing their unique expertise to the project. The album also features a special collaboration with the late Marcus Intalex, a friendship that blossomed in the years before Marcus' untimely passing and one that continues to bear fruit.



Diving into the heart of the album reveals Mako's charm as a producer: from the captivating vocals in 'Feed You', the sleek homage to techstep in "Suspension', to the pure dancefloor energy of 'Direct Source', a track long favoured by Goldie. As expected, Mako also delivers deeper, more contemplative pieces like the album's opener 'True Expression' and the graceful melodies of 'Overshare'

The Błoto quartet had made a comeback six months ago with their first singles in over two years dropping “Szlam” and “Ścieki”. These tracks were pressed on a 7-inch vinyl by Astigmatic Records, but this only whetted the appetites of the band’s mud-loving fans, as the singles sold out instantly. And so, the band's musical onslaught continues. Ahead of their upcoming LP “Grzybnia” set to release in autumn 2024, Błoto is putting out another bacteria-laden 7-inch to conclude this brief series of singles. This time, the release features a remix by none other than the modern funk maestro DāM-FunK, hailing from sunny Pasadena, California.

Wading through the sludge of sewage, one can encounter colonies of bacteria. They are well-known for their dark side – causing serious diseases. Nevertheless, they are with us all the time. They exist in humans and all other living organisms – fungi, plants, and animals. They can be found in soil and water. They are even present in radioactive areas, proving that they are truly hard to eliminate. Such is the music of Błoto. Like a post-apocalyptic bacterium, it’s capable of surviving in the harshest conditions.

Sinister, biting, and primitive – just like colonies of microorganisms. This is Błoto's latest single. Drawing heavily from classic acid house, it can truly infect the mind, inviting you to join a rave in Błoto on the eastern flank of Europe. Quartet’s “Bakteria” is a direct continuation of their first 7-inch release. However, this time, during their collective improvisation at Studio Pasterka, the band has entirely forsaken acoustic instruments in favor of a full array of synthesizers accompanied by drums.

Certainly, the dichotomous nature of these organisms presents a paradox. While capable of causing harm, without bacteria, life as we know it would cease to exist, and human civilization would not have reached its current state. Bacteria fulfill numerous essential roles. They serve as decomposers, crucial in maintaining biogeochemical cycles, and contribute to processes such as fermentation and decay. As symbiotic organisms living within other organisms, they are vital for functions like digestion. Their versatility extends to diverse applications, from biological wastewater treatment to the production of various food products.

Such are the properties of the beneficial probiotic titled “Bakteria Re-Freak” by DāM-FunK (renowned for his classic albums released on Stones Throw, like “Toeachizown” and “7 Days of Funk” with Snoop Dogg). It offers a 180-degree transformation of the dark atmosphere of the original version. The track evolves towards G-Funk, brimming with sunny synths and a drum machine. It portrays a vision of a biopharmaceutical bacterium lazily roaming the streets of warm yet perilous Los Angeles.

The 7-inch will be released on July 19, 2024, by Astigmatic Records. The vinyl single is limited to 700 copies.

Calling all fans of cult soundtracks and genre-bending scores! Four Flies is thrilled to present a limited edition gatefold beauty containing the premiere vinyl release of the complete score to Matalo!, one of the most captivatingly unique Spaghetti soundtracks ever.

Matalo! is a 1970 'western crépusculaire' by Milanese director Cesare Canevari, known for his visually striking genre films, starring Swedish enfant terrible Lou Castel and Italian theatre actor Corrado Pani. Canevari adopts an experimental, atmospheric approach, relying heavily on out-of-focus effects and framing his shots unconventionally. This gives a dark and atmospheric turn to thewestern genre, with the typical dusty plains transformed into a windswept ghost town, while action sequences replace dialogues almost entirely, leaving actors with very little to say – and, therefore, putting the music center stage.

Composer Mario Migliardi – who was also a conductor, pianist, and Hammond organist – throws out the rulebook for Italian Westerns. Prepare for a wild ride of psych-rock textures, swirling electronic filters, haunting reverbs, and concrete sounds – a sonic tapestry that seamlessly blends influences ranging from Jimi Hendrix to Luciano Berio.

Migliardi masterfully combines traditional folk instruments like acoustic guitars and percussion withnon-canonical electronic processing, creating an electro-acoustic alchemy thatfeels both fresh and timeless today, probably way more than it did in the1970s. In particular, the Leslie filter, a hallmarkin the Hammond organs popular at the time, is applied to the entire soundtrack, resulting in a very distinctive and dynamic phaser effect.

The soundtrack's highlight is probably the rock song featuring vocals from Giano Ton, aka Giacomo Tosti, the only track to have found its way on vinyl prior to this LP (it wasthe B-side ofa forty-five released by RCA Italy at the time). Its 9-minute extended version, previously unavailable on vinyl, is a fantastichard-blues-rock jam à la Hendrix.

This limited-edition double vinyl LP comes in a stunning gatefold jacket with artwork by Eric Adrien Lee, who drew inspiration from the film's original posters and promo materials.

Definitely a must-have for collectors of unique soundtracks and adventurous music!



a Matalo! (Theme Song) feat. Giano Ton






h Matalo! (Theme Song) Instrumental





n Matalo! (Theme Song) [Single Version]




[s] Matalo! (Hey Gente) [feat. Corrado Pani]

[a] Matalo! (Theme Song) [feat. Giano Ton]






[h] Matalo! (Theme Song) [Instrumental]





[n] Matalo! (Theme Song) [Single Version]




[feat. Corrado Pani]

Sub-label to the ever-flourishing Semi Delicious and the brainchild of Demi Riquisimo - A Lifetme On The Hips returns for VA number five – the biggest one to date – releasing on 4th October.

Featuring singles from L.P. Rhythm, Mad.Again, and ROKAR, this VA effortlessly bridges the gap between raw, peak-time club hitters and deeper, more introspective cuts—all designed to keep the dance floor grooving.

HIPS005 delivers six gritty, no-nonsense club tracks, making it a dream release for any dedicated raver. With a tracklist that includes both familiar names and emerging talent, this latest VA encapsulates the label's unwavering dedication to pushing the finest in electronic music.

A full tank of gas, the gentle glow from the radio dial, & stretches of open highway await, Forever Gamblin’ On You meanders through miles of soulful AOR, funky folk, & dusty soft rock obscurities. A follow up to Sky Dust Drifter, this compilation was gleaned from American private press oddities & rarities of the 70s & 80s, all of which are seeing their first official reissues on this album. A celebration of love, rebirth, and exploration radiating like the warmth of a loved one from the passenger seat.

Featuring “Feeling The Fire”, a jazzy, AOR grooving declaration of love and desire taken from the sole release from The Mad Brother. The compilations’ title track “Forever Gamblin On You” by Petroc And Pals, features an echo-laden folk rock recollection of hard feelings delivered with swelling guitar in a mournful soft psychedelia. Angie Pepper’s “Miss You Too Much” dwells on a past love, rolling along with an effortlessly cool rhythm section, while Roy McComas croons of his manifested “angel of love” on the swirling psych folk rocker “Girl Of My Dreams”.

Forever Gamblin’ On You unfolds as a hopeful yet equally melancholic collection of nomadic anthems, primed for a memorable journey along the back roads of familiar American landscapes.

Body Mechanic has been turning out definitive Motor City techno on solid labels like Cryovac, and GASS for several years. This time out he lands-on Detroit Techno and serves up, well, some electro. It's classic 313 tackle though - heavy on the kicks, snappy snares and filthy dirty basslines that make you want to move. Ghoulish vocals add extra grit to the opener and from there 'Dance' gets more playful with jittery drum funk and scratching, 'Beautiful Bum' has a gorgeously tender and reflective vibe thanks to the minor chords and smooth electro rhythms, 'Magic (feat Tay) ' slips into a deep and soulful house groove and 'Househead' is jacked up, loopy and well swung amongst several more timeless cuts. All in all, a killer double 12".

Kirk Degiorgio is back on Neroli with a follow up of his acclaimed 2023 ‘Robe Of Dreams’ album. In this new record, aptly entitled ‘The Statement’, Kirk widens the jazz/modern jazz palette and it almost feels like an extension of the previous one, but this time exploring more unbeaten paths. Free-jazz drums meet ambient pads, soaring vocal harmonies from Beauty Room vocalist Jinadu meet funky breakbeats, some channeling of classic Lonnie Liston Smith/Marcus
Miller era jazz-funk all adds up to another feast of sonic delights from
Degiorgio.

Bread & Souls is a new project dreamt up by Italian entrepreneur and music lover Franco Fusari. Franco invited Mark de Clive-Lowe on board to direct and produce an album of collaborations with some of our favorite artists including the likes of Bembé Segué, Vanessa Freeman, Paul Randolph, Rich Medina, Tommaso Cappellato and more...

Presenting Chapter 4! Working On It (here’s the original - you heard the remix on Chapter 3), a mid tempo bossa-inspired track features the wordsmithery of Philadelphia’s Rich Medina speaking on the idiosyncrasies and journey of life, joined by Bembe Segue. Together features Vanessa Freeman on vocals - previously heard in remix form on Chapter 2 - a timelessly uplifting soulful house excursion. Domu returns to the project with a second remix of Little Did I Know - this time flipping it for the broken beat dancefloor in classic Domu style, and we wrap up with Neroli’s Volcov remixing Anybody Out There for the 4/4 lovers.