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how do we live in times when nothing seems safe, how do we listen to music when rockets and bullets make the air scream, how do we produce music when the building with our studio is simply no longer there?

over the last 2 years, AMAS and KONSTANTIN KOST have been trying to produce a techno EP across the borders of the war in ukraine. KONSTANTIN KOST was never able to leave ukraine for this, while we were able to move freely through europe.

this ambivalence is part of this album, it is part of every note and every line of the poems that can be heard here. we all associate techno with bass-heavy and dancing through the night, but ODESSA is more, it is a journey without being able to travel, an experience without being able to experience, an escape without being able to escape and a life without really being able to live ...

neither AMAS was able to travel to odessa during this time, nor KONSTANTIN KOST to europe, neither was able to experience the other personally. however, the exchange of music and lyrics has built up a relationship to a country at war, as well as to its people, musicians, women and children.

while we were dealing with our everyday problems in germany, the situation in ODESSA became increasingly confusing. the constant fear of being drafted and producing videos and images for the album at the same time were extremely ambivalent moments.

how do you deal with your counterpart in such moments and what do you say to someone in a situation that we can hardly imagine? we often talked about friends simply disappearing and corrupt officials and soldiers embezzling money and in the next sentence it was straight back to the vinyl production. these conversations were very rational and at the same time extremely surreal.

this EP is not meant to be a political EP, it is meant to be a human album and to take away the feeling of powerlessness from the people who were and are involved. this production and its music is a triumph over the destructive and dark side of war, it is meant to show that art is boundless and that people are connected all over the world even in the darkest times.

in the first track RED GLOW our guest TANYA (musician and djane from Odessa) stoically repeats the words LOVE and FEAR, followed by the words: “i meet you with red glow, in your eyes i quickly dissolve!” the track is part of everyday life, everywhere you meet this red glow and yet everything has to flow on and yet people still live and dance ...

in NIGHTCALL we walk through the streets and follow the call of darkness. the words “through the night” are used here repetitively like a percussion. but the highs and lows also give us hope and the belief that we will wake up again tomorrow and start a new day. in the dark there is always light, which must be preserved and found.
OLD KINGS is also the title of the poem we have written, based on the poem OZYMANDIAS by percy bysshe shelley. OLD KINGS determine our times and our political systems, seemingly unteachable old men hold the world in a stranglehold and it seems as if there are an infinite number of them. yet we continue to fight against these people, we cannot and do not want to do otherwise ...

in TALK TO GOD, KONSTANTIN KOST reads from the well-known ukrainian poem “a cloud floating behind the sun” by TARAS SHEVCHENKO, a famous ukrainian poet and writer. he is considered the founder of modern ukrainian literature and, in part, of the ukrainian language. it is about red fields, the fog and its darkness, as well as the sea and the calmness of the heart in nature, the longing for peace and peace with god.

in addition to poetry and music, all photographs and videos are original recordings by KONSTANTIN KOST of his city ODESSA. although we cannot visit each other, we still share strong visual impressions of a city that, in all its beauty and resilience, will hopefully soon be open to the world again. the cover is therefore also a picture of the port of odessa, a place where people and goods from all parts oft he world will soon be able to sail in and out again.

Madonna is reissuing LIKE A PRAYER this summer to celebrate the acclaimed album’s 35th anniversary. Pressed on opaque silver vinyl, it will be the second release from the Silver Collection, a series of limited-edition vinyl reissues celebrating 40 years of Madonna’s illustrious career. The Silver Collection debuted last year with True Blue and will continue to spotlight other Madonna albums in the coming months.
Originally released on 21 March 1989, LIKE A PRAYER quickly became an iconic album, acclaimed by critics and cherished by fans. It was Madonna’s fourth studio release and one of the most personal albums of her career. The title track became Madonna’s seventh No. 1 hit in the US. In the UK, the album was a major success as well, topping the UK Albums Chart and solidifying Madonna's status as a global superstar. A massive international success, the album has sold 15 million copies worldwide and remains a favourite among fans.
The repress has been hotly anticipated from fans and we plan to run heavyweight online promotion including new content from the Madonna socials (FB 19m / IG 19m).

Full of bounce and experimentation in equal measure, ‘Triple Transit,’ Braille’s new album for Hotflush is about leaving his Sepalcure project (with Machinedrum) in the rear mirror, moving back to New York and using its energy to fuel new moves, confronting our hyper layered world and overcoming personal difficulties by being creative.

Focused squarely on utilising modular synthesis in sprawling studio sessions, the album covers a wide stylistic range and draws on the artist’s formidable battery of experience to craft a body of work that packs real emotional punch as well as a dancefloor sensibility.

We had a quick chat with him to wet your appetite…

Praveen Sharma aka Braille:
Moving on from Sepalcure
“That period of time when Sepalcure was at its peak was really inspiring. I’m still really in awe and humbled by the fans. It’s always amazing to hear about how music you’ve made has brightened up other people’s lives in some way, but ‘Triple Transit’ is really about transitioning from that period to something new. I’m intentionally not using many vocal samples on this album. That became quite a crutch for Sepalcure and I wanted to try and find ways to evoke those emotions and connect with the audience in other ways.”

The roots of his Bounce
‘Sour Patch Kiss’ and ‘While We’re Free’ are inspired by classic house and some early Detroit stuff. Songs like ‘Big Fun’ (Inner City), ‘I Wanna Be there’ (Model 500) and slowed down ‘Sex on The Beach’ (DJ Assault) have stuck with me since the beginning. I used to listen to this slowed down and doubled version of ‘Sex on The Beach’ on an early Juan Atkins mix cd on REPEAT when I was in high school.

Getting ambient
Triple Transit slows down and transitions through a bit of sadness and eventually acceptance at the end of the album. A lot of the music I’m making these days is trying to recreate that manic feeling so many of us have in 2024. Between social media, ridiculous hustle culture expectations and depressing global and national political events, it’s hard to not feel overwhelmed. I feel like Triple Transit is kind of a parabolic curve from mania to joy to a sober realization that yeah, actually the world is just fucked but somehow we carry on.

The journey continues. Now, the second Want Some Record release will be the first album of The Mighty Cavaliers from Kenya. It's a bit unusual that it is not coming in the original order of release, but that's how I got my hands on both records.
Anyway, this record is another masterpiece of Kenyan funk-influenced music at its best. The songwriting is not from just one musician; every musician contributed songs and music, which makes it very special. You can hear the different musical influences, and every track has its own personality.
'Fisherman' was released twice before, in 1976 and 1978. Now, it's time to spread this wonderful music to the world again in a very limited edition of only 500 pieces, with a brand new cover design.

"This is a live album that was taken from the tour for YTILAER. Songs tend to mutate after they"ve been recorded. These songs were mutating faster than usual. Like whatever happened to Bruce Banner in the lab - I knew these songs were about to get superpowers. As far as I was concerned, this change needed to be documented. The best thing about documenting something is that it gives the creator permission to move on should they wish to move on. I usually prefer to move on. These songs were recorded in Chicago, America"s heart. And at one of the best clubs in the country - I try to only work with venues that are not entangled with LiveNation/Ticketmaster. Thalia Hall, baby. Stay free. The date was mid-point in the tour, so I knew we"d be as hot as we were going to get. Not too green, not too brown. There was the thought, "let"s take this op to make it something special." So we took advantage of Chicago"s easily accessible players - we got Nick Mazzarella to add alto sax to one song, and from the opening band, Pascal Kerong"A to sing on a song, and Nathaniel Ballinger on piano on one song - and I couldn"t pass up the opportunity to invite Joshua Abrams and Lisa Alvarado to play on "Natural Information." The hardest part of making the record was cutting songs out - it could have been a triple album. But I don"t know, maybe the show should have been this short?" - Bill Callahan

Ruby Red - Transparent - Galaxy effect vinyl in dub style jacket (jacket sleeve with center hole cut out so label of LP shows through) a black paper inner sleeve and poly bag.

PART ONE’ METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”


At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.
Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.
Woven together from home studio recordings that span two decades, this latest outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted through three separate strata. As with April’s “Part One” and the forthcoming “Part Three”, “Part Two”, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track, “The Hag Of Beara Vs The Poet”’s languid, tribal groove expands into a chromatic wash, like an endless drip of oil spreading out under a midsummer haze.
A filtering of the alpha-state travelogues of its predecessor, “Part Two” reaches even deeper into primal yet pristine states. It journeys from the undulating drone and slow-thawing wonder of “The Falconer”, as if the Myst soundtrack were being broadcast from outer space, through “Damascus”’s perpetual-motion, dreamtime bazaar and “Vapour Phase”s seismograph frequencies measuring supernatural tremors to “The Unjust Incarceration”s distorted bagpipes, sounding a noise-frayed lament
If “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Make The Ting is a project born out of my writing on creativity that lives online as post it style notes known as the ‘Yellow Squares’ found across Instagram and Twitter. The first square was posted on July 31st 2021, as covid-19 restrictions were lifting in the UK and I was thinking about what the music scenes and wider creative communities are after 18 months of lockdown. The idea’s developed into lectures presenting them in real life, but the platform felt right to explore my own creativity more broadly to challenge my own ideas in real time. My history as a DJ, Label Owner and Promoter in the Grime scene wasn’t at the forefront of these ideas, but I wanted to reconnect back to the ecosystem that inspired and gave me a creative career in the first place. Blay Vision’s ‘Cammy Riddim’ in the summer of 2022 inspired an idea to translate the ideas in the squares into song form. I approached Grime MC Jammz about the idea, and the first song ‘Yellow Square’ was done with the core principles that I had written about so far. 6 months passed, and while on a Muay Thai retreat in Thailand in February 2023 I thought about expanding the musical side of the Yellow Squares further. I text Jammz about turning this idea into an album, that we make as quickly as possible using my writing as a guide, and his voice and creativity to turn them into songs. We gave ourselves two weeks, set up a shared notes in iPhone did two zoom meetings, one phone call, exchanged messages on iMessage and he wrote 7 songs in a week, then recorded them all in one day at Ten 87 Studios in Tottenham, London. Jammz wrote all of the songs to one of his own beats, then we selected the final instrumentals we liked that we thought fit the ideas from both our camps the day before recording. The speed forced our hands creatively and it would have been a completely different project if we worked on it for months. Time is the creative director. Albums don’t have to be blockbuster projects with big budgets and huge campaigns behind them. Albums are just collections of ideas. Removing the pressure of trying to make a perfect one meant it got done and released with the least stress possible. Even the business of the album took 5 mins to handle. An equal revenue split on each song between me, Jammz, and the producer. Everyone gets paid quarterly into their own account automatically by our distributor. On announcement of the album in March 2023, we released the acapellas, for people to do their own versions, before most of the original songs had been heard by anyone. We encouraged people to Remix The Ting, and I did custom artwork for everyone that sent me a complete remix before the album came out on the 30th June 2023. The front covers are drawn individually by me. I wanted to make the record an extension of what I do with the yellow squares themselves and capture the energy of where my head is at in 2023. If it’s blank, it’s space for you to draw your own yellow square. Maybe what you think about the album, what it’s inspired for you, or just a snapshot of where your creative brain is at on the day you are picking up this record. This could be the first of many albums, this could be a one off. Nobody knows what is going to happen next. It all may make sense in the end – Elijah

8th Release of the limited Florcene Funk Sublabel including 2 rare Gems....Vinyl Only & limited as usual.



Comes with fresh Florencefunk Stickers!

YOIONWAX's 10th anniversary record is already here! This is our second fully printed record with an incredibly cool zoetrope artwork by Alex Mikheev. This time, we're embarking on an amazing journey to unexplored places, and our guide is the very cool and experienced musician Donnie Cosmo.

We start in a tropical forest, and as we walk through the tropics to the starting pad of our ship, Donnie suggests trying Jungle Juice. Moving on, we encounter The Man From Planet X, whose story accompanies us to a small stop as we switch from side A to side B.

Mystical Journey begins as soon as we put the needle on the record on side B. The zoetrope artwork, which is now located on the entire record, can be examined indefinitely, especially when we listen to such a soundtrack. It is at this moment that we break away from the earth and find ourselves in open space, an exciting journey awaits us. Having traveled a long road through stars, planets, galaxies, Donnie suggests Prepare Your Soul, and we prepare our souls for the transition to a new level, because we have come a long way with you, and this record is a great gift for the sixth anniversary of our project, which took place at the end of May.

We are actively working now on the development of the project and are preparing something new, we are sure it will be very cool, and you will like it, so do not miss your chance now to become the owner of a collector's edition, a truly exclusive and legendary record - YOIONWAXOIO!

On his new album always centered at night, moby has once again conjured into reality a collection of heartachingly beautiful, tender-yet-defiant songs, made in collaboration with uniquely talented, soulfully aware, other-worldly vocalists. All the songs are love letters to the unrestricted and enchanting music scene of late ‘70s, early ‘80s New York that shaped Moby as a musician. The featured vocalists were given the same assignment: “Please don’t write anything commercial. Let it be weird. Let it be personal. It doesn’t have to make sense.”

“Because of that randomized freedom, I’ve been on the receiving end of so much genius work,” says moby. “And the result has been one of the most exciting, surprising things I’ve ever done as a musician, and it’s one of the most worthwhile things a human being can do: make tender, gentle, vulnerable music that’s a clarion call to act.”

Featured on this album are some of the most exciting vocalists of our time. Some are well-known - such as serpentwithfeet on the breathless daydream of a song ‘on air’, the jazzy soulstress Lady Blackbird on the haunting ‘dark days’, or the astounding poet and activist Benjamin Zephaniah on ‘where is your pride?’. Other contributors have been found in relative obscurity - such as friend and vocalist Brie O’Banion on the Cream cover ‘we’re going wrong’, or Sheffield poet laureate Danaé Wellington on the powerful ‘wild flame’.

“The goal for always centered at night is to do something uncompromising,” says Moby. “To make music that is emotional, atmospheric and potentially beautiful. And what better use of this weird privilege I have than trying to foster creative expression that has uncompromising integrity?”

A kaleidoscopic sonic riot, Nandakke? is the hotly anticipated debut album from Japanese-Belgian duo Aili. Featuring 10 tracks of surreal electro-pop, joyful electronica, house music and more, Nandakke? is a euphoric album that sees Aili Maruyama and Orson Wouters more than fulfil the promise of their acclaimed debut EP.

Recorded over the course of six months in Orson's studio, packed full of vintage synths, Nandakke? captures the spontaneous spirit and creativity of those sessions. Exchanging riffs and rhythms, bouncing sounds and samples off each other, Aili and Orson would let the music take them where it wanted. The result,an album full of wild ideas and bold, playful experimentation.

More than anything an exhilarating feeling of discovery courses through Nandakke?, leaving you never sure where it will go next. One minute a pulsing electro-pop number featuring Aili's dad discussing his takoyaki (battered octopus) recipe, the next an explosive high energy workout song like Up & Down.

Certainly Aili was surprised to find herself singing in her own unique version of Japanese again.

"I thought that I was done with that after our debut EP, but apparently not as I speak even more Japanese on the album!" said Maruyama. "Every time we were in the studio these words would just tumble out. It's a complicated language but I just love to play with it.

"In many ways I'm an outsider, I left Tokyo aged 7, so there's a lot I notice as someone who is not a native speaker and it doesn't always make sense, there's a lot of mistakes in it.But in a way that sums up the whole philosophy of the album and how Orson and I work together."

That notion of duality, a sense of belonging but feeling apart, of being between two worlds and inventing your own captures the spirit of Nandakke?, itself a Japanese word that roughly translates to "Well, what was it?".

"It's something you say when you're looking for a word, like you know it but have forgotten how to say it. That's literally how I communicate with my dad the whole time," Maruyama explains. "The main feeling I have when I go to Japan is that I know the language, I can speak it, but part of me still feels like it doesn't have all the vocabulary. There's a gap there that nandakke has always filled for me. All the lyrics come from that place, that seven-year old trying to speak Japanese."

Whether Aili's singing about the language she invented with her father over the years to bridge the gap between them (Nandakke?), the idiosyncratic Japanese relationship to fashion (Fashion) or riffing on children's playground songs (Yubikiri) the result is a remarkable album that defies easy categorisation.

Bursting onto the Belgian scene in 2021 with their acclaimed debut EP, Dansu, its lead track spent 8 consecutive weeks at the #1 spot of Radio 1's VOX list and saw the band nominated for Studio Brussel's De Nieuwe Lichting ('New Generation') award. Since then Aili have appeared playing live on the Belgian TV show Roomies, been tipped by the likes of Rolling Stone, become regulars on tastemaker stations like KEXP and KCRW in the US and Nova in France, toured across Europe and, just recently, played their first sell out shows in Japan.

2000BLACK returns once again with 'Circus Retreat' a song trying to navigate the continuous confusion that surrounds us today.Samii provides the voice and lyrics on a unique uptempo soul fusion track.

The originality continues with one of the signature sounds of 2000BLACK 'London Boogie 7'the music giving off the sound of modern boogie and house combined.To round up the ep 'Shrug' displays the marriage of dub and techno residing in the big smoke.

New Krystal Klear on Running Back. No re-inventing of the wheel here. Sometimes it is what it is. But let‘s hear it from the artist himself:

“ No notes or real inspiration behind this EP. Rb128 consists of four tracks that I made to keep gigs coming and the calendar full - In a time where artists are being forced to DJ like maniacs to keep the electricity running to make more quickfire records (except for Gerd who loves it).

These pure dance tracks try to mix the cocktail between the trendy trance that people like now and the good house records they liked yesterday.

Standard procedure: Melancholic chords over processed drums and breakdowns that make waiting for a train to pull in more bearable.“
But yes, it is still and will always be pretty damn good dance music (Gerd does a high kick and claps his hands)! Love is all we need.

Short:

New Running Back by the ever-reliable Krystal Klear.

Standard procedure: Melancholic chords over processed drums and breakdowns that make waiting for a train to pull in more bearable.“

In spring,
Again.
But it's true this time.

In Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.

If the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.

Their geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.

"Done before,
And I'll do it again"
Ringing in my head
While I try
To feel

Operation_PPRCLP kicks off release SUB010 asking how far will we go in the race for technological advancement, and at what cost? Have we forgotten our humanity as a result? Should we be more focused on how to expand human consciousness rather than trying to command, control and obfuscate or is this just in our habitual nature?

41 Minutes Past Midnight investigates painful emotions around losing loved ones without being able to get any closure, how do we move forward without answers in the face of unexplained, heartbreaking tragedy.

6EQUJ5 aka the Wow! signal first detected on August 5th 1977 shifts the perspective out into the constellation of Sagittarius from where the signal is thought to have originated. In 2022 we learned that 3 distant Sun-like stars within the original antenna-pointed coordinates may provide the answer but at a vast distance of 1800 light years from earth, since then, it's all gone quiet... What world reached out from the cosmos, intentionally or mistakenly...

The final track Celestial Beings asks the age old question of what other life exists across the universe, how advanced are these civilizations that may already be exploring distant galaxies with our shared sense of curiosity and when will we be able to connect collectively with such conscious entities.

Überkeine sets the tone of his own record label with four esoteric tracks, designed for the club. An obvious intention to establish a radical style with conceptualized sonorities, is revealed throughout the Ep. The sound materials are elaborate, and go straight to the point. Obsessing over the flow of creativity offered by his modular synthesizer, he delivers a very dense techno and already affirms a well-marked identity. Powerful and textured kicks, intricate synthetic sounds contained in an arrangement reduced to the essential. The tracks come to life as the forthright reflection of the thoughts of the producer. Guillotine Whistle instantly plunges into the unbridled world of the Ep. An ominous atmosphere hovers over our heads as it reveals organic and disconcerting tones. A gentle brutality emanates from this whistling guillotine that awaits to cut you up in two. Leading the way towards Drifting Data, a track inspired directly from Jungle Patterns. Überkeine is humbly trying to render DnB to a techno format. The dense, saturated Bassline sustains the idea of breaking the dancefloor in pieces. A hard hitting, broken beat environment accompanied by heavily filtered synthetic chaos. Third track’s the charm, the B side starts with Mirror Moist. A drop-down, wet and straightforward techno track with a carnal Bassline. As sensual as it gets, this track conveys a kinky loop urging intimacy and blasting heat throughout the club. Last but not least, Shaney’s remix of Mirror Moist. Picking up core elements of the original vibe and translating it into the off-beat techno nightmare it deserved to be. Full-on obscure dancefloor piece of equipment.

An original instrumental music project led by composer and Oud player Aly Eissa. Featuring his diverse musical influences, Eissa’s compositions create versatile and twisted meditative atmospheres throughout the musical experience.

Aly Eissa is a composer and Oud player based in Cairo, Egypt. He was mentored by legendary composer Abdo Dagher and Oud virtuoso Hazem Shahin. Eissa’s style is deeply-rooted in the Egyptian classical and folk traditions, and influenced by various western genres. Since 2012, Eissa has been regularly performing his compositions with an ensemble for live audiences in Cairo, offering a meditative musical experience with a twist.

One of Eissa’s musical approaches is the experimenting approach through a unique trio formation including the Belgian synthesizer player Jonas Cambien and the Egyptian percussion player Ayman Mabrouk. In this trio, Eissa is trying to explore a different sound and space in the originally composed Arabic music.

Syncrophone proudly presents 'Proceed with Caution' by Detroit's Filthiest. This 4-track catalog masterpiece is a rhythmic exploration, featuring infectious funk-infused beats and a distinctive style that pays homage to the city's illustrious musical heritage. Detroit's Filthiest seamlessly blends tradition with innovation, creating an electrifying experience that echoes the Motor City's iconic sound.

Feedbacks :

Luke Slater : dope
Serge (Clone) : Sick release! Another banger from Dj Nasty!
Elena Colombi (NTS) : Check Out the Technique is great!
Lukas Wigflex (Wigflex) : wonk
Tijana T : huge fan!
Hodge (Livity Sound) : lovely
Eclair Fifi (Lucky Me / NTS) : fk yeah 5/5
Monty Luke (Rekids / Black Catalogue) : fear in your eyes is a banger
Dave Clarke (white noise radio) : Will support ! Love the first track
Marcel Dettmann : thx
Machine Woman (Take Away Jazz Records) : cool
Ben Sims : Technique is my pick, thx!
Will Hofbauer (Third Place, Wisdom Teeth, Rinse) : very slick
Blasha & Allatt (Meat Free) : Fire! Up In Smoke + Nuttin But Chedda are the ones for me :) Thanks, Steffi x
Lena Willikens (Cómeme) : Fear In Your Eyes for me!
Lauren Flax (The Lot Radio/ Young Turks / K7) : incredible EP, thanks!
David Martin (Dimensions Soundsystem) : his is superb. Love it! Thanks DM
Amy Dabbs (Shall Not Fade, Distant Horizons, SlothBoogie, ) : Beautifully sleazy - love it
Bloody Mary (Dame-Music) : track 2 :))) thanks
DMX Krew (Breakin Records / Fresh Up) : Nice trax :) Will try to fit in my December show for Rinse FM.
mi-el (NTS show) : heavy

Issued on his crescive Afroterraneo imprint, Kiko Navarro reunites with longtime collaborator and friend, Latin-Grammy award winning vocalist Buika, for new single ‘El Silencio’.

First meeting back in 1997 on their native island of Mallorca, Navarro and Buika most recently worked together for the heart-rending Latin House song ‘Lo Siento’, one of the highlights of Navarro’s 2017 album ‘Everything Happens For a Reason’, as well the 2006’s ‘Soñando Contigo’ on Pacha Recordings, which remains an enduring classic.

Originally written in 2010 but never released at that time, ‘El Silencio’ comes complete with a brand new club version, for which Buika has recorded fresh vocals. When the pair returned to the studio in September 2023, it was as if they’d never been apart. “It was like the time didn’t really pass” says Kiko. “We have this connection that doesn’t go anywhere. We know each other so well, and we know what we want. Working with her has brought me many good things, and I’m so excited to share the new music we’ve made together with the World.”

‘El Silencio’ (‘The Silence’) is a slinky, mid tempo groover with subtle jazz-funk touches, accompanying a universal song about love. “It’s about a couple who have loved each other through hard times, and a desire to be together still. There’s a message of hope here, saying ‘let’s try’. No drama, no anger, just love” says Kiko.

"After Outer Edges we were trying to find a new direction for Noisia. This resulted in an extensive journey that took us through a lot of new ideas and music.

Although we eventually decided to stop, we are proud of the things we made along the way, and these tunes were always meant to be part of a larger whole. So before we finally close the book on Noisia, we wanted to share them with you, on one last album. Previously released or newly finished, they all represent directions we enjoyed exploring.

In the end, we didn't manage to figure things out. But we did get closer." - Nik, Thijs, Martijn (Noisia)

Here comes the fourth release by Almería-based electronica artist Mynationshit titled ‘The Tycoon’. This is another addition to the independent label ‘Waste Editions’, run by Mynationshit’s frontman Carlos Martín along with his brother Ale. This record highlights Martin’s latest musical touches. Its melancholic undertones juxtaposed with humble romanticism will inspire you. Indubitably, this Spanish artist’s distinguishable nature mixes elements of Electro, Dark Wave, Synth-Pop and Post-Punk. Picture Johnny Cash and Peter Murphy singing catchy tunes to each other while on a cosmic journey to an unknown planet where synths and prose accompany their melodies.

Full Bloom is an experimental sound collective traveling through polyrhythmic timezones and psychedelic soundscapes deeply rooted in the aesthetics of Jazz, Hip Hop, Afrobeat and Dub. Whatever happens, we try to convey a feeling that sits deep in your stomach and makes your body move!

Visions Recordings is delighted to have Detroit's Julion D'Angelo and Chicago's SPECTER on the same record after years of trying to work together. These two Detroit masters of the deepness have released records on some of the best labels around, including Sound Signature, Tone Log, Freedom School , Tetrode , Sistrum and more.
These two tracks are original deep zmusic to dance to, but also to dive into and listen to all the details, the complex programming, and the search for unique sounds. It's special and that's why we love it and want to keep promoting it. Real music!
We fell in love with these tracks as soon as we heard them, and we hope you will too. Visions aims to maintain a high and varied standard, and once again we try to present you with quality and profoundness. enjoy the ride.

Celebrating twenty-five years of Aficionado as a place to play away from suffocating mainstream club culture, DJs Jason Boardman and Moonboots have compiled a contemplative set of 16 tracks that holds a deep meaning to both themselves and attendees of their now legendary parties. The compilation includes two new tracks exclusive to the release: J Walk’s ‘Cool Bright Northern Morning’ and Begin’s remix of Canyons ‘Akasha’.
Reflecting on how it all started 25 years ago, Moon considers their no-plan-plan to be a makeshift plateau which evolved organically: “All we did was try to play good records one after the other without any consideration for fashion. And people wanted that”. Alternative approaches were not unknown at the time, but Aficionado, as Jason and Moon’s Sunday sessions became known, pressed the reset button with unique resolve.
Jason elaborates: “It was 1998 when we started. It was our own 'fuck you’ to the Super Club regime - almost everywhere then. The ‘anything goes’ Balearic ethos was in abeyance. It wasn’t cool at the time, but we both just wanted to keep that original spirit alive. ‘Keep it open’ had always been my approach to DJing - even from playing at Youth Clubs as a teenager. No rules or generic constrictions. Play anything that you like from any era, any style from any time. We always encouraged our guests to dig deep and play outside of their comfort zones, their usual styles”.
The lovingly crafted musical mystery tour of this compilation, considering its pleasantly hypnagogic intent, may not reflect the madness of these now distant memories. This is an older and considerably more responsible collection and this is what we need right now - a temporary respite from a world almost capsized. A mood, a meditation created by masters of their craft. Odd socks from disparate global locations making new sense side by side. An assemblage, if you like. A thread through many different kinds of thinking. A new picture pieced together from the lost pieces of many jigsaws.

After a long hiatus Klaus Benedek comes back on his own mothership Fortunea Records with a brand-new production. ‚Tombstone’ heralds the autumn. You can feel the melancholy that brings the end of the warm and bright days with it. Although the subject matter is dark and eerie, the track wanders with its epic instrumentation through pensive optimism. The remarkable chopped hookline and the concise and soft bassline are casted in a flowing deep sounded carpet full of hope. An epic excursion that you definitely should give a try.

A considerable move into a different sound sphere goes Berlin-based artist and Tieffrequent-founder Siggatunez. He has had an outstanding array of vital productions this year and with his remix he lets you „feel the unknown“. In a very detailed way he made a serious dancefloor intended track, in the signature style of his current output, where beats and groove take the lead, but keeping the soul of the
original with the use of its pads, strings and bass.

Tombstone will come out on limited 200 copy vinyl and in its digital form onstreaming services and download stores on the 27th of october. There will be no repress!ö

Regardless of where you’re from, it’s where you at. These wise words are some that the Watch Patrol wants you to remember as we all trying to find and stay on our path..

These wise words start off the A side and prepare us for a funky and synth fueled, cow bell-ing journey.

Next we head into Trial & Error, a bouncing tech which has already been proven to bring some big energy on the dance floor.

The B side contains the breaks you’ve been waiting for. Two big tunes that have been deliciously dialed in to spread groove and funk on the dancefloors. Trance, breaks, arpeggios, chopped up vocals, and special effects that will get you to keep this one in the bag at all times.
Limited copies as always, be quick!

Long Beach legend Scotty Coats links the West Coast eclecticism of Stones Throw to the NYC cool of DFA and Rong to the Balearic gods of DJ Harvey et al. He personally introduced Be With to Ned Doheny 10 years ago and he was immortalised on Smith & Mudd's last LP. And he's the main man behind the mysteriously titled duo Todd Russell & The Dangerous Coats, alongside Erick "Todd" Coomes (Lettuce founder/bassist).

In very real danger of being lost forever, we unearthed two of their private recordings and present them as a double A-Side 12", adorned with S-T-U-N-N-I-N-G artwork, courtesy of Arizona artist Frank Gonzales.

"Playa Larga" is a melodic, mellow masterpiece and is quintessentially Balearic. It's stretched out, low slung, guitar-soaked drum-machine soul music. It's multi-layered and contains multitudes: it builds and builds and builds and mesmerises as it does so. On the flip, "1900 Ocean Avenue" is a super slo-mo, sunbaked drug-chug which is already blowing minds thanks to early leaks of this cosmic, psychedelic detonation.

On first listen back, Erick said to Scotty: “So wait, nothing really happens, I mean nothing bad happens but nothing really happens”. Apparently these tracks were a bit foreign for Erick, musically, because of the lack of structure in the songs.

One morning, years later, Erick called Scotty and excitedly declared: “dude, I get it now!”. He was listening to random music with a lady friend while watching the sunrise in his 1900 Ocean Ave apartment and "Playa Larga" came on randomly. He'd forgotten all about it and said he had to get up and see what song it was because "it was the perfect soundtrack for a psychedelic sunrise over the ocean."

And that's exactly how we came across it, circa 2018, randomly popping up on a playlist while we were busy doing other things. It stopped us in our tracks but, when trying to find any info on iTunes, we were out of luck. It was only years later that we worked out Scotty had sent it to us. Ever since, we've been working on getting this out to you all. It's finally time.

We've only 500 pressed for the world, with many of them spoken for by those lucky enough to be already ITK, so these are gonna fly: be warned!

Scotty is a world class raconteur so we'll hand over to him to explain how these songs came about and why they mean so much to him in the context of his wider raison d'être:

"These were made 13 years ago when I was a new dad and left my job at Ubiquity Records to provide security for my newborn son, Nolan Liam Chai Coats. I became miserable working a job outside of music for the first time in my life and I was laid off 4 months into it. I was left wondering how the fuck am I going to provide for my family?

I lived in Long Beach and Erick lived a few blocks away. I would walk to his house when Jen finally got Nolan to sleep so I could escape my panic, drink some beers (is it beerlearic?) and make some music. He lived overlooking the ocean with the Queen Mary on the horizon, so I guess mellow Long Beach nights unintentionally inspired the music. These songs were the first two songs we ever made and they embody the desperation and hope I really needed at that time. 12 years later, when Rob at Be With expressed an interest in releasing it, we had Erick's brother Tyler Tycoon Coomes play drums on it at Jazzcats Studio in LBC, with Jonny Bell.

Shortly after I was laid off, I discovered The Stepkids. I was blown away by "Shadows On Behalf" and sent it on to Gilles Peterson. He played it on Worldwide the next day. The Stepkids pulled me back into music and made me realize I wasn't prepared to do anything but be involved with music. After I heard their unreleased album, I knew there was something there so I sent it to my good friend Jamie Strong who was at Stones Throw at the time. Jamie passed it along to Peanut Butter Wolf and the band asked me to be their manager. I didn't think I was the right guy for the job but wanted to see them do well so I told them I would help shop their album. Jamie suggested I take his place at Stones Throw, just as he did when he left Ubiquity Records. I always joke that Jamie can call me Scotty Coat Tails because I had been riding his for years.

Wolf told him that "Scotty is a nice guy but has horrible taste in music", which was ironic because he was literally trying to sign the band that I brought him. The Stepkids signed with Stones Throw and found a real manager. 6 or so months later Jamie sent me a note saying "Stones Throw is hiring and you should apply lol". I told him I was going to send my resume and the subject of the email was to read I HAVE GREAT FUCKING TASTE IN MUSIC. I did just that and got a call the next day from their new GM asking me to come in for an interview. When I walked in I was in Wolf's office where I had been 6 months before, signing The Stepkids
deal. Wolf and Jason McGuire were asking me some questions and wanted to introduce me to Jeff Jank. Jank walked in and said "Isn't this the guy that Jamie wanted to bring on 6 months ago?" They confirmed and he threw his hands up and walked out saying "I've seen enough". I got the job. I worked there for 2 or 3 years until I left to join forces with Jamie Strong at his label and stayed there for almost 7 years."

Scotty wanted to use a painting by his good friend, Frank Gonzales, for the front cover image. Frank was incredibly generous in letting us use this one, and Scotty was completely honoured. We think you'll agree, it's pretty striking. Simon Francis carefully mastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this double A-side 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure these previously unheard, recently discovered recordings finally get a chance to shine.

The mysterious Henk Donkers conjures up the 69th release on WOLF Music. No-one knows where the promo came from, a Dropbox link landing in the WOLF HQ inbox labelled, ‘With love, Henk Donkers x’.

Crack the vault to find some slick, sultry, steamed up window biz from this mystery entity, ranging from a soulful 2-step burner featuring Ell Murphy (we’re still trying to track Ell down to shed some much-needed light on this conundrum), to an acid-tinged melon twister on the A side.

On the B, Henk teases further with that red-light basement feeling, blending breakbeats with heartstring hitting sweetness, before closing it out with a spoken word, psychedelic trip.