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5, the fifth installment of the mixtape series that propelled her to stardom - a journey that began over a decade ago with the release of the first Winter’s Diary. This follows the release of her 2023 masterpiece, Thanks 4 Nothing, which was executive produced by Hitmaka. Thanks 4 Nothing has garnered over 160 million streams, and received accolades from virtually every major publication, including receiving a 7.6 rating by Pitchfork and gracing the cover of Galore Magazine. She followed up with her Thanks 4 Everything North American tour where she delivered an unforgettable performance of hits from her previous albums as well as the new project. In addition to new music coming this year, Tink will also be joining Jhene Aiko on The Magic Hour arena tour, spanning 27 cities. While all of this success may be a surprise to some, Tink and her day ones know how hard she has been grinding for this moment and how deserved it is. An album over 6 years in the making, Winter’s Diary 5 is finally here, and it’s about to be a cold winter.

You never have to guess what Tink’s thinking. The Chicago-born songstress and rapper says it all in her music. She spits, speaks, and sings straight from the heart without filter or apology. At the same time, she breaks boundaries, dropping off bars with uncontainable charisma and belting out hooks with show-stopping range. She can be romantic in one crescendo before getting raw in a bout of wild wordplay. This versatility consistently affirms her as a force in her own lane. Following her 2011 debut mixtape Winter’s Diary, she dropped projects at a prolific pace, including Alter Ego, Blunts & Ballads, and Boss Up. 2014 saw Winter’s Diary 2: Forever Yours arrive to widespread critical acclaim, landing on year-end R&B album lists from Billboard and Rolling Stone. It also yielded “Treat Me Like Somebody,” which gathered 64 million Spotify streams and counting. A year later, XXL touted her among its coveted “Freshman Class.” Following a stint in the major label system, she embraced independence again with Winter’s Diary 4 2016, Voicemails [2019], Hopeless Romantic [2020], and A Gift And A Curse [2020]. She collaborated with everyone from Sleigh Bells and Pentatonix to Future, G Herbo, 6lack, and K Camp. During 2021, she served up Heat of the Moment powered by “Rebel” [feat. Jeremih] and “Might Let You” [feat. Davido]. After raking in streams in the hundreds of millions and earning acclaim from Pitchfork, The FADER, HYPEBEAST, and more, she opens up like never before on her 2022 album, Pillow Talk.

Orange Marbled Vinyl

Chicago singer and rapper, Tink, is back in 2021 to claim her rightful title as the undisputed Queen of Chicago R&B. Her fourth studio album, Heat of the Moment, is executive produced by Hitmaka and includes production from Ayo & Keys, OG Parker, Tariq Beats & Platinum Libraries. Tink shows off her writing prowess and taps in with a tight but strong list of features including Yung Bleu, Jeremih, Davido, & Kodak Black, to add to an already impressive body of work. The album has amassed over 45M streams since release, and debuted at #7 on the Billboard Indie Charts.

Initially released digitally on Christmas Day 2020 as a surprise gift to her fans, Tink's "A Gift and a Curse" was met with wide praise from fans and virtually every outlet. Celebrating the one year anniversary, Tink continues the holiday tradition with a limited edition exclusive pressing for her ride-or-dies. In keeping true to its title, A Gift and a Curse delivers themes of heartbreak, love, and all that goes in between.

A local Detroiter who knows Classics!!

Gatupreto release their sophomore "Distino Di Nos Vida" on TINK! Music! The duo from Lisbon's hinterland return with a second round of their impeccable, futuristic theory on modern club music after the acclaimed "Modo Di Trabadja" EP, released in 2015. The tropical taste of Cabo Verde, the cool of that Lisbon dance floor fusionism, the appeal of classic vibes. Tracks too dark and twisted to be called "Afro", too sexy and melodic to be called "Techno", too smart and freaky to be called "House" and too cool and mature to be called "Kuduro", it is simply Gatupreto.
On the A side "I Became Me", deep afro dub with a killer sub bass and endless echoes, starring Portuguese soul and hip hop legend NBC as guest vocalist and a remix by afro Dutch master and fellow TINK! artist Philou Louzolo - who turns "I Became Me" into an irresistible deep house with african undertones.
On the flip side, the dark dramatic stomping tracks "Afrowerk" and "Gatu Di Noti", the first an eerie, irresistible peak time banger, and the later a stormer with sounds from natural Africa, harpy acid lines and an off kilter beat.

Gatupreto, enigmatic duo, hiding their identity while exploring the common ground between an idealized African feeling and the classic references of the dance movement from the 80's and 90's. The art Gatupreto generates is simple, unpretentious and sincere, it owes to the classic rave vibe as much as to the rawness of hip hop.. as much to the sunset of Cape Verde as to the sunrise of the Lisbon riverside.
Gatupreto is a binomial entity that refers to itself as one, it was rescued from anonymity by TINK! Music, newly founded label split between Amsterdam and Lisbon. To the extend of most people's knowledge, Gatupreto comes from a colorful Lisbon suburb where they inhabit a luxurious house, on an isolated hill where music is made every day.
Those who have seen them perform live say they are frenetic and deep in their sound. At night all cats are black.

The second Modugroove installment from the 100Hz studio is a mixture of live improvised session recordings and arranged music taken also from live studio recordings. 2 tracks are collaboration projects with good friends of mine who happen to be great artists. We have 1 from Richard Rogers aka Black Booby and myself and 1 from Julian Giles and me aka Junction Chaos. This 4 track Ep spans several styles of music from deep Techno to graceful and emotive string dance. The focus of the EP and the label is the unusual, trying to not use usual drum patterns and 4 beat structures,

Future Brown greifen auf Themen wie digitale Interkonnektivität, globale Reisen und eine vitale weltweite Künstlergemeinschaft als Inspiration zurück. Von regionalen US Rap-Varianten zum UK Grime, von Dancehall bis Reggaeton - Future Brown spinnen eine zutiefst durchdachte Ästhetik, die intuitive Verbindungen zwischen diesen eigentümlichen Sounds aufbaut, um dann den individuellen Kollaborateuren eine Stimme zu geben. Kollaborationen wie mit Shawnna, Kelela, Johnny May Cash oder Sicko Mob schlagen Brücken über musikalische Grenzen und Klüfte hinweg, während Future Brown zur selben Zeit den eigentlich geographischen Abstand zwischen den einzelnen Künstlern bewusst machen wollen.

A central figure in Belgian techno, Border One's work has also been an international reference for consistency and direction since his early releases. An artist for artists with true commitment to his sound, Steven Petit's impact in the studio and behind the decks is admired by anyone who has done their homework. His music describes tight pressure under curious, modular-like sequences that stretch through the timeline of each track. The scale of minimalism remains key here, and the Belgian wastes no time when tunneling through his erratic tracks. Jazz-like dissonance drives his tension and although each element is carefully measured, the records truly command dancefloors. 'Inner Radiance' is no different. The Fuse resident takes his game one step further, pushing harmony to hysteria at every turn.

The EP skips foreplay and dives straight into the extremities of Border One's sound. In 'Reducing Valve', sustain is the key ingredient to this chaos. Slowly ripping the synth sequence into chords, Border one maintains a firm hold on the track's tension while remaining playful with the main theme. 'Sensory Reset' is more of a lurker with its shifting pad that spreads across the stereo image. This track is characterized by a grim urgency as opposed to its predecessor's progressive spiral. Keeping things low to the groove, the A2 swings about satisfyingly while Border One tinkers at his 909 constructions. Continuing his work on resonance, 'Transfigured' balances obscurity and surrealism. With a sequencer on the loose and a drum machine to emphasize it, the Fuse resident guides his audience into twists and turns at a constant pace. Here, we explore the dichotomy between the warmth and cold of a modular sound in techno, something frequently done but rarely mastered. Border One puts his years of experience to work to provide a combination of flair and balance to his tracks, something that is clearly translated in this EP. Of course, the final track - the title track - 'Inner Radiance' brings something very special to the table. The power of simplicity can never be underestimated and Petit knows just how to use it. With a strong core to an already sturdy track, the conclusion is spectacular. Emphasizing the electrifying nature of the record, Border One adds vintage chord stabs that fit right in with the sharp lead to create a powerful and memorable dancefloor experience. Not as much of a wind-down more than it is a gripping cliff hanger for his future releases, Border One provides once more an EP that underlines the true ethos of techno music.

2026 Repress

Whether in the studio or the club, Daphni has always been a pursuit where Dan Snaith lets the music find its own path. With Cherry this is more evident than ever, this sense of the tracks as objects with life and desires outside of Snaith’s control has now become a driving force in their creation. "There isn't anything obvious that unifies it or makes it hang together" Snaith says, "I think it was good that it was made without worrying about any of that. I just made it."
Recorded over a prolonged period, Snaith let the music go where it wanted to go. It wasn’t until he put everything he’d been tinkering with together that he realised what he had. "It's weird that when the tracks were put in what felt like the right order it took on a new coherence" he says, "where it pings quickly from one idea to the next and, at least for me, hangs together in way that feels unified. Maybe because it's hard to avoid the musical fingerprints I leave on the music I make, whether I want to or not."
The component parts have this same sense of independence, the essence of Daphni always present over music that is more free-wheeling than it’s ever been, almost escaping Snaith's grasp as it tumbles and spirals. "As is often the case when you're working quickly and intuitively, new pieces of equipment played a part" he says.
New gear and ways of working meant Snaith was able to sit at the centre of the music but let things get away from him a bit more as equipment began to make its own decisions before reeling it back in to suit his purposes, or as he puts it "getting the snake to eat its own tail".

For their first album as Gilla Band (formerly Girl Band), the
foursome have redrawn their own paradigm. ‘Most Normal’ is like
little you’ve heard before, a kaleidoscopic spectrum of noise put in
service of broken pop songs, FX-strafed Avant-punk rollercoaster
rides and passages of futurist dancefloor nihilism.
Lockdown robbed Gilla Band of any opportunity to try the new
material out live, but the pandemic also incinerated any idea of a
deadline for the new album. They were free to tinker at leisure, to
rewrite and restructure and reinvent tracks they’d cut, to, as
drummer Adam Faulkner puts it, “pull things apart and be like,
‘Let’s try this. We could try out every wild idea.’”
The group also fell under the spell of modern hip-hop, “where
there’s really heavy-handed production and they’re messing with
the track the whole time,” says Fox. “That felt like a fun route to go
down, it was a definite influence.”
‘Most Normal’ opens with an absolute industrial-noise banger that
sounds like a manic house party throbbing through the walls of the
next room as a downed jetliner brings death from above. What
follows is unpredictable, leading the listener through a sonic house
of mirrors, where the unexpected awaits around every corner.
The common thread holding ‘Most Normal’’s ambitious Avant-pop
shapes together is frontman Dara Kiely. Throughout, he’s an antic,
antagonistic presence, barking wild, hilarious, unsettling spiels,
babbling about smearing fish with lubricant or dressing up in binliners or having to wear hand-me-down bootcut jeans (“It was a
big, shameful thing, growing up, not being able to afford the look I
wanted and having to wear all my brother’s old clothes,” says
Kiely).
‘Most Normal’, then, is a triumph, the bold work of a group who’ve
taken the time to evolve their ideas, to deconstruct and reconstruct
their music and rebuild it into something new, something
challenging and infinitely rewarding. It’s a headphone masterpiece.
It’s a majestic exploration of the infinite possibilities of noise. It’s a
bold riposte to your parochial beliefs on whatever a pop song can
or should be. It’s the best work these musicians have put to
(mangled) tape.

For their first album as Gilla Band (formerly Girl Band), the
foursome have redrawn their own paradigm. ‘Most Normal’ is like
little you’ve heard before, a kaleidoscopic spectrum of noise put in
service of broken pop songs, FX-strafed Avant-punk rollercoaster
rides and passages of futurist dancefloor nihilism.
Lockdown robbed Gilla Band of any opportunity to try the new
material out live, but the pandemic also incinerated any idea of a
deadline for the new album. They were free to tinker at leisure, to
rewrite and restructure and reinvent tracks they’d cut, to, as
drummer Adam Faulkner puts it, “pull things apart and be like,
‘Let’s try this. We could try out every wild idea.’”
The group also fell under the spell of modern hip-hop, “where
there’s really heavy-handed production and they’re messing with
the track the whole time,” says Fox. “That felt like a fun route to go
down, it was a definite influence.”
‘Most Normal’ opens with an absolute industrial-noise banger that
sounds like a manic house party throbbing through the walls of the
next room as a downed jetliner brings death from above. What
follows is unpredictable, leading the listener through a sonic house
of mirrors, where the unexpected awaits around every corner.
The common thread holding ‘Most Normal’’s ambitious Avant-pop
shapes together is frontman Dara Kiely. Throughout, he’s an antic,
antagonistic presence, barking wild, hilarious, unsettling spiels,
babbling about smearing fish with lubricant or dressing up in binliners or having to wear hand-me-down bootcut jeans (“It was a
big, shameful thing, growing up, not being able to afford the look I
wanted and having to wear all my brother’s old clothes,” says
Kiely).
‘Most Normal’, then, is a triumph, the bold work of a group who’ve
taken the time to evolve their ideas, to deconstruct and reconstruct
their music and rebuild it into something new, something
challenging and infinitely rewarding. It’s a headphone masterpiece.
It’s a majestic exploration of the infinite possibilities of noise. It’s a
bold riposte to your parochial beliefs on whatever a pop song can
or should be. It’s the best work these musicians have put to
(mangled) tape.

Kyntral is a co-founder of the so-far so-sophisticated Argentinian label Danza Nativa, and he serves up a deeply immersive trip here. 'Inner Depths' is liquid deep techno in the mould of Neel or Donato Dozzy. Percolating rhythms and dubby undercurrents subsume mind and body while deft little details place you underwater. 'Bloodstone' is a little more lumpy with a gentle smattering of percussion of drums that bump. 'Ancient Apparition' is a spacious sound with wispy pads disappearing to infinity, glassy tinkles and undulating drums all getting you into a meditative state. The Patrick Russell Phantom remix is more warped and dark to add a nice counterpoint.

Joseph Salvador's impressive young Universo Positivo label returns with a new EP from the boss himself alongside Europe mainstay Orlando Voorn. The dynamic duo serve up four cuts that perfectly embody their timeless sound. Salvador has been at the heart of the underground since the 1990s. He is deeply involved on the scene on many different levels from running the cult Tomorrow Is Now Kid! nights in Amsterdam to labels like TINK Records and also working as part of house acts like Black Tulip & Wendell Morrison, Thyone Girls, Digital Cartel and many more. His music always operates at the sharp end of the spectrum and has come on labels like Tribal America, EMI and Sony Columbia. Orlando Voorn is equally as vital to the evolution of techno. His sound famously builds a bridge between Detroit pioneers and the contemporary European sound and he has worked with greats such as Blake Baxter and Amp Fiddler. He recently remixed South Bay Jams on this label and has also dropped music on the likes of Rush Hour, R&S and Housewax. 'Every Man Loves' brings lavish disco strong stabs to a mid-tempo groove that is packed with warmth. Funky bass riffs and jumbled toms all bring it to life next to an exquisite diva vocal that brings the soul. 'Slap My Funk' hits harder with raw drum loops and a touch of filter house energy. Chopped vocal stabs keep things driving with more live funky bass next to jazzy chords. The steamy 'So Well' is a fulsome house sound with big trumpet stabs and smart vocal samples worked into a heavy, party-starting but emotional groove. Last but not least, 'Break It Down' layers up freeform Rhodes jams with crashing drums and smeared synths to make for a real dance floor weapon. These are four potent and expressive new house gems from this dynamic duo.

Limited yellow coloured vinyl!

Boys Noize presents ONES and ZEROS OAZ, a new experimental record label with the mission of breaking open the space of possibilities for techno and beyond. Reflecting new modes of subcultural circulation and integrating music,
objects, and a pluralistic network of artists, OAZ debuts with the 22-track Bo compilation, including two Boys Noize solo tracks, one of them “Bvrning” (Vinyl Only), as well as tracks by Locked Club, Safety Trance & umru, DJ Babatr, Slim Soledad, Schacke, KFR, TINKERHELL, David Löhlein, MarcelDune, and more.

It is the year 1995 and it’s summer, the second extremely hot summer after 1994, and the asphalt on Gladbacher Straße in Cologne is glowing. Ravers in much too wide and much too colorful clothes doze off in the glaring midday heat. These are the last days of the legendary Delirium record store, a socio-cultural biotope that would later become KOMPAKT. In June 1995, the store moved deeper into the Belgian Quarter, to Brabanter Straße 42 near Friesenplatz.

Wolfgang Voigt liked to wear too-big sunglasses even back then, just as he already had the master plan for the next few years, the new store, the renaming to KOMPAKT, and the upcoming takeover of the musical world order by minimal techno in his head. On less sunny days, the musician Wolfgang Voigt was tinkering with his very own label Profan, a new sound, new pseudonyms and masquerades. His alter ego Mike Ink had grown tired, another self, one of many, was now pushing forward to become the next torch in the storm.

By early 1995, the first Grungerman EP, "Hout," had been released on Profan. A nucleus of ambient loops that already announced the sonic aesthetics of GAS, stoic rhythmic structures that would shape the coming decade of minimal house and techno, and an all-encompassing gloom and heaviness that didn't want to fit at all with the gaudy reality of the nineties between Loveparade, Mayday and VIVA House TV. This probably most hedonistic decade of the 20th century had celebrated, besides techno, above all a rough guitar music called Grunge, coined and immortalized by a depressive, hyperactive and narcoleptic young man with matted blond hair who had taken his own life a year before. In no other track has Wolfgang Voigt packed these inner and outer contradictions of his art as well as of the mid-nineties more ingeniously than in "In Tyrannis". From wall to wall there are four steps.

"Klang" by Wolfgang Voigt originally comes from the first and only GAS EP on Profan, "Modern", from the spring of 1995 and is one of the most beautiful exhibits of Voigt's sound of those years, which relentlessly runs its course somewhere between glistening sunrises on Ecstasy and bad drugs in the dark Liquid Sky Cologne. With "Hocker DJ 1" and "Hocker DJ 2" there are two more musical references to this myth-enshrouded place in Kyffhäuserstraße, where for a few years the entire, so-called Sound Of Cologne had literally settled down.


Wir schreiben das Jahr 1995. Es ist Sommer, der zweite extrem heiße Sommer nach 1994, und der Asphalt auf der Gladbacher Straße in Köln glüht. Raver in viel zu weiten und viel zu bunten Klamotten dösen ihren Rausch aus in der grellen Mittagshitze. Es sind die letzten Tage des legendären Delirium Plattenladens, eines soziokulturellen Biotops, aus dem später die Firma Kompakt hervorgehen sollte. Im Juni 1995 erfolgte der Umzug tiefer hinein ins Belgische Viertel, in die Brabanter Straße 42 in der Nähe des Friesenplatz.

Wolfgang Voigt trug schon damals gerne zu große Sonnenbrillen, so wie er bereits den Masterplan für die nächsten Jahre, den neuen Laden, die Umbenennung in KOMPAKT sowie die anstehende Übernahme der musikalischen Weltordnung durch Minimal Techno im Kopf hatte. An weniger sonnigen Tagen tüftelte der Musiker Wolfgang Voigt an seinem ureigenen Label Profan, an einem neuen Sound, neuen Pseudonymen und Maskeraden. Sein Alter Ego Mike Ink war müde geworden, ein anderes Ich, eines von vielen, drängte nun nach vorne, um die nächste Fackel im Sturm zu werden.

Anfang 1995 war die erste Grungerman EP “Hout” auf Profan erschienen. Ein Nukleus aus ambienten Loops, die bereits die klangliche Ästhetik von GAS ankündigten, stoischen rhythmischen Strukturen, die das kommende Jahrzehnt Minimal House und Techno prägen sollten, sowie einer allumfassenden Düsternis und Schwere, die so gar nicht zur knallbunten Realität der Neunziger Jahre zwischen Loveparade, Mayday und VIVA House TV passen wollte. Dieses wohl hedonistischste Jahrzehnt des 20. Jahrhunderts hatte neben Techno vor allem eine raue Gitarrenmusik namens Grunge gefeiert, geprägt und unsterblich gemacht von einem depressiven, hyperaktiven und an Narkolepsie leidenden jungen Mann mit verfilzten blonden Haaren, der sich ein Jahr zuvor das Leben genommen hatte. In keinem anderen Track hat Wolfgang Voigt diese inneren und äußeren Widersprüche seiner Kunst wie auch dieser Zeit Mitte der Neunziger genialistischer verpackt als in “In Tyrannis”. Von Wand zu Wand sind es vier Schritte.

“Klang” von Wolfgang Voigt stammt ursprünglich von der ersten und einzigen GAS EP auf Profan, “Modern”, aus dem Frühling 1995 und ist eines der schönsten Exponate des Voigtschen Sounds dieser Jahre; ein Track, der irgendwo zwischen gleisenden Sonnenaufgängen auf Ecstasy und schlechten Drogen im dunklen Liquid Sky Cologne unerbittlich seine Bahnen zieht. Mit “Hocker DJ 1” und “Hocker DJ 2” finden sich zwei weitere musikalische Referenzen an diesen mythenumrankten Ort in der Kyffhäuserstraße, an dem sich für einige Jahre der gesamte sogenannte Sound Of Cologne im wahrsten Sinne des Wortes niedergelassen hatte.

Schlammpeiziger, who had previously only been known to us for his top hits and T-shirts, burst upon us like a wild boar in search of affection in the middle of the coronavirus lockdown. He nested in our fully vaccinated home, drank our Eversbusch, ate from our plates, slept in our bed (wait - wrong fairy tale) and repeatedly urged us to organise egg runs with his testicles (after some contortions, we gave up trying). Childish faecal humour, far-fetched obs(t)enities, juicing, a desire to dissolve, composting of thoughts. In excesses of lack of concentration, the chains of associations curled and meandered like Jo's famous curlicue drawings. Every evening, after we had forcibly levered him out of our flat, he would ‘walk’ home to put together very unique , dreamy pieces. In the blissful brainfog of those days, for example, ‘Handicapfalter’ was created, for which the congenial °Bär° made our flat into the corresponding video. Among other quirks of the little gut-breather, we were fascinated to observe his phobia of literature and books. Just hold a printed page in front of his face for a few seconds and he writhes on the floor crying. A level of phobia that only my own laughable disgust and fear of writing myself can compete with. Jo shudders at the thought of reading sentences that build on each other in a meaningful way, and I shudder at the thought of having to write them down because I have something ‘to say’. A certain affinity cannot be denied. We are much, much more pleased by snatched-up, misunderstood or misheard snippets, hollow but unforgettable phrases, the diamond stoner humour of our ancestors. ‘From one turn/ I stop/ to walk on/ in all directions’ (as it murmurs in “Selten Gesehenes”), describes the process quite nicely. After all, Jo is ahead of me in that he can simply break off every tedious sentence and let it fade into music. Back to the essentials. It's five to 12 for the Schlammpeitzger (scientifically Misgurnus). The shy goby is under threat from climate change, so perhaps this vinyl is the last expression of life of the specimen that we have been allowed to look after sporadically since the lockdown phase of the corona epidemic. And it's turned out pretty. Even the aesthetically gutted like me and my beloved husband can THINK about sex when they see these sublime, silvery fart bubbles! It's tender as a fart. Make love!!!!!

Schamlose Dubtöse: Do you have words. Do you have sounds. Impertinently harmless piano tinkling turns into tugging zounds of increasing severity. It is not dubbed (would be unethical) but dubbed. Sounds dubby, as you can imagine. (Instrumental)

Loch ohne Licht: Possibly vaguely misogynistic. Could also be that there was simply no light in the hole. The sparse snippet of lyrics (‘du biss mir och esu e Loch ohne Licht’) sounds like one of those stroppy Cologne replicas whose anti-charm is hard to resist. Buzzing and grooving.

Selten Gesehenes: Casual. Confident. Soft. Fragrant. Thoughtful but lively.

The Arabian Vietmanese (instrumental) is probably the food we trust in the case of the munchies we get when we watch other people smoking weed. Transcendental and psychedelic states casually permeate the humdrum of everyday life. Klar Knuspermarsch: Marches and floats at the same time. Klebt Runner: Soundtrack to the cult film of the same name. Tyrrell Corporation loosens up. Ungenutzte Sätze: Stinks somehow, because there is dangerous proximity to comprehensible and then also critical statements here. Instead, the sinister electronic cheapness of Carpenter soundtracks can be heard. Parzipan: Actually, the time of origin was not so roaringly funny and simple, but for Jo it was also a gruelling, slow letting go of his brother. Here he sends him off with a gentle nudge into the vastness of a hopefully happy beyond.

Clara Drechsler

Schlammpeiziger, der uns bislang nur durch seine Top-Hits und seine T-Shirts bekannt gewesen war, brach mitten im Corona-Lockdown über uns herein wie ein wilder Eber auf der Suche nach Zuwendung. Er nistete sich in unserem durchgeimpften Zuhause ein, trank unseren Eversbusch, aß von unseren Tellerchen, schlief in unserem Bettchen (Moment - falsches Märchen) drängte uns wiederholt dazu, mit seinen Hoden Eierlauf zu veranstalten (nach Verrenkungen gaben wir den Versuch auf). Kindischer Fäkalhumor, weit hergeholte Obs(t)zönitäten, Entsaftung, Auflösungswunsch, Gedankenkompostierung. In Exzessen der Konzentrationsschwäche ringelten, kringelten und schlängelten sich die Assoziationsketten wie bei Jos berühmten Kringel-Schlängel-Zeichnungen. Jeden Abend, nachdem wir ihn gewaltsam aus unserer Wohnung gehebelt hatten, „ging“ er dann heim, um dort sehr eigene, verträumte Stücke zusammenzubasteln. Im seligen Brainfog dieser Tage entstand z.B. „Handicapfalter“, für das der kongeniale °Bär° aus unserer Wohnung das entsprechende Video machte. Neben anderen Marotten des kleinen Darmatmers beobachteten wir fasziniert seine Literatur- bzw. Bücherphobie. Halt ihm nur sekundenlang eine bedruckte Seite vors Gesicht, und er windet sich weinend am Boden. Ein Grad an Phobizität, mit dem sich nur meine eigene lachhafte Abscheu und Angst vor dem Selberschreiben messen kann. Jo schaudert beim Gedanken, sinnvoll aufeinander aufbauende Sätze lesen, mir wiederum beim Gedanken, sie hinschreiben zu müssen, weil ich irgendetwas „zu sagen“ habe. Eine gewisse Verwandtschaft ist nicht zu leugnen. Viel, viel mehr freuen uns aufgeschnappte, falsch verstandene oder misshörte Fetzen, hohle, aber unvergessliche Phrasen, der diamantene Kifferhumor unserer Vorfahren. „Aus einer Drehung/bleibe ich stehen/ um in alle Richtungen/weiter zu gehen“ (wie es in „Selten Gesehenes“ raunt), beschreibt den Prozess schon ganz schön. Immerhin hat Jo mir voraus, dass er jeden leidigen Satz einfach abbrechen und in Musik ausplempern lassen darf. Zurück zum Wesentlichen. Es ist fünf vor 12 für den Schlammpeitziger (wissenschaftlich Misgurnus). Die scheue Grundel ist von Klimawandel bedroht, vielleicht haltet ihr mit diesem Vinyl also die letzte Lebensäußerung des Exemplars in Händen, das wir seit der Lockdownphase der Corona-Epidemie sporadisch betreuen durften. Und die ist hübsch geworden. Selbst aus ästhetischer Erwägungen Entdarmte wie ich und mein geliebter Mann, können bei diesen sublimen, silberhellen Pupsbläschen DENNOCH an Sex denken! It´s zart as a fart. Make love!!!!!

Schamlose Dubtöse: Hast du Worte. Hast du Töne. Impertinent harmloses Klavierplätschern geht über in ziepende Zounds von zunehmender Strenge. Es wird nicht domptiert (wäre unethisch) sondern dubtiert. Klingt dubtig, wie ihr euch vorstellen könnt. (Instrumental)

Loch ohne Licht. Möglicherweise vage misogyn. Könnte auch sein, dass im Loch einfach kein Licht war. Das sparsame Textfetzchen („du biss mir och esu e Loch ohne Licht“) klingt nach einer jener pampigen kölschen Repliken, deren Anticharme man sich schwer entziehen kann. Schwirrt und groovt.

Selten Gesehenes: Lässig. Souverän. Softig. Duftig. Nachdenklich aber beschwingt.

Beim Arabischen Vietmanesen (Instrumental) gibt es wahrscheinlich die Speise unseres Vertrauens im Falle der Munchies, die wir kriegen, wenn wir anderen Leuten beim Kiffen zusehen. Transzendentale und psychedelische Zustände durchziehen beiläufig den schnöden Alltag. Klar Knuspermarsch: Marschiert und schwebt zugleich.

Klebt Runner: Soundtrack zum gleichnamigen Kultfilm. Tyrrell Corporation macht sich locker. Ungenutzte Sätze: Stinks irgendwie, weil hier gefährliche Nähe zu nachvollziehbarer und dann auch noch kritischer Aussage gegeben ist. Dafür klingt die sinistre elektronische Billigkeit von Carpenter-Soundtracks an.

Parzipan: Eigentlich war die Entstehungszeit gar nicht so brüllend lustig und einfach, sondern für Jo auch ein zermürbendes, langsames Loslassen des Bruders. Hier schickt er ihn mit sanftem Schubs hinaus in die Weiten eines hoffentlich schönen Jenseits.

Clara Drechsler
Downloads

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.

"A Seamless Symphony of Harmonious Electronica" - Jazziz

Emerging from over a year of creative hibernation following their debut album, Stavroz's upcoming EP "Kick Up the Dust" jolts them back into action. The EP flows gently, yet the overall mood of the journey isn’t always easy to pinpoint. There’s a certain vagueness to Stavroz’ sound which allows for bizarre experiments to seep through without interrupting the course. “We like to keep it lightly twisted, like a wink with a frown,” says the band.



In the title track however, Stavroz boldly steers towards the heart of the dance floor: efficient, remorseless, powerful, intense and most of all... elegant. Guiding you harmoniously through the club is a delightful duet of trumpet and saxophone, timed perfectly to heal you where it hurts most.



"Her Eyes Were Red" does what it says on the cover. There's melancholy - without sadness. Power - without force. Love - without lust. Stavroz's music possesses a distinct power that feels both natural and organic, never resorting to brute force or aggression. In their own way, the Belgian quartet offers an astonishing journey of saxophone & duduk, supported by broken beats and chopped vocals.



In Dae-El, a track featuring the Brussels-based producer and sound designer Poltrock, ethereal-sounding synths and duduk are combined with ghostly high-pitch distortions. Despite a backbone of muffled beats, the tune has vaporous qualities, reverberations that wobble and tinkle into space – it’s an easy listening experience but in a trippy, spaced-out way. “We’re trying to go for the sweet spot between the couch and the club”.



Adding further depth to their EP, Stavroz collaborates with Brazilian singer and composer Castello Branco in "Valente." Here, intimate Sade-like vocals harmonize with rubbery scratches, acoustic guitar, and horn segments, crafting a lush lounge piece that seamlessly balances both relaxation and empowerment, transparency and provocation. It's a testament to Stavroz's versatility and their knack for creating music that defies easy definition, leaving listeners eagerly anticipating the next twist and turn in their captivating musical journey.

“In my opinion, the greatest UK street soul tune ever made! It’s all about the message of unity” - Delasy StudioEight.

Penned during the summer of 1991, 'Got To Make Sure' was recorded at H.Q. Studios in Manchester and released in October of the same year on a limited white label for Raggas Records. "H.Q. had just opened its doors, I think it was one of our first-ever sessions", says founder and sound engineer Michael Vindice: "Basically, it was Hughie and friends in the studio tinkering about until something stuck". The record has remained the most coveted of street soul white labels. Not only because of its rarity and not just because it epitomises the genre with bass-heavy independent production, but also because it emerged from Manchester's early 90s underground club scene that embraced street soul like no other; U-Bert's message made vocal for all his homegrown listeners and beyond.

‘Apathy Is Death’ is a precisely engineered, restless and longing work of experimental bass music. Tinkah has created a sonic landscape that is both mesmerising and haunting.

The fundamental note is tension as he speaks a tale of ego and its myriad manifestations.. highs & lows. Climax & anticlimax. Adoration & pity. A 12” quest through the taverns of retrospect.

The 6 tracks, live arranged on a MPC alongside a whimsical bounty of synths & effects, are packed rich with cinematic soundscapes, driving rhythms and an ever evolving temper.

Inspired by true events and adorned with sounds from his world. ‘Apathy Is Death’ tells the parable of being jointly lost and found in the intensity of life.







e B2. Skin 22 Feat. Arpen Daks

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

“I’ve always loved mistakes; it’s the hidden beauty in all art” - Andrew Weatherall


Transparent Sound are the original dons of UK electro, not exactly household names yet an act with so many under-repped classics that once you dive into their catalogue you might end up emptying your bank account on Discogs.


To save you going down this calamitous path as well as to finally, raise TS to the level of notoriety they deserve, Tresor Records is very proud to announce the release of Accidents 1994-2023. Formed by Orson Bramley and Martin Brown in Bognor Regis in 1994, Transparent Sound have managed to create 30 years’ worth of some of the best electro from the British Isles, despite claiming to not know what they were doing nor how their instruments work.


It’s likely that it’s this lack of knowledge that led to the quality and longevity of their output - the pair experiment and tinker with the machines until something pleasing appears then follow that sound
down whatever path seems fruitful: “the confidence of ignorance” as a slightly more-famous Orson, Orson Welles, once put it.

This tactic has paid o well and found them stumbling into many notable adventures, from remixing The Cure to performing during an intermission between two halves of a lecture - none of which they understood as it was in Spanish.


The compilation collects a lucky-for-you 13 of their most glorious electrical accidents on a three-disc set including the dancefloor hits Punk Mother Fucker (a mainstay of Villalobos sets at the time of release), and No Call From New York (as heard on Helena Hau’s perfect 2017 Essential Mix). The package also comes with ‘Windows To Your Sole’ from the unreleased white label Transparent Sound 007, other unreleased tracks, and special 2023 edits as well as six digital bonus tracks.

Originally released in the mid 80's on UK cassette label Bite Back!, this nearly lost gem finds new life 30 years later on Cocktail D'Amore Music. Steve has cobbled together a superbly melancholic electronic concept album. Wistful melodies often evoke sentiments of a lost childhood and hazy English mornings.

Each song within remains untitled allowing full perceptive freedom as to what they all communicate, a language for the feelings that have no name.

Untitled A1 - A6 leads one along intimate soundscapes of pattering drums and tinkering piano, a sense of closeness and trust develops with the introduction of each new idea much like the beginning of a bed time story. Untitled B1 - B3 then begin to breathe more openly awash in angelic colours before abruptly turning downward on B4, a wall of booming drums and atmospheres from the furthest reaches of the galaxy before the last trio of songs settles gently back on Earth.

From an aspiring b-boy to working with luminaries Billy Porter, Joss Stone, Kimberly Davis and Teni Tinks, The Shapeshifters, Simon Marlin announces the release of his brand-new studio album “Let Loose”.

Wrapped in a defining optimistic mood and colourful palette, “Let Loose” plays with the friction between musical persona and influence, delivering a masterclass in Simon’s flourishing depth of integrity as a producer and admiration to those that exert their enduring influence upon him.

“I'm a facilitator of talent. I'm blessed that over the years I've managed to put a team of people together - as a producer, that's what I do, very much in the old school sense like a Quincy Jones or Gamble & Huff, they’re the guys I try to emulate - and make something magic out of nothing, but do it in a contemporary way. That’s what really floats my boat, and that's what this whole project is about.” Simon Marlin – The Shapeshifters

Across the latest and long-awaited studio album “Let Loose” The Shapeshifters pledge rhythmic allegiance to the golden era disco records and their spellbinding qualities; embracing the tension often found between tradition and future to craft a euphoric, certifiable body of work presented to the devoted audience he deserves. The Shapeshifters exemplify a scene in rude health one that is now switching on an ever-younger fan base, and with Marlin being the beating heart of it it’s easy to see why The Shapeshifters are more in demand in the clubs than ever.

The twelve-track album is illuminated with vocal collaborations including the recently released and debut collaboration with the Grammy, Tony and Emmy Award-winning Billy Porter.

Layers of rushing strings, flares of brass and hedonistic grooves provide refreshing dancefloor power dynamics and deliver a liberating, triumphant and inherently uplifting record.

Taking an impeccably smooth course through disco-infused house, The Shapeshifters continue the rich relationship with Glitterbox and its record label; one that has yielded instant classics that epitomise the label’s ethos for preserving disco’s mission to uplift and empower.

Zov Zov, a musical project formed by London-based duo Oliver Ho and Tommy Gillard, create a raw soundscape that is very appropriate for the era we are currently living in. The human race depends on destruction, the annihilation of our fellow man and the devastation of our environment, peace and coexistence is just a condition we experience between one war and the next. Songs of Blood And Earth is an EP based on experimentation and the development of intense textures. Blessed Are The Killers opens the A-side of the album with a minimalist first sequence involving only a kind of deep bursts and a tinkling sound that can remind us of hunger queues and the isolation suffered when the aggressor force sweeps over a vast territory. Musically, however, the track intensifies with heart-wrenching textures that hover above a haunting and disturbing vocal. On the next cut, The Maim, a constantly interrupting rhythmic structure reigns, which gives the feeling that at some point it will have a proper continuity, however, and although that continuity never comes, these pauses perfectly define the main idea which is that of the splitting of one or more body parts. The B-side of the EP is entirely religious in nature. Amen 2.5 is an updated version of the atrocities committed in the name of religion, a harsh sonic tale, in which a crushing roar subdues the listener to the point of collapsing his or her capacity for reasoning. The Holy Murder takes a more sinister turn, this time there is an incessant dominance with an unstoppable base that advances without changing its tempo or its form, in which everything that is built on it ends up yielding to its grandeur and ferocity. Godess Of The Hunt, the last track of the album, denotes an enormous cruelty, represented by the terrified screams of the victims who succumb to its exterminating atmosphere.

Back in stock !

Poetic Hovering Synth Tinkerer

2026 wird der 100. Geburtstag von John Coltrane gefeiert, dessen bahnbrechende Kunst als Saxophonist,
Komponist und Bandleader ihn zu einer der einflussreichsten Musikpersönlichkeiten des 20. Jahrhunderts
machte. Zu Ehren seines unermesslichen Einflusses fängt „The Best of John Coltrane“ den legendären
Saxophonisten in seinen prägendsten und kreativsten Jahren bei Prestige ein. Diese LP wurde aus seinem
produktiven Schaffen der Jahre 1957–1958 zusammengestellt und enthält eine Auswahl, die Coltranes
rasante künstlerische Entwicklung als origineller Tenorsaxophonist beleuchtet. Mit Klassikern aus dem
American Songbook und Jazz-Standards ist sie sowohl die perfekte Einführung für neue Hörer als auch eine
wertvolle Anschaffung für Liebhaber, da sie die Aufnahmen präsentiert, die John Coltranes Vermächtnis
begründet haben.

The craft of making music and the exploration of new methods for creating sounds were at the very heart of producing markmechanik’s LP “Invest in Rest”. The months-long production process led to one key insight: music is a tool. And this tool opens up possibilities for slowing down, sets a counterpoint to the fast-paced digital age, and leaves intellectual overthinking behind.

In his second solo release, markmechanik fully dedicates himself to blending sampling with digital and analog sounds. Between the sounds, you can hear the celebrated time spent in the studio—the playful tinkering with sounds and devices has been distilled into the LP’s eight tracks.

KALEIDOBOLT’s fifth album is pungent to the ears – KARAKUCHI out in March Karakuchi is one record you can judge by its cover. The first time Kaleidobolt’s faces have adorned an LP, they have been fused into a torpedoing biomechanical vehicle. Echoing The Birthday Party’s Junkyard or Motörhead’s Orgasmatron (…on acid?!), the illustration epitomises perfectly Kaleidobolt’s agenda of “hyperkinetic rock”. Their feverish, psych-prog sound is full of motion. It jerks around at different speeds, threatening to spin out of control and crash into flames at any given moment. What’s more, it isn’t taken too seriously. This is heavy and intricate music, yes. But as bassist and co-singer Marco Menestrina puts it, the Kaleidobolt attitude is “an ugly smirk more than an angry face with a fist.” On their fifth album since forming in 2014, the Helsinki-based outfit lean into their strengths as a formidable power trio. With their previous two records, 2019’s Bitter and 2022’s This One Simple Trick, they had thrown everything at their disposal into the recording with no expense spared on overdubs, effects and kitchen sinks. Produced again by Niko Lehdontie (Oranssi Pazuzu), Karakuchi comes from tightly rehearsed, live-in-the-studio takes. Kaleidobolt realise that greater sparsity can be a strength, and they’ve allowed their instruments extra space to breathe. It makes for their earthiest, purest and perhaps most authentic record to date. Karakuchi’s exuberant style emerges from the individual members’ contrasting listening habits. These span classic prog, Japanese city pop, noise rock, post-hardcore and historical podcasts. One record they can all agree is a masterpiece, the centre of the Venn diagram where all three members meet, is King Crimson’s Red. As for their new album’s title, that’s as suitable as the cover art. “Karakuchi” is the slogan of the Japanese beer brand Asahi Super Dry. Translated literally, this means “pungent to the mouth”. As drinkers of that product, Kaleidobolt acknowledge its parallels to their songs. “It’s very intense, right at the front, like at the first bite,” explains Menestrina. “And then it leaves your mouth feeling refreshed. The flavour doesn’t linger in your mouth, basically. It has a quick, hard finish. With a bit of a stretch, we thought that that could also be said of our music.” Karakuchi is Kaleidobolt at their hardest, fastest, tightest and super-driest. Pungent to the ears. -JR Moores, November 2025

KALEIDOBOLT’s fifth album is pungent to the ears – KARAKUCHI out in March Karakuchi is one record you can judge by its cover. The first time Kaleidobolt’s faces have adorned an LP, they have been fused into a torpedoing biomechanical vehicle. Echoing The Birthday Party’s Junkyard or Motörhead’s Orgasmatron (…on acid?!), the illustration epitomises perfectly Kaleidobolt’s agenda of “hyperkinetic rock”. Their feverish, psych-prog sound is full of motion. It jerks around at different speeds, threatening to spin out of control and crash into flames at any given moment. What’s more, it isn’t taken too seriously. This is heavy and intricate music, yes. But as bassist and co-singer Marco Menestrina puts it, the Kaleidobolt attitude is “an ugly smirk more than an angry face with a fist.” On their fifth album since forming in 2014, the Helsinki-based outfit lean into their strengths as a formidable power trio. With their previous two records, 2019’s Bitter and 2022’s This One Simple Trick, they had thrown everything at their disposal into the recording with no expense spared on overdubs, effects and kitchen sinks. Produced again by Niko Lehdontie (Oranssi Pazuzu), Karakuchi comes from tightly rehearsed, live-in-the-studio takes. Kaleidobolt realise that greater sparsity can be a strength, and they’ve allowed their instruments extra space to breathe. It makes for their earthiest, purest and perhaps most authentic record to date. Karakuchi’s exuberant style emerges from the individual members’ contrasting listening habits. These span classic prog, Japanese city pop, noise rock, post-hardcore and historical podcasts. One record they can all agree is a masterpiece, the centre of the Venn diagram where all three members meet, is King Crimson’s Red. As for their new album’s title, that’s as suitable as the cover art. “Karakuchi” is the slogan of the Japanese beer brand Asahi Super Dry. Translated literally, this means “pungent to the mouth”. As drinkers of that product, Kaleidobolt acknowledge its parallels to their songs. “It’s very intense, right at the front, like at the first bite,” explains Menestrina. “And then it leaves your mouth feeling refreshed. The flavour doesn’t linger in your mouth, basically. It has a quick, hard finish. With a bit of a stretch, we thought that that could also be said of our music.” Karakuchi is Kaleidobolt at their hardest, fastest, tightest and super-driest. Pungent to the ears. -JR Moores, November 2025

Altan is arguably the most iconic band working in traditional Irish music today. For the past 35 years, they have brought the music of their native County Donegal to the world stage. The band's newest album, aptly titled Donegal , pays homage to County Donegal's rich musical heritage, breathtaking landscapes, and vibrant culture. The music's authenticity and allure transport listeners to a bygone era in rural Ireland while forging a connection between the past and the present.

Featuring co- founder, lead vocalist, and fiddler Mairead Ni Mhaonaigh ; newest member Clare Friel on vocals and fiddle; accordionist Martin Tourish; guitarists Daithi Sproule and Mark Kelly; and Ciaran Curran on bouzouki and mandolin. With Jim Higgins (percussion), Steve Cooney (bass), and Graham Henderson (keyboards). Recorded by Manus Lunny at Seafront Studio in County Donegal, Ireland.

After being fired by Miles Davis and traveling to Philadelphia to combat his drug addiction in 1957, John Coltrane accepted an invitation from Thelonious Monk to join his quartet. They famously played at New York's Five Spot Cafe and despite the exquisite quality of the band's music, it yielded few recordings and Coltrane's tenure with Monk only lasted six months. Produced by Orrin Keepnews for his label Milestones, the album is compiled from sessions recorded during April, June, and July of 1957. It wasn't released until 1961 though, four years after the sessions took place, and after Coltrane had become a leader and jazz star in his own right.



[c] OFF MINOR [tk 4]


[f] EPISTROPHY [alt tk]
[g] FUNCTIONAL [alt tk]
[h] OFF MINOR [master]

2026 Repress

DJ Quik is a giant of West Coast hip-hop. With his fourth album Rhythm-Al-Ism he created his masterpiece, a perfect hip-hop album. As Quik explains, “the name Rhythm-Al-Ism alone tells you what I was doing. I was mixing up rhythms. I was meshing R&B with hip-hop and jazz. And a little bit of comedy”. It’s absolutely sensational and as with a lot of mid-90s albums those original vinyl copies are now rare so here’s the Be With re-issue.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

Released in 1998 on Profile, Rhythm-Al-Ism was the closest Quik ever got to making a commercial splash. “You’z A Ganxta” and “Hand in Hand” made radio waves across the country and the less radio-friendly tracks like “Medley For A ‘V’” were bumping out of car stereos. Combining his soulful, jazzy P-Funk/G-Funk beats with his effortlessly smooth flow, Rhythm-Al-Ism was the quintessential West Coast Party. Squelchy synths, bouncy bass, monstrously knocking drums and freaky keys - this is peaking acidic party-rap, straight out the gate. Music for gliding, for skating, for time with your people and your poison. Sunshine. No cares. BBQs. Heavy smoke in the air. Dripping with wit and good humour. A real swing to the vibe.

The album opens with Quik setting out his mission statement with “Rhythm-Al-Ism (Intro)”, telling us what this is all about before the self-explanatory “We Still Party” rocks the spot. It’s definitely all about the party here, complete with Quik’s signature head-nod/body-moving beat. Next up, the undeniable laidback funk and dripping swing of groove-laden “So Many Wayz”. This positively slaps.

Then we get to the three huge singles. The R&B-tinged radio-friendly minor-hit “Hand In Hand” closes the first side only for the flip to get straight into the rolling and scratching of bleepy computer-funk banger “Down, Down, Down” (featuring a particularly nice use of Howard Johnson’s epochal “So Fine”). The effortlessly smooth, flute and guitar-laced “You’z A Ganxta” completes the trio. Next up the fast-paced, vocoder-enhanced, woulda-beena-global-hit “I Useta Know Her”. This coulda (shoulda) been a single too. Head-nod funk workout “No Doubt”, with its ace sample of Prince's “Sexy Dancer”, closes out the second side.

“Speed” races out the gate on the second disc, sampling Edwin Birdsong’s “Rapper Dapper Snapper” in a harder, better, faster, stronger way than those daft Parisian punks. Amphetamine-swift raps over soaring, string-drenched b-boy beats. A total anthem. Up next, the staggering, near 8-minute laconic, lounge-y sax-rap of “Whateva U Do” cools things down and smooths things out with its flute wrapping around a sample of Smokey Robinson’s “So In Love” and some oh-so-classy lounge-piano tinkling. And speaking of smooth, things don’t get much smoother than the blissfully melodic glider-anthem “Thinkin’ ’Bout U” riding that ace flip of SWV’s “Use Your Heart”. Exceptional.

The exquisite funky-flute-slapper “Medley for a ‘V’ (The P***Y Medley)” opens the fourth and final side, with star turns from Snoop Dogg and a typically suave Nate Dogg. It’s followed by the supremely skanked-out “Bombudd II”, a beautifully sweet reggae-fuelled ode to the herb. “Get 2Getha Again” is slick funk. Stunning.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Rhythm-Al-Ism was originally pressed as a double and we’ve reproduced the original LA vibe picture sleeve and insert to match.

As that original front cover says, this is “over 70 minutes of commercial free music” and it’s absolutely perfect from start to finish. There are no stand-out tracks here. It’s all gold.
: Rhythm-al-ism (2LP)

Toronto-based musician and producer David Psutka’s long dormant Egyptrixx alias returns, with How Tidal. A compendium of sorts, which retells the story so far, reworks of highlights from his catalogue sit alongside brand new tracks, serving as a bridge between the past and the future, preceding more fresh music in 2026.
With the originals still sounding remarkably current, a straight best-of wouldn’t have been out of question, but ever the tinkering student of sound, Psutka thought he’d break them apart, just to see how he could put them back together again.

The music on is How Tidal is cutting-edge and futuristic, but never difficult, instead offering accessible gems where multiple strains of bass music are infused with a zingy, techno-pop bounce, whilst ambient moments gift sonic lozenges for maximum contentment. Psutka creates optimistically welcoming environments, where synthetic birds chirrup in cyan skies over babbling rainbow brooks, as 15 inch subwoofers boom by.

Egyptrixx gained renown across the 2010s with his hard hitting yet tranquil experimental dance music dubbed ‘celestial jeep music for a Saturn moon’. Colourful sound design was braided with dancefloor structures, creating an exhilarating tension between melodic and dissonant, euphoric and inward. The debut album Bible Eyes was released in March of 2011 to critical acclaim.

As Egyptrixx, Psutka has released four studio albums, collaborated, remixed, and toured with some of the biggest names in electronic music.
The widely acclaimed moniker is foundational to Psutka’s complex body of work that encompasses multiple solo projects, plus a diverse range of collaborative work. He has performed live at Sonar Festival, Roskilde, Mutek, MOMA PS1 Warm-UP and CTM Festival, and presented sound installations at Galeria Civica Commune di Modena and Art Gallery of Ontario (AGO).

In 2015, Psutka launched Halocline Trance as a home for his various sound projects, events and collaborations. In recent years, the label has quietly established itself as a platform that facilitates many of Canada’s most exciting creative music projects.

To decay is also to transform. Rusting metal is the visible traces of passing time, as the oxidation process accumulates dampness in our atmosphere and imprints it as unpredictable patterns onto hard iron and steel. Working in construction for a year now, Kensho Nakamura sees rust all the time, clambering up ageing chunks of material. Normally discarded as waste, Nakamura began discerning beauty in the phenomenon, organically spiralling around and consuming some of the very hardest of manufacturing stuffs into unique new forms.

‘Electric Rust’ continues the conceptual electronic composition mode of Nakamura’s previous works with a series of fractured musical dioramas. These scurrying notes, sparse hums, and quivering bleeps explore the topics of rust and the accumulation of time. The music ticks like a clock, drips like a tap, and manifests unknowable inorganic shapes. Recognisable musical snippets of bells, pianos, or murmured voices are buried inside counterintuitive synthetic rhythms and tension.

On ‘wet air’ piano notes tinkle and pipes gargle, digital detritus tap dances and arpeggios stumble. On ‘unique faces’, idle marimbas and malfunctioning animalistic squeaks flounder. This is music from the promethean space between being forgotten and being conceived. ‘Electric Rust’ is a topography of a world of rust, where corroding structures evolve into new — and beautiful — patterns of life.