quête:touché

Tappa Zukie is not only one of Jamaica’s greatest DJ’s, is also a much respected producer and arranger. Looking back through his master tapes we have found a lost release that due to being a worldwide recording artist and the pressures that this carries, it has stayed on his musical shelf and been passed over... until now.

When rhythm was King way back in the 1970’s, the predominant feature of the final mix down would in most cases be the drums and bass. Bringing drums and bass to the fore, the other instruments that create the tunes mood would take a back seat in the mix. With such fine musicians in the horn sections as Vin Gordon, Deadly ‘Headley’ Bennett and the unstoppable Tommy McCook, it sometimes felt, their services if nothing else were slightly underused.

So one way of rectifying this situation was one that Tappa himself instigated, putting a release together by picking some of his favourite productions that carried classic horn lines alongside those tightly recorded rhythms. Pushing those horn lines up in the mix and so making a feature of some of those touches that although added some colour to the original cut, laid back in the mix to the more Sound System friendly drum and bass cut.

When looking at the music with this approach, some of the other influences that were also in Tappa’s mind can be noticed more. Maybe it’s a Jazzier / Bluesy feel shining through. A strange thing happens that almost takes the song down the avenue of a soundtrack album. An unreleased film score to accompany an unreleased film.

So sit back and enjoy a lost release that time and place did not find time to see the light of day. As the opening track testifies and in the immortal words of Mr Tappa Zukie himself.. “Your Musical Daddy is back... Horns Up !!!!”

Two killer tracks of erotic psychedelia with a jazzy twist and touches of acid rock by the French cabaret star Rita and Chilean rock pioneers Aguaturbia. A perfect soundtrack to an imaginary sexploitation film, half-way between the classic sound of library records and a progressive and hypnotic musical journey driven by fuzzy guitars. French actress, model, dancer and singer Rita Cadillac, local star at well-known Parisian cabarets like Crazy Horse or Folies Bergère, recorded several 45s in the 1960s. In 1969, and most likely following the success of the Welsh band Man (from whom they "took inspiration" when recorded this 'Erotica'), released this song that could have easily worked as the perfect soundtrack for a sexploitation movie. Rita's sensual voice is wrapped in a piece of background music that could have been taken from a classic library record from the KPM, Chappell or Montparnasse 2000 catalogues. Hammond-driven prog jazzy passages, subtle fuzzy guitar solos and a contagious bassline all delivered by some anonymous studio band accompanied by Rita's provocative whispers and moans. This 7"-only rarity has been compiled many times over the years, but we thought it would be nice to have it reissued in its original format. What better than another song in a similar vein and identical title, 'Erotica' by Chilean rock pioneers Aguaturbia, to complete this single? Denise's alluring vocals dance harmoniously with Carlos' electrifying guitar loaded with fuzz and wah wah effects, building up a progressive and hypnotic musical journey. This song was included in their much sought-after debut LP and we present it here again as the perfect accompaniment to the sensual Rita.

SATYA is thrilled to announce the next chapter in its vinyl-only catalog: an evocative EP by São Paulo-based producer Dru. Scheduled for release on March 21, 2025, this record captures the serene yet dynamic energies of Dru's distinctive sound, blending aquatic themes with dubby textures and grooves.

Dru is a producer and DJ with a passion for minimal and microhouse. He has steadily risen through the scene, earning the support of luminaries such as Mihai Pol, Arapu, and Barac. With previous releases on his own labels, Totoyov and Microdots, Dru has honed a sound that is both personal and universal, reflecting his unique journey.

Rooted in the calming beauty of Brazil’s pristine beaches, Dru explains that the EP emerged during a reflective chapter of his life. "I was looking to produce tracks on a more dubby vibe," he shares. "The aquatic and fresh feel of the tracks reflects my connection to the sea and the tranquility I find there." This theme flows through the EP, offering listeners a refreshing escape into soothing yet intricate soundscapes.

The EP comprises two standout originals:

"Lax" captures a serene moment in Dru’s life, characterized by personal harmony and simplicity. The title itself is an 
abbreviation for "Relax," reflecting the calm state of mind during its creation.

"Afterbreak" marks a transitional period post-breakup, yet the track maintains a composed energy, symbolizing growth, 
renewal, and forward momentum. 
Dru draws on a broad spectrum of influences for this EP, from the African-reggae-inspired percussive touches to the intricate dubby aesthetics of Andrey Pushkarev’s Luck of Access label. These elements intertwine with Dru’s Brazilian roots, creating a fusion of global sounds with a personal twist. 
One of the most exciting milestones during the production process was securing remixes from Nicolas Duvoisin and Superlounge, both of whom enthusiastically joined the project early on. With contributions from these respected artists, the EP transcends boundaries, bridging dubby minimalism and deep house groove.

The vinyl-only release marks an exciting new chapter for Dru and SATYA. With its aquatic themes, dubby energy, and heartfelt storytelling, this EP promises to captivate both seasoned collectors and fresh ears alike.

Midwest band Church Tongue have announced they have signed to Pure Noise Records and will release EP "You'll Know It Was Me" on 14th February 2025. The 6 track EP continues its complex, uncompromising and emotionally charged sound with guest features from Colin Young (Hardlore podcast), George Clarke (Deafheaven), and Crystal Pak (Initiate)​"You’ll Know It Was Me is a short record about love. Love looks like a lot of things, and each track touches on it in its own way." says Mike Sugars. "People close to me have heard about me wanting to make this kind of record for a long time. I just hadn’t grown enough to realise the dream of it, and I knew it had to be a Church Tongue record. I’ve been with this band, these guys, for the majority of my life now. I’ve made records with other bands, and so have the other guys, but this idea felt sacred to my beginnings. I knew this record was in us, was who we are, and I’m honoured to have made it with my brothers."

Two Times Juno awards listed and 2 times Polaris price listed, Canadian Soul Star Tanika Charles unleash the new album "Reason To Stay that drops on May 16 via independent soul label Record Kicks. Reasons To Stay is Tanika Charles' fourth full-length album, and her most introspective to date. Where her songs have typically touched on romantic love and heartache, the core love and loss of this record is family focused. It has taken years for Tanika to be able to publicly reflect on the childhood trauma and family breakup that occurred during her teens. The majority of the album was composed by Tanika with the tight knit team of Scott McCannell (Lydia Persaud, Henry Nozuka), Kyla Charter (Aysanabee) and Chino de Villa (Jessie Reyez). Kelly Finnigan of the Monophonics joined in to mix the bulk of the project and apply some trademark analogue grit to Tanika's sheen. Guests include Quebec-based Soulful singer/songwriter Clerel on the last track "Win", as well as Toronto soul artists Aphrose and Claire Davis providing additional vocals. "I love this album. I love singing these songs. I love that it's made me step outside of my comfort zone. It's forced me to face the root causes of my own insecurities that I carry to this day. Why am I striving so hard to seek validation, and why take it so personally when it doesn't come? That distortion has prevented me from celebrating my own successes at times. This album is me trying to change that." "I love the conversations that have begun with these songs. It's about childhood trauma, but it's not a victim story. I'm doing well, despite the baggage I carry. I want others to be able to carry theirs too." In the last few years, Canadian Soul/R&B powerhouse Tanika Charles has transformed from an emerging solo artist to a commanding performer and bandleader, cementing her status as a staple in the Canadian soul scene. Her previous studio albums - "Soul Run" (2017), "The Gumption" (2019), and "Papillon De Nuit" (2022) - have propelled her to international acclaim, earning her two JUNO nominations, two Polaris Prize listings, and a growing global fanbase. Extensive touring across North America and Europe has further solidified her reputation, with standout performances at festivals such as Trans Musicales in France, Fusion Festival in Germany, Mostly Funk & Soul Festival and Jazz Festival in the UK, Holy Groove Festival in Switzerland, and Canarias Jazz Festival in Spain. She has also shared the stage Estelle, Mayer Hawthorne, Haitus Kayote, Lauryn Hill, Bedouin Soundclash and Macy Gray. Tanika's meteoric rise and undeniable artistry have been widely championed by outlets such as KCRW, KEXP, BBC6 Music, Exclaim!, CBC Music, Uncut Mag, PopMatters, Albumism .. further solidifying her position as a global soul sensation.

An imperial phase Actress commits a lushly amorphous installation piece made for the Berliner Festspiele to vinyl, rendering a post-industrial symphony full of iridescent shifts in gyring, OOBE-like spatial coordinates landing somewhere between nutopian ambient, kankyō ongaku and sawn-off bass science.

‘Grey Interiors’ was made in collaboration with Actual Objects and is an absorbing animation and navigation of those post-human ideals that have prompted Darren J. Cunningham to his best work across the preceding two decades. In its hypnagogic symphony of the elements, he short-circuits distinctions of classical music’s metric freedoms and the hyperspatial sensuality of concrète/electro-acoustic and ambient musics with an artistic license that has come to distinguish his work in the contemporary field, and arguably identified him as this generation’s most vital electronic abstractionist.

The first half of the album is bewitchingly airless, materialised in a twinkling vacuum. Naturalistic environmental recordings and a half-heard piano swirl around nauseous airlock whooshes and eerie bass drones. It's all pulverised to a powdery, shimmering residue; if Actress's music is defined by its character and texture - that sweet spot between the bedroom and the soundsystem - then this one advances the narrative without losing its backbone. And like a lot of his best work, it comes into its own on the back of zonked eyelids, conjuring a play of shifting geometric patterns within its imaginary physics and nuanced narration of ephemeral melodic phrasing and vaporous textures.

At about the halfway point, that dissociated piano finds its groove, coalescing into a jerky drum machine rhythm popping like bubbles in the stifling atmosphere. We can draw some intersecting lines here thru electronic music lore - traces of vintage AE, Push Button Objects, UR - but Actress always leaves an indelible fingerprint on anything he touches. Even when he's rubbing against the gallery-industrial complex, he manages to fill a stagnant space with electricity and wit; look at the title itself: is it a reference to the "landscape beyond man" as the installation's press release might have us believe, or the institutions themselves?

Following on from his stellar record store day 2017 double-pack, Dimitri is back with another clutch of indispensable Disco edits from his impressive archive for the legendary Salsoul label. Any self-respecting DJ or Disco-lover will be brimming over with excitement upon looking at this impressive selection of tracks, all respectfully and lovingly tweaked by Disco-Dim. Salsoul Orchestra's 'Ooh I Love It (Love Break)' kicks things off, a true blue classic, just gently touched in all the right places and extended in the best possible way. Following up is Skyy's total anthem 'First Time Around', a classic Garage groove and Dimitri's version is near perfect, again, re-touched by someone who truly understands what Disco all about! Essential stuff. On the flipside The Jammers - 'Be Mine Tonight', is another massive Garage smasher, here Dimitri almost edges Shep Pettibone's OG mix into the Boogie stratosphere, just incredible! It makes perfect sense that this amazing double-pack should finish on one of Dimitri's most sought after edits - Love Committee's 'Just As Long As I Got You', an epic slab of soulful, almost dark, Disco. Absolutely huge.

B & C können laut sein, leise und alles dazwischen. Eine ziemlich treffende Beschreibung, wenn auch etwas heruntergebrochen. Ein sound-ästhetischer Angriff, der Einflüsse wie Sunny Day Real Estate, Neutral Milk Hotel und Nirvana offen legt, ihr 2011 erschienenes Debütalbum ,Separation", das Balance and Composure als eine der vielversprechendsten Underground-RockNewcomer präsentierte. Separation ist ein wegweisendes Werk des Post-Hardcore und Emo. Der kraftvolle und emotionale Sound ist ein Muss für Fans des Genres. Mit Tracks wie ,Void" und ,I Tore You Apart In MyHead" zeigt das Album die dynamische Bandbreite der Band und derer Songwriter-Skills ebenso. Die Themen des Albums - Isolation, Verlust und Bewältigung werden durch den leidenschaftlichen Gesang und die raue Instrumentierung bestens ins Bild gesetzt. Wenn Du auf der Suche nach einem authentischen Post-Hardcore-Erlebnis bist, ist ,Separation" ein Muss für deine Sammlung. Für Fans von Citizen, Turnover, Tigers Jaw, Touché Amoré, Sunny Day Real Estate.... - Neue 2025er-Pressung auf klarem, grünen Vinyl!

Tuning the Wind was created in 2022 as an installation piece. Since then, it has been adapted into multichannel, 4DSOUND, and stereo installations, as well as performed live on numerous occasions around the world. The piece has a duration of 36 minutes and 15 seconds. For the vinyl pressing, it has been divided into two parts.

Composer Aimée Portioli, known professionally as Grand River, recorded various types of wind and then reworked them through layering and pitch adjustment to create a musical piece where the wind itself becomes a prepared instrument. At times, the sound of the wind is tuned to the 440 Hz reference, while at other times, the instruments are tuned to the sound of the wind. In Tuning the Wind, nature and music merge seamlessly. Synthesizers and wind recordings become indistinguishable, blending natural sounds with human-made instruments. The boundary between a gust of wind and an instrument-generated sound fades away. Human artistry and nature’s symphony merge to become one.

Wind is air in motion. It makes no sound until it encounters an object. The sounds it produces depend on the strength of the wind and the shape and material of the object it touches. When the wind blows, trees sway, buildings rattle, materials move, and sound waves are generated. Some believe that temperature changes create layers of air, and that the friction between them forms a unique sound—perhaps the true voice of the wind, which birds may be the only creatures capable of recognising. Sometimes the wind howls; at other times, it sings or whistles, shifting from a gentle murmur to an angry roar. The wind’s range of frequencies, tones, and timbres is vast and varied. Tuning the Wind is a piece about the wind, made with the wind—an abstract expression of our ongoing conversation with nature.

Concept, composition and production by Aimée Portioli. Wind recordings by Aimée Portioli and Pablo Diserens.
Mastered by Rafael Anton Irisarri. Front cover photo by Bárbara Cameán and Aimée Portioli. Back cover photo by Maria Louceiro. Design by Daniel Castrejón.

Balance and Composure machen 2013 da weiter, wo sie mit dem Debut Separation zwei jahre zuvor aufgehört hatten. Wieder einmal die Grenzen ihrer Musik auslotend, mit treibenden Riffs und intensivem, leidenschaftlichem Gesang auf dem damals zweiten Studioalbum "The Things We Think We're Missing". Es ist die Art von Album, die den Hörer zum Innehalten und Nachdenken anregt und Momente des Glücks und der Traurigkeit im Laufe von 13 Songs bereithält. Bei Erstveröffentlichung erreichte The Things We Think We're Missing #Platz 51 der Billboard 200 und wurde von mehreren Publikationen als "eines der besten Alben des Jahres" gelobt. Nach Alben auf No Sleep/Hopeless und Vagrant hat sich die Bnad nach einer Pause im Jahr 2023 wieder zusammengetan und veröffentlichte ihr viertes Studioalbum im Oktober 2024 auf Memory Music (Run For Cover). B & C können laut sein, leise und alles dazwischen. Eine ziemlich treffende Beschreibung, wenn auch etwas heruntergebrochen.Ein sound-ästhetischer Angriff, der Einflüsse wie Sunny Day Real Estate, Neutral Milk Hotel und Nirvana offen legt, seit 2011 sind Balance and Composure als einer der vielversprechendsten Underground-Rock-Newcomer im Segment Punk/HC präsent! Für Fans von Citizen, Turnover, Tigers Jaw, Touché Amoré, Sunny Day Real Estate.... - Neue 2025er-Pressung auf hell-rosa Vinyl!

Following his contribution to FUSE’s Various Artist release last summer with the standout ‘Life’s A Bleep’, Melbourne-born, Berlin-based DJ/producer Reflex Blue returns to Enzo Siragusa’s renowned imprint with his first full EP on the label, ‘Fragments’.

His fusion of deep, sub-heavy house, heavily influenced by turn-of-the-90s UK tech house and forward-thinking electronic spheres, has welcomed releases on labels such as Limousine Dream, Kalahari Oyster Cult, and Craigie Knowes, while making appearances at the likes of Slapfunk, S.A.S.H. and more.

Now, with ‘Fragments’, he takes his sonic explorations to FUSE once more, delivering a high-energy selection primed for dancefloor impact. ‘Ruff City Dub’ brings heavyweight low-ends, shimmering textures, and UKG touches to kick things off , setting the tone for the EP’s dynamic and versatile feel. ‘Tightening The Screw’ follows with crisp drum programming and hypnotic, off-kilter synth work, offering a clever balance of wonk and precision. On the B-side, ‘Love 2 Rhythm’ oozes funk and fluidity with its rolling percussion, soulful vocals and rubbery bass licks, while ‘Freakin’ In The Neighbourhood’ merges influences from rave, electro and more with a modern, high-energy twist for a no-nonsense, late hours hitter.

Repress

Samosa Records swings back into action for the summer months with Afrikano Vol. 1 - a scintillating four tracker EP from Various Artists which you will fall in love with on the first listen.

On the A-side, the always impressive Vagabundo Club Social kick things off with the enigmatically titled ‘Mr. Mista’ - a hypnotic, (almost calypso inspired) rhythmic explosion of Mibra guitar, whirling organ, horns and a wicked high end laser sweep. This is a pure chugger, folks. At a deceptive 120bpm it will have you dancing til dusk.

A2 brings us ‘Sweet Dance’ where C. Da Afro met De Gama: after a brief shuffle beat start (liberally peppered with rhythm guitar and organ stabs), the unusual duo make sure it’s all about the beat and horn breakdowns. Pre-drinks in Lagos, people watching and waiting for the night to start is the order of the day here. Cut this in half and it has ‘summer’ stamped right through it. Gloriously sweet.


On the B-Side, Atchoum & Grincheux take centre stage with ‘Demokoussé’. Les Inferno applies the special retouch here, and straight away we’re treated to a gloriously produced trip through breakbeat inspired beats, deep, throaty horns and an outrageously soaring sax. Oh you want more? Well try the addition of the gorgeous spiritual vocals that put the bow nicely on this African sizzler.

Finishing the EP on B.2 is Lego Edit and the aptly titled ‘Afromaniaco’. A pulsating, horn inspired shaker, this track grabs you right by the beat bone from the off and won’t let go. Lego Edit’s trademark deft touches and attention to detail is all on display here - sweet sounding African vocals weave in and out of the almost melancholy horn stabs and washboard beats. A soundtrack for one of those incredible sunsets, ‘Afromaniaco’ is the missing piece of this diverse jigsaw.

With Afrikano Vol. 1, Samosa Records has found the perfect accompaniment to what is hopefully a long, hot summer. So Samosa, so brilliant.

"Hachiku ""The Joys of Being Pure at Heart"" LP - Electric Blue Bio-Vinyl (140g)

Melbourne’s dream-pop outfit Hachiku return with their second album The Joys of Being Pure at Heart—a heartfelt exploration of vulnerability, resilience, and connection. Featuring contributions from members of the Melbourne Symphony Orchestra and collaborations with harpist Mary Lattimore, the record fuses shimmering indie-pop with orchestral touches, making it Hachiku’s most expansive and collaborative work yet.

Anika Ostendorf - the creative force behind Hachiku - shaped her inclusive, community-minded ethos by her time working at the queer-run Melbourne label Milk! Records, which also released Hachiku’s self-titled EP (2017) and debut album I’ll Probably Be Asleep (2020). The Joys of Being Pure at Heart (2025) sees Ostendorf lean into a new mode of emotional openness and radical honesty: not only with others, but with herself. As the saying goes, to be loved is to be known – with these 10 songs, Ostendorf lets her guard down and reminds us to hold onto the little joys that make life worth living in spite of it all.

Pressed on Electric Blue, GreenPower Bio-Attributed Compound "

As one of the brightest and most prolific new songwriters to emerge from the Birmingham music scene over the past few years, Will Stewart has made a name for himself as both an imaginative storyteller and six string gunslinger whose detailed accounts of life around the Deep South seem to capture the essence of not just the humid, kudzu-covered environs they come out of, but also the creative cultural milieu that makes such narratives possible in the first place. Taking cues from everyone from Big Star and R.E.M., to Phosphorescent and the Drive-By Truckers, and even classic Southern literary figures like Eudora Welty and Barry Hannah, Stewart has managed to carve out a place for himself as a conjurer of time, place and characters— and the stories that swirl around them— in a way that’s simultaneously reflective, empathetic and unapologetic in their presentation.

Now on his fourth solo LP, over his past three studio efforts Stewart has shown a deft touch for not just engaging character arcs and succinct studies in the human condition, but also a range of musical modes that span everything from quiet dissertations on love and loss, to brash rockers and moody explorations of the complicated nature of modern Southern living. As someone who also wears the hat of a highly sought after sideman who lends his talents to friends and fellow travelers like Birmingham locals The Blips, Terry Ohms and Sarah Lee Langford, there are few sonic spaces that Stewart’s hands haven’t touched in some way.

Stewart’s newest offering sees him poised to deliver his most ambitious project yet, with a 10-track song cycle centered around the iconic, and now defunct, Moon Winx Lodge in Tuscaloosa, AL, and some of the characters and scenarios that have played themselves out there over the years.

Rising indie soul artist Sevens announces the release of his highly anticipated debut album, Sincerely, Sevens, on February 21, 2025. At just 24 years old, Sevens emerges as a compelling voice in the contemporary soul scene, blending indie soul, neo-soul, and jazz into a collection of sincere, heartfelt songs.

With a distinct baritone voice and a gift for storytelling, Sevens explores themes of love, growth, and introspection throughout the 9-track record. His philosophy is simple: less is more. Crafted over a span of three years, much of the album was created in Sevens' bedroom, showcasing his skills not only as a songwriter and vocalist but also as a multi-instrumentalist and producer.

Sincerely, Sevens captures the artist in his purest form—a deeply personal work that touches the soul. From sparse, intimate arrangements to warm, groove-infused instrumentation, the record embraces vulnerability while exuding timeless charm.

The album features contributions from trusted collaborators: Boris Van Overschee (co-producer / Delv!s, Portland) Willem Ardui (additional production / Blackwave.) and David Poltrock (additional keys)

Tobie Speleman expertly handled the final mix, ensuring every note resonated with clarity and purpose.

Reflecting on the album, Sevens shares: “I wanted to feel more with less. I wanted to evoke, I wanted to touch. Parts of me I’ve never gone. It is honest, it is true. It is me.”

With Sincerely, Sevens, the young artist solidifies his position as one to watch—an emerging voice with both depth and authenticity.

Alternative Tentacles Records is thrilled to announce the first-ever vinyl release of two long-awaited tracks, previously available only in digital format. This highly anticipated split 7" features Jello Biafra & The Guantanamo School of Medicine and The November 3, with two explosive songs: "Blunder Blubber" and "IFAR." "Blunder Blubber," originally released as a digital single to mark Rush Limbaugh's passing and was recorded during the TEA PARTY REVENGE PORN recording sessions, highlights everything iconic about Jello Biafra & The Guantanamo School of Medicine. The song critiques the rise of right-wing extremism, tracing its roots back to Rush Limbaugh's influence and the repeal of the Fairness Doctrine under President Reagan in 1987—a policy change that allowed one-sided political commentary on public airwaves. Biafra argues that this set the stage for the toxic media landscape, fueling figures like Limbaugh and the current wave of ""MAGA"" rhetoric. Reflecting on the political climate, Biafra notes, "I wrote the song back when Clinton was president, seeing the writing on the wall. I was hoping never to use it, but we had no choice but to update and perform it now." On the flip side, The November 3 delivers "IFAR," a fiery debut track that first dropped during the 2020 Republican National Convention. Blending punk rock energy with raw political outrage, lead vocalist Billie O' Rights unleashes a bold, biting rant, backed by Tom Pain’s searing guitars. Pat Triotte and Justice Ferrall add their creative touches to this electrifying anthem, capturing the chaotic spirit of the times. "IFAR," is a raucous, tongue-in-cheek commentary on partisan divides, clocking in at just two minutes of catchy, irreverent fun. Interestingly, the song was reportedly conceived during a mundane moment: Pat Triotte was baking blueberry muffins one Saturday afternoon when the idea hit, and within hours, the track was recorded— and the muffins were supposedly amazing. Despite the humorous and often provocative tone of both songs, the core message of this release is clear: a call to action to vote. With this limited 7" vinyl, Alternative Tentacles Records urges everyone to make their voices heard in the 2024 election and beyond! Don't forget to VOTE!

Especial welcomes new artist DJ 1985 to the label. As so often, the idea of pushing new music has been the raison d'etre of the past decade. An EP of a love for Acid, from the breaks anthem of the title We Trippin’ to exploring the ethereal and even mind-melting Ambient House and Balearic of how the Roland TB-303 has become a fundamental element in the history of electronic music.

Soviet born; Belgrade exile Stanislav Grishchuk is DJ 1985. A man of many monikers, came to House later, originally progressing from Breaks, Hardcore and onto Drum and Bass as DJ Saint Man, a Mixmaster in the truest sense, switching it up to include Ghetto House and Booty, DJing led to producing, finally seeing DJ 1985 emerged to encompass Acid, Bleep, Breakbeat, Chicago and beyond.

A DJ supreme from the old school – check his Boiler Room mix for live vinyl dexterity – his productions nod to Aphex Twin and the Rephlex / UK lineage, the Techno. Electro of masters Underground Resistance and Drexciya and on to Italo, Italian House and early 90s New Jersey and New York’s golden period and of course the masters Kraftwerk, all influence the sounds of this debut EP.

Starting as 808 and 909 Electro and Techno jams, all the tracks are recorded live, MPC, synth and drum machines, no computers involved. We Trippin’ is built around the “Think” break, with trippy 303 line, some 808, synths and off we go “we trippin”.

Dolphin and Sirens was inspired by the Boka Bay dolphins of Montenegro, near where the recording was made. A flotation bath of warm dreamy acid beats and aquatic found sound, fast, shifting breaks, the Adriatic Sea of Croatia and beyond beckoning.

Catland’s title is a nod to Stanislav’s love of all the feline, but the breaks’n’303 cut is an endlessly uplifting spark, celestial, a cosmic evolutionary odyssey.

DJ 1985 completes his debut EP with the aptly titled The Last One. Spherular, mysterious, this rise of spatial breaks is a reawakening of symbolic music that is touched by both East and West. Stanislav’s music intersects, trans-national, almost spiritual and psychedelic. Live jamming, more hearted, the snap electro percussion, dream-laden pads are twinned with an ethereal otherness via the endless possibilities of the TB-303.

Sarang Bang Records proudly presents Eternal Afternoon, the latestfull-length offering from Auckland-based composer, producer, and multi-instrumentalist, Joe Kaptein. Drawing inspiration from the 70s jazz-funk innovations of Donald Byrdand Lonnie Liston Smith
and elements of dub and disco, Eternal Afternoon is an uplifting collection of five original Kaptein compositions - a joyful antidote to these troubled times.

Featuring Kaptein’s intricately layered keys and tight ensemblearrangements, the album is augmented by masterful touches of flute and saxophone by Aotearoa New Zealand jazz icon Nathan Haines and backed by local heavyweights Elijah Whyte (drums) and Wil Goodinson (bass), the backbone of Kaptein’s regular working band.

Seemingly out of nowhere, Kaptein appeared on the Auckland scene a few years ago and quickly made a name for himself owing to his versatility, impeccable taste and musicianship, and has established himself as thego-to keyboardist for the likes of Nathan Haines, The Circling Sun, Princess Chelsea, The Situations, and Muroki.

Before recording Eternal Afternoon, Kaptein somehow managed to channel his unrelenting creative energy into three low-key, but brilliant self-released digital albums in between his hectic international touring schedule and session work. These exploratory recordings touch on drummachine and synth-driven psych-lounge, Krautrock, experimental jazz, and Bacharachian pop, allowing the listener a glimpse into the depth of Kaptein’s vision and his wide-ranging musical interests.

Some things take a long time. And some things are meant to last. But how you know that, or learn how to find out, that’s a more intangible thing. That’s A Shaw Deal – intangible. A communal meeting place for two old friends and their different musics. A Shaw Deal is the first album by Geologist and DS. They go back a long ways – back before Highlife, before Shaw joined White Magic – back to the early childhood of Animal Collective. Basically, Doug Shaw touched down in NYC around 2003, and he and Brian Weitz have been friends ever since.

“DS” first released his own music under the moniker “Highlife” on the album “Best Bless” EP, in 2010. Listeners were lifted by the sound – a vital new transmission imbued by the popular African guitar music, British folk-pop, desert blues and the ritual spirit energy that Doug had been evoking in White Magic with Mira Billotte. And really, if you knew Doug, this incredible alchemy was just one of the amazing ways he could come through on the guitar.

A couple years back, Doug was posting bits of his playing on Instagram, and Brian found them to be a much-needed escape from reality – he’d just let them loop for stretches of time, get lost in there, and emerge with recharged energies. They were such perfect mini-encapsulations of Doug’s fantastic spirit. Brian was inspired. Eventually, he ran them through his modular system, editing and tweaking and looping as he went, creating new shapes and juxtapositions, instinctively rewiring Doug’s original sounds to extend the feeling of peace they’d given him. Once it was all together, it would make a cool birthday present to regift to Doug! And once the gift was given, it was sounding like an album too…

From start to finish, A Shaw Deal taps into DS’s guitar playing and the vibe of his expression, drawing out meditative waves in new forms while exploring the worlds within them. Geologist and DS collaborate in a manner that’s brought comfort and release to them both. A Shaw Deal leaves no doubt, as it radiates further into the world and beyond – it will bring a new range of views and feels to everyone who listens in.

Taking our time has become a sort of ESP modus operandi, often proving that when variables are left to cook long enough—relationships, styles, politics, moments in culture—we may collectively yield a more considered result. Once in a 'Blue Moon', we set sights on a record that conducts some strange voodoo, some rare combination of elements that commands our entire being. Entering our atmosphere with a concise 6-track debut, dub technician Brendon Moeller has brought us exactly that. Although we’ve long been admirers Brendon’s work, separated by only a few degrees—he and ESP’s Lovefingers are the same age and shared a decade of salad days in New York City—it took another decade before enough courage was mustered to suggest we actually work together. Our reticence has seen Brendon’s aesthetic and palette evolve over the years, and the label has simultaneously sculpted a tone of its own, but now we’re more than proud to finally marry his highly refined output with our, let’s say, “deliberate” appetite. 'Blue Moon' touches everywhere Brendon has been as an artist—from the obtuse corners of ambient to IDM, dub techno to liquid drones and bass—yet the vocabulary is honed and succinct, relying on a very intentional handful of expressions. This is almost an exercise in restraint, all 6 tracks are delivered from a disciplined and committed point-of-view, but what we find most captivating is the exploration that this allows in terms of depth, texture, fluidity and pacing. There is a complexity hidden in plain sight that begs to be studied, a comfort that allows us to slip inside like a warm bath, an addictive tingling sensation that we must prolong indefinitely. Even as we write this testimonial, the album is going on a fourth repeat and we languish the intervening silence between tracks. This is being under the spell of Brendon’s 'Blue Moon'.