Buscar:vel

It was less than a year ago that Italy-born but Denmark-based musical artist Alex Puddu released his latest album Deliria, an enticing blend of erotic disco, soulful grooves and electronica inspired by Italian pop music of the late 70s / early 80s, which went on to enjoy extended radio play across the globe including on BBC 6, NTS, KCRW, and national Spanish station Radio 3, to name a few.

But it wasn’t long thereafter that indefatigable groove purveyor Puddu travelled back to Rome for a new musical adventure, heading straight to The Sound Work Shop, the recording studio of legendary Italian composer Piero Umiliani, where he recorded the 10 new tracks that are included in his latest musical opus, Professione Reporter, another funky and soulful adult-oriented disco-pop album entirely sung by himself in Italian.

Professione Reporter tells the story of a photo reporter who travels the world following and stalking rich recently-widowed women whose husbands died in mysterious circumstances. Attracted by their charm and wealth, our protagonist transforms himself into a gigolo, becoming a dedicated lover-boy to these rich sugar mamas and a slave to the sweet life, going so far as to become an accomplice in their criminal plans to ensure the inheritance of their dead husbands.

Once again Alex Puddu has hit the mark with a collection of polished and ear-friendly grooves that tell the alluring story of a private eye embroiled in a web of love affairs, wealth and deceit, evoking images of satin sheets, champagne and dim lights set against the backdrop of one of the most hedonistic decades so far.

"Dame café", originally released on Discos Fuentes in 1965 to meet the tropical music demand of the time, features a mix of traditional rhythms like vallenato and cumbia, alongside more experimental beats. The vibrant musical scene of the 1960s in Colombia owes much to a group of versatile accordionists who blended genres such as cumbia, charanga, guaracha, vallenato, and Cuban-influenced rhythms. This group included notable figures like Andrés Landero, Aníbal Velásquez, Lisandro Meza, and Alfredo Gutiérrez, among others. A prime example of their diverse musical styles is the album "Dame café", released in November 1965, which features a mix of traditional rhythms like vallenato and cumbia, alongside more experimental beats such as paseaíto and pasaje. The album includes six previously released singles composed by José Castro, Policarpo Calle, and others. The album highlights the commercial strategy of Discos Fuentes, which often created short-lived studio bands to meet the tropical music demand of the time. Los Gavilanes de la Costa, the band behind "Dame café", had a brief existence but left a lasting impact, especially in Mexico's sonidero scene. The group's creation was driven by the high demand for tropical music in the 1960s, with many musicians adjusting to market trends. Most of the members, including composers Campillo and Castro, vanished from the scene, while others, like Calle and Zambrano, went on to have notable careers in music. Calle, in particular, became a cumbia legend, later settling in Mexico City. The album "Dame café" has gained cult status due to its rarity and the intrigue surrounding its origins. The album features a remarkable contribution from Colombian jazz legend Justo Almario, who, at just 16 years old, played tenor sax on the track 'Pues no da pa' más'. Over the years, pirate editions and elusive original copies have made it a highly sought-after collector's item. The album's lively sound, combining accordion melodies, deep bass, and vibrant guacharaca rhythms, continues to resonate in the tropical music scene.

Hits! Hits! Hits! Number 8 in the value-for-money series on Running Back is here, serving up a dessert spoon for almost every taste. Skatman discovers his inner crooner and shares his feelings with the world—electronic disco poetry of the highest order.
Australia’s high-velocity aristocrat, Baron von Trax, delivers a mirror ball tearjerker of the finest kind: If I Only Knew strikes the golden balance between tried-and-tested Italo tropes, classic disco elements, and their razor-sharp transformation into a zenith of happiness.
In Your Eyes by Janis Zielinski & Sowhy3 continues the journey of heartfelt thingsto-think-about with a pop dance hit from a parallel universe. To round it all off, recurring Running Back artist Morphena delivers a new wavey masterpiece, while Zoé Zoé offers an ode to tangerine-like Berlin School music— complete with a dance beat underneath.
Fancy!

Ronny Pries is finally back, releasing his new EP ‘Zero Four Zero‘ on Abstract Rhythm. He contributes four brilliant detroitish influenced techno and electro tracks, perfect for creating some late night heat on the worldwide dancefloors.
As those tracks mean a lot to Ronny, especially ‘This ain’t Jazz‘, he felt like they belonged to be released the oldfashioned way, on 12‘‘. Ronny has been releasing electronic music since the 90’s. Zero Four Zero is his first EP after a long release-absent time where he was focussing on several other music and non-music related projects. ‘‘So, as much as this release marks the beginning of something, as much does it conlcude something. There’s no (such thing as) time.“

180 G. BLACK VINYL WITH LINER NOTES IN CREOLE, FRENCH, ENGLISH

Originally released in 1979, "Spiritual Sound" lives up to its name, a soaring, triumphant album, six tracks of spirit magic from Guadeloupe.

Telluric, intense, terribly alive, the gwoka drums of Guadeloupe carry the identity of a painful and fervent island. Marked forever by the crime of slavery, Guadeloupe's créolité cherishes the ka drums and their natural environment: the low-pitched boula drum with male goatskin, the high-pitched soloist makè drum with female goatskin, the chacha, ti bwa, triangle, calabash and other percussion instruments that surround them, and the voices - the fiery, proud, timbred, urgent voices of the gwoka.



This album is also a legend for its voices: in his then dazzling youth, singer Lukuber Séjor was one of the first gwoka artists to largely feminize the chorus of répondè, who converse with his text delivered in a straight and powerful voice.

And everything here sets new standards. In 1979, Mizik Filamonik - Spiritual Sound proclaimed a spiritual patriotism of ferocious intensity. The album by Lukuber Séjor - whose spelling alone is a battle - sets out to give Guadeloupe the intangible weapons of self-respect and self-knowledge, through a singular practice of traditional music.

The genesis of gwoka music is less straightforward than one might imagine... The drums performed the servile task of accompanying the work of slaves in the fields and during the “corvées” imposed by the administration, before being freely practiced by the common people after the abolition of 1848. At the heart of the conviviality of the Guadeloupeans furthest from the cities - geographically and socially - the gwoka drums come out for carnival, funeral wakes and neighborhood celebrations, but also during strikes, fits of anger and armed vigils of the riots and revolts that have punctuated the island's history. For generations, governors of the colony and then the prefects of the overseas department of Guadeloupe have been viewing the gwoka as a potential for turbulence and a threat to public order.

But as the Beatlesmania, “chanson engagée” and rock revolutions unfolded in Europe, young people turned to the drums of mizik a vié nèg (“bad negro music”, in Creole), which Guadeloupeans had learned to despise by following the “assimilation” process advocated by the school system and most of the political class. At the end of the sixties, in a Guadeloupe mourning the deadly repression of the May 1967 social movement, they played traditional music, refusing to wrap it up in tourist prettiness and madras folk costumes. Instinctively, they played a rough and contemporary gwoka, led by the incendiary Guy Konkèt. This was the era of decisive 45 rpm records such as Robert Loyson's Kann a la richès, which brought to light the fieriest words of union rallies.

At his home in Sainte-Anne, Lukuber Séjor played with flautist Olivier Vamur and his brother Claude Vamur, who cobbled together a drum kit from tin crockery and became, a few years later, the most influential drummer in Kassav'.

These were the years of the Bumidom program, when young Guadeloupeans were encouraged to emigrate to mainland France. At the age of twenty, Lukuber Séjor embarked on the liner Irpinia, disembarking at Le Havre and taking the train to the Gare Saint-Lazare - the route taken by thousands of young West Indians who went on to study or looked for work, all the while trying to maintain a link with their homeland. In this case, it's at the Antony university residence, where Lukuber played the drum and participated in a thousand gwoka updates and aggiornamentos, while exile reinforced the need for a spiritual link with the native land.

In 1978, Guy Konkèt played at the Salle Wagram, a historic event for West Indian music. After serving as répondè - i.e. backing vocalist - on one of his home-recorded albums, Lukuber joined his live band. Little by little, he became one of the key artists on a circuit parallel to French show business. At a student party in Caen, he met a young woman from Martinique who, at the time, was more motivated by her ambitions as a visual artist than by her vocation as a musician. Her name was Jocelyne Béroard and, a few years before she plunged into the Kassav' adventure and became the greatest West Indian singer of her generation, she designed the cover of Lukuber Séjor's LP.

This ambition was obvious and imposed its will. A more or less regular band was formed, with Roger Raspail, Rudy Mompière and Éric Danquin on ka drums, Claude Vamur on ti bwa, Olivier Vamur and Françoise Lancréot on flutes and Annick Noël on keyboards. Lukuber Séjor is set on wanting to extend the gwoka palette to other instruments, as the jazz-rock revolution opens a thousand new doors. Annick Noël will play a wide range of timbres and textures on electric piano and synthesizer. Another novelty: the répondè are two men and two women, Roger Raspail, Olivier Vamur, Françoise Lancréot and Maryann Mathéus ...

Mizik Filamonik - Spiritual Sound is a self-production in which the singer and leader sank all his savings, allowing him no more than a single day in the studio. The first side is more of a musical manifesto, with the first two tracks, Éritage and Penn é plézi, being instrumentals. The third, Son, forcefully celebrates the need for Guadeloupeans to connect with the gwoka. In fact, Jocelyne Béroard's cover shows a tambouyé in the shadow of a cloudy sky, against which a radiant sun is rising and whose light will soon flood the entire landscape. The silhouette and face of this man strongly evoke the immense Vélo, master of the ka, rejected at the time on the fringes of society.

The second side of the LP is surprising. Formally, three tracks are explicitly linked like the three parts of a triptych. Primyé voyaj evokes the appalling tribulation of Africans deported as slaves to Guadeloupe; dézyèm voyaj speaks of the Bumidom program and the economic, political and social forces driving young Guadeloupeans towards the mirage of prosperity in France; twazyèm voyaj closes the cycle with the emigrants' return from Europe after years away from their island...

This gwoka, obsessed with the need to save Guadeloupe spiritually, appeals far beyond the politicized audience. Mizik Filamonik - Spiritual Sound instantly became a classic, although Lukuber Séjor never really made a career for himself as a musician.

After all, the album was released in 1980, with no promotional resources in France or Guadeloupe - and therefore no concerts. The thirty-two-year-old author, composer and performer made his own third trip back to Guadeloupe. He set up a small woodworking business, which he lost in Hurricane Hugo in 1989. His other activity, teaching in a medical-educational institute, became the core of his professional life. He continued to be an active campaigner - a campaigner for the Creole language, a campaigner for the reawakening of identity, a campaigner for special education, a campaigner for a thousand causes that he ignited with his generous and perceptive enthusiasm, such as the defense of breadfruit fries...

The echoes of his 1979 album have not died down. Of course, the use of Penn é plézi as the theme tune for Radio Guadeloupe's funeral notices from 1980 to 1992 kept him in the collective memory, but he continues to sing and compose sporadically, as with his all-female

vocal group Vwapoulouéka... Still convinced that music is a means of liberating the spirit, he continues the journey of a young man eager to deploy the power of Creole music and language.

Bertrand Dicale

From the same recording sessions as Bézier's first EP on Körperspannung records 'Negative Velocity', 'Contraption' channels a few moods and scenarios.

On the a-side 'Contraption' is an insignificant droplet darting through the sky. Soon it joins a disarray of objects positioned above the atmosphere, maneuvers in formation to reveal randomized, decentralized nodes packed for mayhem.

On the b-side Bézier shows a slice of his lived experience. Back in 2004 he used to go to house parties around East LA with friends they grew up with every weekend to listen to music. Winding through the Southern Californian roadway sprawl they'd drive 1/2 an hour to 1 hour on the I-10 (sometimes diverting to Route 60 if gridlock is expected) to get to the location, usually in a residential neighborhood. Being respectful of the communities and the struggle of the progenitors of this music, Bézier presents 'Blue Halo' as an homage to that sound with a twist: Cumbia-Synth to provide a little sauce for your ears. Dave Easlick joins the milieu to provide a percussive framework for this tune.

Lastly, 'Bit by an Electric Wire' showcases Easlick's drumming with an overlay from Bézier. As Dave rips and shreds through his drum kit the OCD machine living inside Yang's brain switches on and organizes, collates and files that dataset into a hardcore rhythm track.

Vinyl-Compilation mit den besten Tracks der bei Kent erschienenen Sampler 'This Is Lowrider Soul'. 14 Tracks, schwarzes Vinyl!

WRWTFWW Records is happy to announce its fourth collaboration with New York ambient / jazz / downtempo musician Danny Scott Lane with the release of his newest full-length Songs For Sex. The seductive 11-track album is available as a limited edition LP (500 copies worldwide) housed in a shiny 350gsm silver cardboard sleeve. It is also available digitally.

Danny Scott Lane returns with Songs For Sex, a sultry funk, jazz, and ambient exploration inspired by candid conversations about intimacy. Smooth yet messy, uplifting yet off-kilter, this album captures every mood. It’s sensual furniture (leather sofa) music, deep passion minimalism, hedonistic downtempo, glossy and warm soul electronica.

The velvety sonic affair features the lush sounds of Joseph Shabson, David Lackner, and Simon Herody on flutes and saxophones, making it an irresistible modern brand of smooth jazz, the ideal soundtrack for your favorite pastime.

Songs For Sex follows the release of Danny Scott Lane’s chillout masterpieces Home Decor, Shower, and Caput, all available on WRWTFWW Records. Complete the funky collection now!

In this post Sounds world, the boundaries of Post Punk have not only broadened but splintered. And over the course of (now) four releases, Index For Working Musik have seen to using the sprawling boundaries to great effect, flexing a polyglot of styles to convey the language of the moment. On Which Direction Goes The Beam, the murky, distant ambience that was 2023's Indexé has been fleshed out, incorporating everything from the Brian Aldiss laced, ground lightning shudder of Dome, to the chamber-like arrangements of This Kind Of Punishment. There's even a candle flickering in the window for Think Fellers Union Local 282 that warmed these ears. And if you're a fan of the great Dutch band, Trespassers W (who isn't?), the collective consciousness IFWM enunciates on here is a similar testament of a band growing more sure footed in the pursuit of not only knowing all the ways in, but carving a few of their own on the way out. And it's discerning releases like Which Direction Goes The Beam that keep us in the hunt. Long may they forge. - Tom Lax. RIYL: Brian Jonestown Massacre, Velvet Underground, TOY, John Cale, Wire, Dome

Derailed Records and Planet Rhythm team up for an exciting vinyl series, kicking off with Rotterdam's own ARKVS. Enjoy 4 deep cuts pressed on Dracula-colored vinyl, ready to captivate your senses!

Artwork: ANTM Digital
Mastering: Audiosculpture
Distribution: Triple Vision

”Operation Timeframe” is a fusion of styles between two artists who have made waves in their careers: Franco Falsini and Saverio Celestri. On one side, we have a pioneer of electronic music; on the other, the product of years of evolution.

Franco has a rich musical history and a diverse array of influences: starting from progressive rock and arriving at electro-pop, he approached electronic music with a substantial musical background. After founding and participating in various bands across the United States and England, he collaborated with the renowned record label Polydoor. In the early 1990s, he combined his skills as a guitarist and producer, beginning to perform worldwide. In track A2, “A Molecular Affair,” you can clearly hear this blend, which transports us back a few decades and lets us savor a gem deeply rooted in a quality-rich past.

Saverio also had an initial approach to electronic music partly rooted in rock, though more toward alternative rock. Moving to Berlin at a young age, he developed his sense of electronic music in a city teeming with inspiration. Here, he combined his background in electronic, pop, and rock to create brilliant tracks that captivate dance floors worldwide with his Electro, EBM, Synth-Pop, and more. With the B1 track “Veleno,” Saverio follows in the footsteps of his friend Franco, closing the album with “Traveling,” a track structured in Synth Pop, enhanced by the crystal-clear voice of Brazilian artist Lourene.

This is a record that focuses on that frame in which the two artists perfectly align their past and future, projecting it directly into the present, as only two geniuses can.

Velasco’s Moving In Silence label kicks off with four heavy hitters. An exciting time as the Berlin based New Yorker embarks on this solo label project, uncovering underground sounds from all corners of the globe. Landed kicks off the project with gritty peak-time action from the producer on the rise, crammed with an abundance of rave textures throughout the “Enigma” EP. Expect 4 live recorded rolling techno tunes to keep you stuck in a loop.

300 Limited copies

Two deep and hypnotic grooves from the mysterious TJAQU alias launch this ten inch series! Expect two tracks full with synths & unconventional basslines, meant for DJs who like to encompass a story with their sets.

Luc Ringeisen's very first album release, featuring surround sound experimentations converted to fit vinyl's stereo. Page Blanche covers different moods from beatless moody sound design to peak time dance floor burners.

This group is led by Roland Nieto, a former trumpet player and composer for Or- questa La 33, who has 18 years of experience in international tours. Additionally, the lead vocalist and songwriter is the versatile musician Pío Molina. This album emerged from a desire to explore the origins of brass bands in various parts of the world, including Colombia, Mexico, the United States, Serbia, and Nigeria. In two of its tracks, it also delves into electronic sounds and Dub. While inviting listeners to celebrate with a powerful ensemble of winds and percussion, the album's lyrics address socially relevant issues.

What lies on the terrain for which no map exists? Tifra has volunteered to take the plunge and find out. For the 28th record on Haŵs, the Dutch DJ/producer steps up to the frontline with ‘Terra Incognita’ - a primitive force to be reckoned with that reveres the hypnotising, ominous unknown. Four investigational tracks unify the checkpoints, wandering through themes of 00s/90s leftfield house, prog, and continuous, undulating grooves.

The EP sets sail with ‘Invoke Hysteria’, scavenging through malevolent, hostile waters and a caution of pad synths, drums and agitated melodies.

Relenting onwards, ‘Serpent’ slinks into a mellow respite, moving slowly and deliberately like a snake in the moonless dark. Deep, resonant synths coil around the percussive heartbeat of the track, weaving together velvet layers of bass, wind instruments and steady, surrendering exhalations of breath.

The titular ‘Terra Incognita’ hoists up the anchor and yields to the trance of the summoning liquid night. Repetitive melodies form the contours of its shifting course, moulding a ritualistic rhythm under the dissolving face of the sky.

Admo steps up to the wheel for the remix, smoking out the initial perfume of the atmospherics into a new, tough brutality. Hauling the track out of its initial spacey orbit, he re-embellishes it with dour synths, drums and a primal, subterranean growl.

Some say that there is no worse poverty than that of connection, so why not be the first to take the risk, break the divide and find out what lies beyond the veil? Otherwise, make your own guesses, and then let them guess who you are.

CHIWAX welcomes back Nacho Marco! After his fulminant debut ep on CHIWAX040 in March, we are more than happy to
present you this great artist on CHIWAX044 with the "Cocktail Beats" EP.

The album’s title deftly gestures to the sheer vastness of astronomical dimensions, while simultaneously capturing the musical breadth within, where the eight planets are imagined as the eight notes of an octave. The work draws inspiration not only from earlier compositions —most notably Gustav Holst’s The Planets—but also from the rich astronomical and cultural contexts surrounding these celestial bodies. Here, the focus transcends direct citation of melodic motifs, instead embracing an intriguing conceptual approach on a meta level, unfolding in a series of vividly contrasting soundscapes. These contrasts shape a sweeping sonic journey, one that fully embraces the album format with both arms, inviting the listener to venture into realms both strange and wondrous, feeling the immensity of the interstellar space that lies between them. Contrast, after all, is the brushstroke that enriches our world.

Embarking on an auditory voyage, "Astral Guide" establishes the sonic framework that propels us into the boundless expanses of the cosmos. Its ethereal tones evoke the vastness of space, crafting a mood ripe for exploration within the realms of sci-fi. The subsequent tracks unfold like constellations, weaving a rich tapestry of sound that seamlessly marries cinematic soundscapes with pulsating, club-oriented rhythms. This album invites listeners to traverse its immersive landscapes, whether nestled in the comfort of home or dancing under the starlit sky, each note a guide through the transcendent experience of a nocturnal journey.

"Solar Flares" draws its inspiration from the awe-inspiring expanse of solar phenomena, capturing the majestic power of the sun as it reaches into the cosmos. This track resonates with the idea that energy, while vital, can also be a force of destruction when unleashed with overwhelming intensity. The composition beautifully mirrors the sun’s duality, where brilliance and devastation coexist, inviting listeners to reflect on the delicate balance between creation and annihilation. Through its rich textures and dynamic shifts, "Solar Flares" serves as both a homage to the celestial and a poignant reminder of nature's formidable power.

"Mercury – The Winged Messenger" embodies a meticulously crafted soundscape where artistry meets astronomy. The tempo of 173.6 BPM, derived from precise astronomical data, propels the composition into a vibrant realm that resonates with cosmic energy. Synthwave sound design intertwines seamlessly with the fluid rhythms of Drum’n’Bass, imbuing the piece with an uplifting dynamism that evokes the ethereal grace of Mercury itself. In this sonic exploration, listeners are invited to ascend on wings of sound, navigating the celestial tapestry of the universe with each invigorating beat.

"Venus, The Bringer of Peace" strikes a decidedly cozy note, presenting a poignant contrast to the more tempestuous themes often found in cosmic narratives. This composition evokes a nostalgic vision of an optimistic era, one in which humanity transcended borders and embraced the infinite possibilities of space exploration, where no destination felt too distant. The dense, languid atmosphere envelops the listener, creating a tangible sense of serenity that unfolds gradually, allowing for a meditative journey through sound. Each note serves as an invitation to linger in this tranquil embrace, reflecting on the harmonious potential of our collective aspirations and the beauty of connection in a vast universe.

The central theme of „Gaia, The Bringer of Life“ —originally not part of the planetary cycle— is the profound enabler of life on Earth. The arrangement delicately mirrors the slow, tentative unfolding of this potential, marked by an initially sparse orchestration that gradually builds in momentum. This progression crescendos, embodying the explosive dynamism of the Cambrian burst of life, ultimately culminating in a euphoric fanfare—a triumphant, celebratory flourish echoing life’s victorious emergence.

"Blue Moon" unfolds as a contemplative reverie on the tranquil clarity of a night sky, now seldom glimpsed in its natural purity, unclouded by the relentless haze of urban light. The listener is drawn into the vast embrace of the star-strewn firmament, a journey that sways between euphoric awe at nature’s sublime beauty and a profound melancholy for its fragile and imperiled state. Musically, this duality finds expression in the delicate interplay of modal mixtures, while an ever-shifting triplet groove, poised at the intersection of Outrun and melodic house, lends a pulse that is both nostalgic and forward-looking—echoing the beauty and transience of a world on the brink.

Rather than replicating the original composition of „Mars, The Bringer of War“, this interpretation seeks to evoke its profound, foreboding atmosphere. Cyberpunk emerges here as an ideal genre, channeling the dark, relentless march synonymous with Mars, the ancient god of war. The piece reverberates with intensity, as distorted vocalizations rise, embodying the anguish and visceral torment that shadow war’s violent crescendo. This auditory descent into conflict captures the relentless pulse of warfare, where sound itself becomes an embodiment of suffering and fury.

Majestically, "Jupiter, the Bringer of Jollity" emerges on the celestial stage, sweeping away the somber tones with its radiant vigor. Drawing inspiration from the triumphant strains of the original, and borrowing a melodic motif in the refrain, the piece expresses joy and buoyancy through a shift to a major key and the lilting sway of a danceable 12/8 meter. Spirited and exuberant, it leaps boldly from major to minor and back again, playfully shifting time signatures to capture a mood of unbridled festivity and jollity.

Here, a more conciliatory concept is chosen than in the original inspiration. „Saturn“ aligns with the number six, being the sixth planet from the Sun and bearing the iconic hexagonal pattern at its northern pole. What, then, could be more fitting than to render this piece in a 6/8 time signature? The arrangement unfolds with a multifaceted richness, mirroring the countless stones and ice fragments that form the foundations of Saturn’s majestic rings.

„Uranus“ adopts the theme of a light-footed, dancing instrumentation, giving the impression of perpetual motion, never quite settling. This musical choice harmonizes with the planet’s own orbit, as it spins with breathtaking velocity, teetering and swaying, seemingly unable to attain rest or stability.

The chill and vastness of the cosmos find expression in „Neptune, The Mystic“. At its core, an electronic soundscape envelops a classical arrangement, its unreachability intensified by an ethereal, otherworldly choir. Hovering at the outermost boundaries of the solar system, where warmth is but a distant memory, the composition lingers in a slow, contemplative tempo, evoking a realm where space for speculation stretches wide and silence reigns supreme.

Though Pluto may have lost its planetary status, and its companion Charon never achieved one, this shift in classification subtly aligns with the cosmic scale invoked here—one that mirrors the musical tradition of an eight-note sequence. Fittingly, the album closes with „Kuiper Belt“, a composition emblematic of the turbulence and vitality of countless smaller

celestial bodies that, though diminutive, find their rightful place within the vast architecture of the solar system.

They say nature is the greatest composer, shaping the universe with a symphony of chaos and order, beauty and danger. It is this duality that fuels the artistic vision of Edictum—a producer who, armed with a doctorate in chemistry, delves as deeply into the mysteries of molecules as he does into the depths of sound. In the tension between the vastness of the cosmos and the microscopic processes that dictate life’s rhythm, Edictum creates sonic landscapes that dissolve the boundaries between science and art.

His music is a story of contrasts—a sonic tale where the raw forces of nature clash with the intricate structures of human culture. Opposites intertwine to form a harmonious whole: the primal rhythms of the earth meet the celestial melodies of the cosmos, the rigid laws of physics blend with the boundless freedom of art. Edictum explores these polarities with meticulous devotion, each composition an expedition into uncharted soundscapes—a quest to give voice to the unfathomable.

With over 20 years immersed in the realms of electronic music, Edictum has honed a keen sense for rhythm and movement. His driving beats compel both body and mind into a hypnotic flow. Yet beyond the pulse of dance lies a complex framework of conceptual thought. Today, his creative focus revolves around holistic album projects—self-contained worlds with overarching narratives that embrace contrast and complexity. Each track stands alone as a fragment of the whole, but together, they weave a cohesive tapestry, much like the chapters of a novel that guide the listener on an emotional and sonic journey.

Edictum’s distinctive musical signature has earned him international recognition. With over 150 releases, many on prestigious platforms like the iconic *NewRetroWave* label, and collaborations with artists such as Jan Johnston, Azumi Inoue, Powernerd, and Turbo Knight, he has solidified his place in the global electronic music scene. His latest work, *A Cosmic Scale*, marks his seventh vinyl album and is released under his own label, *Echoes of Expanse*. The label’s name is no coincidence—it captures the essence of his art: echoes of infinity, the vibrations of the universe distilled into a singular sonic experience that carries the listener ever further into the boundless expanse of sound and space.

Irish producer and DJ Casper Hastings returns to the label in full force with a 6-track EP titled “Recreational Murder”, unleashing a lethal mutation of electro, techno and jungle, the release showcases Casper’s versatility as an artist who garners clear-cut expertise in his field.

Nodding to its foreboding title, “Tangerine Meme” follows suit with an increased pace, woven together by squelchy synth work, wobbly bass and a gnawed up vocal scattered throughout.

“Reaper” lands with a pitched-up vocal riff opening the track; the word LSD later echoing through the ghostlike atmosphere laid out by a snappy pattern of snares and smoggy distortion. Peder Mannerfelt’s remix of the track comes as a curveball and flips the B-Side of the record, upending the previously understated but ominous tone with thundering drums, whiplike percussion and in-your-face high velocity.

“Ruthless Romance” continues on the rapid tip, this time highlighting Caspers long-running love for jungle. With a spirited UKG-tinged sample layered over clattering drums and hardcore bass lines with the celebrated genre, this is the track that brings a chunk of quick escapism. The deconstructed “Good Medicine” closes the record with the return of stabbing bleeps, intense kicks and swirling psychedelics accompanied by a grunt-heavy sample to reflect the EP's theme a sense of dread lurking behind every corner. Looping full circle to that initial cinematic feel, the final track / digital bonus “Akashita” marks his solo instalment on the label with palpable effect.

Manufactured in Dublin, Yin Yang Label 2025

Chalo & Vell return with Made From Moss Volume 2, marking the next step in their collaborative EP series. This four-track of club rollers explores a range of styles and tempos, each track anchored by distinctive rhythms and textures aimed squarely at the dancefloor.

Bangkok, despite being a bustling metropolis, boasts a music scene that feels as intimate and vibrant as those found in smaller European cities. It’s a place where local creatives from various disciplines come together, leaving their artistic imprint across the city. This collaborative energy resonates through Boiled Wonderland’s catalog, which features artists like DOTT, Sarayu, and Chalo—pioneers of Thailand’s burgeoning underground music movement. Both DOTT and Sarayu are co-founders of the record store and label More Rice Records, while Chalo plays a pivotal role as the mastering engineer at Thailand’s pressing plant, Resurrecc. It’s here that the Made From Moss project took root.

While Boiled Wonderland continues to champion eclectic and boundary-pushing music, its sonic direction has evolved to embrace a more dancefloor-oriented approach. This shift reflects the label’s immersion in Bangkok’s electrifying club culture and the inspiration drawn from the city’s warm, sunlit atmosphere.

The Made From Moss series emerged from a creative dialogue between Chalo and label founder Vell. Moss, with its simplicity yet dynamic nature, became the symbolic foundation for a series focused on rhythmically driven, danceable tracks. This vision also sparked the creation of Mosspit events and welcomed MetalMetal as a core contributor.

Chalo’s opener, Feeling, weaves house-inflected vocals with acid synth lines, building a steady groove that carries effortlessly to the finish. Tolerance Break follows, layering dynamic snares, tight breaks, and basslines that pulse with energy. On the B-side, Vell leads with The Ship Rolls Through, a euphoric roller balanced by flickering sound effects that keep the track grounded. Back To Normality closes the EP, leaning into progressive tones with bouncing bass lines that sizzle toward a breaking point, bringing the EP to a close.

The record is already receiving support from the likes of: Ploy, Mixtress, Raresh, Space Dimension Controller, Jennifer Cardini, Answer Code Request and many more.

Scanning Backwards, Phase Fatale’s second full-length album originally released on Berghain’s in-house label Ostgut Ton in 2020 is now reissued via his label BITE on limited edition pink marble vinyl after being long sold out and sought after. Using the connection between weaponized sound and psychological manipulation as a conceptual foundation, Hayden Payne explores the ways in which music – and sub frequencies in particular – are used to influence thinking and to synchronize emotions and behavior: from military technology to sound systems and the physicality and sexuality of queer techno culture.

Known for his innovative post-punk takes of dance music as featured on EPs for unterton and Ostgut Ton, the Berghain resident draws on his background as both a guitarist and sound engineer to create a heady mix of broken rhythms, noise-, and shoegaze-inflected techno, often at slower tempos. The result is music with space and pace to expand, highlighting the intense rushes of frequencies found in both sonic warfare and functional dance music. Over eight tracks named after a combination of historical and fictional narratives from literature and science fiction, Payne’s rhythmic excursions explore different manifestations of sound as power – specifically within the context of seeing Berghain as an instrument itself. This is also reflected in the album artwork, taken from an early flyer for the SNAX party series and an obvious ode to the fetishization of power dynamics.

In his own words: “All tracks on the album, no matter the style, were tailored to sound a certain way in Berghain – something I figured out through years of dancing in the middle of the floor, DJing as a resident and investigating what frequencies really penetrate the body. This includes speech and high-frequency, brain-penetrating instrumentation and drilling textures that I had not utilized so often before, but which I think also have an effect on thought and memory. It’s especially true in a space where gay and fetish roots combine with music in unexpected ways, almost in a cultish manner. A musical and physical deprogramming and reprogramming, psychic driving and de-patterning, the erasing and replacing of memories.”

Ultimately, Scanning Backwards surveys not only the manipulative properties of electronic music (mantras, loops, subliminal messages) but also how rhythm facilitates both moving and thinking in synchrony; a pulse of coordinated sound- and brainwaves.

DJ Support: Dr. Banana, Secretsundaze, Heels & Souls, Velasco

For their third release, Moonworks look to Italy with a reissue of a hyper-rare underground earworm by Urban Heads, originally from 1998.

Urban Heads’ ‘The Wind’ is a lost Italian gem produced by Federico Scavo which has remained a secret weapon in the bag of a select few tastemaker DJs until fairly recently, with original copies practically impossible to come by. Since producing this record, Federico has gone on to become one of Italy’s best known DJ/Producers, with multiple chart-topping hits under his belt gathering millions of plays.

‘The Wind’ offers two floor-filling mixes of quirky, boisterous, distinctly European house music. Whether you’re playing the disco-infused Cosmic Version or the dancefloor weapon that is the Space Mix Version, we have no doubt that this record’s signature vocoder riff and captivating basslines will remain permanently embedded in the mind of everyone in attendance.

Moonworks have once again worked closely with the original artists to restore and remaster these tracks from the original DAT tapes, as well as revamping the original artwork in their own style.

Velvet Vault is the title of a collection that combine jazz standards with jazz reworks of pop classics plus two songs co-written by Karen herself.

Velvet – einer der legendärsten Trance Klassiker aus 1999, der in 2023 von Talla 2XLC und DJ Tandu aka Ingo Kunzi neu aufgelegt wurde, gibt es jetzt als farbige 12“ Maxi Vinyl. Auf Seite A liefert Talla 2XLC eine hochenergetische, turboaufgeladene, psychedelische Version, die den göttlichen Melodien des Originals treu bleibt. Seite B präsentiert den DJ Tandu Extended Mix. Balearischer Trance vom Feinsten mit Tribal Drums, groovigen Basslines, verspielten Kicks und schönen Arrangements. Diese limitierte farbige Vinyl-Edition ist ein echtes Highlight und Sammlerstück.

2024 Repress!

Veneer made an indelible mark in its understated, expressive brilliance and cemented José González as a meticulous sonic craftsman and songwriter of singular talent. It’s hard to believe an album recorded with the most basic equipment in a cramped Gothenburg flat could end up going platinum, not only in Sweden but also the UK, selling well over 1 million copies worldwide. It’s harder still when one acknowledges that, aside from one brief trumpet solo and the slightest hint of percussion, the record features just one hushed voice and the dexterous picking of an acoustic guitar’s nylon strings. But 2003’s Veneer was such an album, charting in several countries in the world, and eventually making Top 10 in the UK, thanks in part to its delicate, evocative cover of The Knife’s “Heartbeats”.

Here at Mr Bongo we have been inundated with people asking us to reissue this release. Ana Frango Elétrico's petit cult classic masterpiece 'Little Electric Chicken Heart' from 2019, which was only ever released on vinyl and CD in Brazil and Japan, has fast become a collector's item.

Well received by fans, DJs, and reviewers on release, The Needle Drop expressed "Ana Frango Elétrico's authentically vintage fusion of chamber pop, rock, samba and jazz is a real blast!" listing it as one of its Top 50 Albums of 2019. The album's reputation has been slowly building ever since, gaining a Latin Grammy nomination in 2020, and now solidly cementing itself as a gem of contemporary Brazilian music.

Across the albums nine tracks, Ana blends elements and influences from MPB, Tropicália, indie rock, punk and pop, forging them together with a sumptuous dose of her signature style. The finesse of 'Saudade' kicks off the LP, one of Ana's most known tracks to a non-Brazilian audience. A sublime opener, beginning with a spellbinding piano solo before transcending into a beautiful dream-laden slice of warmth, complete with luscious jazzy horns and deft vocal delivery. ‘Promessa e previsões’ follows, the only track on the album not to be written by Ana, instead being penned by Chico França. It’s a swelling and sweeping twilight groover, building and breaking across absorbing peaks.

Other highlights on the album include the anthemic 'Chocolate', which was a firm favourite with a packed sing-along crowd when we heard Ana perform it live. Elsewhere, 'Se No Cinema' hits with its quirky allure, charm and catchy melodies before transforming into a carnival spirit.

Tapping into the richness of Brazil’s new wave of musical energy, the album also includes a heavyweight lineup of collaborations with artists such as Dora Morelenbaum (Bala Desejo), Tim Bernardes, Antonio Neves and Guilherme Lirio to name but a few.

A short, sweet and refreshing record, that leaves nothing to waste, marrying playful ideas with poignant themes. 'Little Electric Chicken Heart' is a future classic and will beguile fans of ‘70s Brazilian recordings, Gal Costa, Mac DeMarco, Stereolab, Superorganism, Caetano Veloso and more.

Velvet, from JNJS (Jay Nortown & Jacobo Saavedra), is dedicated exclusively to dacefloor music, designed for maximum club impact. Alexis Cabrera brings three cuts of pure sexy house, perfect for any party time. Harmonically dense, advanced beats... pure Alexis Cabrera.
To finish the EP, JNJS remix Distopian, to give his take on the dancefloor bassline.

5the release on Central Electronices comes from the very talented Konerytmi.
We are very happy to release this records, filled with lovely and filigree story telling - electro.
Don't miss this beauty!

180G BLACK VINYL

Since Outlaws in 2020, Ludivine Issambourg's flute has not cooled down. How could it have, when with that album of Hubert Laws covers, it had reached incandescence? Still panting, burning despite the lid of its case left wide open, it awaited the opportunity to continue the adventures that Master Laws himself had praised.

A continuation? Above The Laws isn't quite that.

Although his name still appears, Hubert L. is no longer the sole guide in exploring the vast galaxies of jazz-funk. Through covers but especially as an enhancer of her own compositions, Ludivine has invoked the spirit and intangible presence of Jeremy Steig, Ronald Sneijder, and Bobby Humphrey—the legends of the flute.

Guided by an unescapable groove, with a musical dial set to the late 70s and early 80s, Ludivine has enlisted the help of a brass section this time, a true propulsion engine for funk that can also shift to a soulful breath if the moment calls for it. Supporting the keyboards, there's a Moog laying down its rich layers or twisting tones.

The flutes are used like levers to stabilize the flight or, conversely, to make it soar even faster through the measures. The alto version, which Ludivine had previously used sparingly, adds the necessary velvety note when it’s time to embark on smoother destinations. Speeding up the tempo to make passengers rise from their seats as if danger were imminent; calming the atmosphere to put them in a reassuring cocoon where they can let their thoughts and spirits wander, the improvisations find their place in the compositions observed from the porthole. Detached from gravity, yet still very much in tune with the vibe of cities marked as hot spots on the current jazz scene radar, it's the scent of these streets that permeates some tracks of Above The Laws.

Directed from the control tower by Eric Legnini, Chassol, Alex Finkin, and Michaël Lecoq, Above The Laws benefits from a few stops along the way where precious connections are established. Nils Landgren and his trombone in the colors of the Swedish flag, Laurent De Wilde for a chase between flute and Fender Rhodes, Céline Bonacina’s saxophone for an Afrobeat detour.

But it's at the edge of a journey where organic intensity has continued to assert itself without losing power that Ludivine connected with Brian Jackson for a cover of "Angel Dust," a track from the era when he and his partner Gil Scott-Heron were creating soul masterpieces. One of them featured a flutist by the name of Hubert Laws.

The starting point of Ludivine's latest jazz-funk explorations also becomes the endpoint. Elevated by the ten tracks of Above The Laws, Ludivine Issambourg closes a loop where she has placed her flute and its flourishes in an undeniably leading role. Opening the doors to ambitious orchestrations, unexplored horizons, she weaves into her compositions the experiences, places, and encounters that have shaped her.

The title track, Pink Velvet is as smooth as velvet and as playful as pink. Featuring a full string and horn section in the choruses. Harking back to the glory age of musical sounds heard at iconic places like Paradise Garage and The Loft, but with modern production and arp synth lines and solos filling verses.

A2 Don’t Wait was a 'note to self'. Life’s short, do the thing, do the thing now. Funnily enough the track is kinda the opposite, it meanders, it noodles, it’s a journey, until… until the choruses, then it doesn’t wait, it drops, it happens, just like life!!

Flipping over to the B side, On My Mind is a love song, a ballad if you will. This dubbed out, solo ridden number explores existential themes like life, love, thought and spring reverb… all things fundamental to human existence.

And rounding out the EP, really giving you something for every occasion - B2 features Inkswel’s masterful REMIX/reinterpretation of On My Mind featuring two new vocalists LYMA bringing that sultry magic he is becoming renowned for and Elf Trazporter laying down the absolute heat. It’s broken beat in feel and party in nature.

"Diving Solo" is the debut album of an artist who, after years of recognition under a different alias, has now redefined himself as "sr²." Central to this project is a deliberate departure from self-staging—shifting the focus entirely onto the art itself.

The album emerges from a deeply rooted vision that took shape over a decade ago. It navigates the fundamental questions of existence: the inevitability of impermanence, the search for meaning, and the quest to carve one's own path. Each track draws from formative experiences—from the electrifying pulse of countless club nights to the quiet, introspective moments that challenge our understanding of everyday life.

The tracks on this 9-track double LP transcend mere functionality; they evoke profound emotions and offer space for personal reflection. "Perpetuated on Canvas..." delves into how the first encounter with mortality can profoundly shape one's perception of life. "Diving Solo" inspires a break from conventions to seek what truly matters—even if that journey must sometimes be taken alone.

While the album weaves a coherent narrative, every listener is invited to discover their own nuances and shades of meaning within it. For, in the end, the artwork always extends beyond the artist.

Uniquely personal, yet gently relatable…

Istanbul-based drummer and composer Danae Palaka’s first album “Velox” is a retrospective journey into the artist’s own roots.

Born in Athens to a musical family partially hailing from Istanbul, Danae’s relocation to the city of her ancestry in 2021 became a key influence in the creation of Velox.

Produced in a collaborative effort with producer Nikos Dervisis, Velox showcases Danae’s dense and energetic drumming style, influenced by Afrobeat and Anatolian rhythms, contemporary jazz and electronic music.

Developed by Palaka’s necessity to perform solo with a drum-kit and a sampler, the album wraps you with complex rhythms, evolving textures and polyphonies that resemble some vaguely remembered childhood memories, tales told by the elders and Danae’s exploration of her family roots, as well as her own personal experiences with Istanbul’s multi-layered structure intertwining past and present throughout its 8 track course.

In Danae’s own words: “This album is built on feelings and thoughts about places, memories, animas and circumstances and aspires to transmit certain feelings to the listener; a superpower I wish I had since I was little. Each song is a small universe of its own but also part of a whole. Velox is a sphere, a glowing warm star that I hold in my palms, whose energy expands when loved and supported.”

Adam Beyer shares his first collaboration with Brazilian superstar Vintage Culture, ‘Lift Me Up’ feat. Kyozo.The track has been brewing ever since the two artists crossed paths while touring and discussions soon turned to a potential collaboration. Passing ideas back and forward, ‘Lift Me Up’ took shape, before Kyozo’s signature vocals were added, with the British vocalist on their radar after link ups with Prof & Fitch, Aiken and Made by Pete. The final work is a pristine slice of dance music built for the summer festival season and reinforces Beyer’s continuing expansion and maturation of his sound palette, following the runaway success of his remix of Sharam’s PATT (Party All The Time) with Green Velvet and Layton Giordani and recent EP on Drumcode ‘Ghost Kiss’.‘Lift Me Up’ has soldered the relationship between Beyer and Vintage Culture, with the Drumcode boss playing the Brazilian’s So Track Boaevent earlier this year, with an anticipated B2B coming before the end of 2024.

Omni – meaning all-encompassing – is an apt title for celebrating over a decade of existence of Blue Hour Music. Marking the musical diversity and longevity of Blue Hour's imprint, the Omni V/A series
brings together a wide range of artists from the full electronic music spectrum, plunging into a pool of techno, trance, breaks and everything in between.

2024 Repress

Coming through on the 17th release of the label is the multi-talented Charles Accarisi aka Chlär, one of the promising names currently surfacing in techno. A concept creator from the heart and on another level technically, both as a producer aswell as a DJ. Chlär delivers us a very strong yet diverse four-tracker selection made for the dancefloor, all killer no fillers. Highly essential!

Fünf Monate arbeitete David Gilmour in Brighton und London an »Luck And Strange«, dem ersten neuen Longplayer, den er seit neun Jahren veröffentlicht. Die LP wurde von David und Charlie Andrew produziert, den man für seine Zusammenarbeit mit ALT-J und Marika Hackman kennt. Der Großteil der Lyrics stammt von Gilmours Co-Autorin Polly Samson, mit der er schon seit 30 Jahren zusammenarbeitet. Auf dem Album sind acht neue Tracks zu hören, dazu kommt eine Coverversion von Between Two Points (Originalinterpreten: The Montgolfier Brothers), auf der Romany Gilmour Harfe spielt und singt. Auf anderen Songs der LP war Gilmours Tochter für die Backing-Vocals zuständig. Zu den Musikern, die an der Entstehung von »Luck And Strange« beteiligt waren, gehören: Guy Pratt & Tom Herbert am Bass, Adam Betts, Steve Gadd und Steve DiStanislao am Schlagzeug sowie Rob Gentry & Roger Eno an den Keyboards. Für die Streicher- und Chor-Arrangements war Will Gardner verantwortlich. Auf dem Titeltrack, der 2007 während eines Jams in David Gilmours Scheune entstand, ist der verstorbene Pink Floyd Keyboarder Richard Wright zu hören. Das Cover-Foto von Anton Corbijn wurde durch den Text von »Scattered«, dem letzten Song des Albums, inspiriert.