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Welcome to Aqualaxy, a collaborative project where Warning joins forces with art historian C.C. McKee from Philadelphia and international queer activist dia_shi from Berlin. Accompanying McKee’s book on the debut album by late-90s electronic pop band Aqua, Aqualaxy is a compilation of contemporary queer artists from North America and Europe commissioned to create their own takes on songs from Aqua's debut album. The result is an expansive blossoming variety of music, from sizzling trance pop, to eerie darkwave atmospheres, to cheeky dancefloor weapons.

With Aqualaxy, Warning presents a release that playfully deviates from the label's usual tracks, highlights trans musicians, and offers fresh takes on nostalgic favourites to the community. Embrace Aqualaxy’s endless fluidity, a space where everything becomes possible, where some changes aren’t even a second thought. Did you know that when the kobudai reef fish reaches a certain size she changes her sex from female to male? Did you know that when the largest female in a school of Clownfish dies the male swaps sex to take her place? Protogyny, protandry, it all just seems like fun; not to mention the host of genders and ways of fucking we don’t even have words for as humans! In Aqualaxy, everything is possible under the water. Imagination, life is your creation!

Announcing Icon Roller's Debut Vinyl and Digital Release: "Anytime EP"
Following the success of Icon Roller's two digital-only releases, we are thrilled to announce the of his debut vinyl EP titled "Anytime EP." This highly anticipated release features four exceptional tracks that have garnered rave reviews and support from some of the most respected DJs and producers in the Jungle scene.
Tracklist Overview

A1. Anytime. The title track, "Anytime," is a masterful blend of influences from Source Direct and Total Science. It features filtered pads, dubbed-out effects, and intricately chopped-up Apache and amen breaks.
This track has received significant praise from Double O, who featured an early version in his Juno Daily mix. Jungle originator Bizzy B has also highly praised this track.

A2. Peaceful & Orderly. "Peaceful & Orderly" starts with a pulsing beep and filtered-down pad, as the filters rise, so does the track's energy, transforming it into a true dancefloor banger.
This track has received significant acclaim from the Bristol Jungle scene and has been played on radio shows by Amy Kisnobo (SWU/RinseFM), Leftarm (Eruption), and Aftershock (Afterdark Radio).

B1. Personal Riddem. Kicking off the B side, "Personal Riddem" is a dark roller featuring a warped, time-stretched melody.
This track has been played by Double O on his Rinse FM show and was featured in Bizzy B's YouTube show "Dubplate Wars," where it won the popular vote against nine other contenders.

B2. For The Listeners. "For The Listeners" is a chilled track that begins with a 2-step flow break and sampled Rhodes. In the second half, it transitions into more jungle territory with a syncopated and pitched break, offering a unique blend of styles that cater to both casual listeners and jungle enthusiasts.

Mastering and Production
The "Anytime EP" has been mastered and cut by Beau Thomas at Ten Eight Seven Mastering, renowned as one of the best in the industry. His expertise ensures that each track is delivered with pristine sound quality, providing an exceptional listening experience.
Stay tuned for the release of "Anytime EP" and join us in celebrating Icon Roller's debut vinyl release.

Guidance is the new label from Bay B Kane (Ruff Guidance) and Kniteforce Records. The follow up to "I See The Rain" featured Bay B Kane on a slightly more introspective tip. Alpine Echo is hauntingly beautiful, with eastern leaning vocals playing over beautiful strings and a euphoric, thoughtful atmosphere. The drums and bass are of course perfectly executed. Meanwhile, When Tears Fall is a wonderful rolling jungle workout, with gorgeous vocals and dance friendly drums!

Ilian Tape have tapped up Jichael Mackson here for a double album of expressive and forward thinking electronic sounds. The atmosphere generally futuristic and intriguing, with tracks like 'Shangri La' riding on gentle breakbeats amongst air pads, 'Banana Jazz (Quartett)' is a high speed and live sounding jazz-breakbeat workout, 'A Jichalicious Something' is dubby and IDM inflected lushness and 'Good Morning Sunshine' is an interplanetary trip with distant cosmic pads and organic piano chords soothing mind, body and soul.

Into The Woods London returns with their first VA of the series. They have curated a collection of artists for the heads on this one as they welcome seasoned production warriors, Crihan, Jay Tripwire & Miller and Vlad Arapasu alongside the up and coming t.na. The VA is very much sequenced for the club as Vlad leads this release with an A1 roller made strictly for the dance floor. On the B1 t.na adds something with a little bit more grit as quirky vox drops and a sub filled baseline carry the track throughout. On the inner sides you’ll find the deep and textured craftsmanship from both Jay Tripwire & Miller A2 and Crihan B2 have a palpable effect! In the world of minimal and tech, there is something for everyone here!

The Funky French League is a collective of intergenerational DJ’s / producers /
musicians, composed of Young Pulse, Arthur Chaps, Woody Braun, Monsieur
Willy, DJ Asko and Uncle T.
Coming from diverse backgrounds, from hip hop to electronic music, the love of
groove brought them together. Their goal is to promote funk and its derivatives
through parties, mixes, remixes, radio broadcasts...
Much more than a musical style above all, they defend a state of mind:
celebration, diversity, inclusivity, good vibrations and the spirit of the party.
„Shake Your Body Down“ is the perfect follow up single to „Free“ and is a Young
Pulse next level production. Pounding, shaking, uplifting and 150% danceable…

"A Perfect Contradiction" is the 3rd studio album by Paloma Faith & includes the singles 'Can't Rely on You' (produced by & co-written with Pharrell Williams), global viral anthem 'Only Love Can Hurt Like This' & 'Trouble With My Baby'. This 10th anniversary 2LP edition is reissued on Curacao Blue vinyl with bonus track 'Only Love Can Hurt Like This', featuring Teddy Swims, packaged in a teal colour gatefold sleeve.

Wild Workhorse Power Supply

Celebrating thirty years of collaboration, Loren Connors and Alan Licht performed for two nights at OTO on May 5 and 6th, 2023. The shows celebrated a new release titled “At The Top of the Stairs”; a document of the pair's reunion in 2018 after a period of 8 years not playing together. It’s a dark, swirling two-sided spectral noir session, put out by the duo’s home label, Family Vineyard, and we expected a similar kind of atonal abyss to appear at the OTO residency. On the second night however, with the stage lit in blue, Connors took up a seat on the piano stool whilst Licht picked up the guitar. What followed was the duo’s first ever set with Connors on piano - one of only a few times Connors has played piano live at all - here captured and issued as The Blue Hour. Its spacious warmth came as a total surprise live, but makes complete sense for a duo whose dedicated expressionism takes inspiration from a vast spectrum of emotion. Both opening with single notes to start, it doesn't take long before a surface rises and begins to shimmer between the pair. A run up the keys, the drop of a feedback layer on a sustained and bent note. When the two begin to exchange notes in tandem, brief touches of melody and chord hover and the hush of the room is palpapale. After a while, Connors picks up the guitar, stands it in his lap and sweeps a wash of colour across Licht’s melody. Sharp, glassy edges begin to form, open strings and barred frets darkening the space. When his two pedals begin to merge, Licht finds a dramatic organ-like feedback and it’s hard not to imagine Rothko’s Chapel, its varying shades of blue black ascending and descending in the room. When Connors goes back to the piano for the second side, the pair quickly lock into a refrain and light pours in. It’s a kind of sound that Licht says reminds him of what he and Connors would do when the duo first started playing together 30 years ago. It’s certainly more melodic than some of their more recent shows, and the atonal shards of At The Top of the Stairs seem to totally dissolve. What is always remarkable about Licht is that his enormous frame of reference doesn't seem to weigh him down, and instead here he is able to delicately place fractures of a Jackson C Frank song (“Just Like Anything”,) amongst the vast sea of Connors’ blues. Perhaps it's the pleasure of playing two nights in a row together, or the nature of Connor’s piano playing combined with Licht’s careful listening, but the improvisation on The Blue Hour feels remarkably calm and unafraid. There’s nothing to prove and no agenda except the joy of sounding colour together. Totally beautiful.

“Extrasensory” is the first full length album of Human Performance Lab, a duo consisting of longtime collaborators SARIN & Matt Cangiano. Produced over the course of 4 years their first LP ties together & builds on the foundation of their previous releases, combining rich cinematic & other worldly soundscapes surgically woven into the cold precision of the percussion & rhythms anchoring each track. All these elements come together to create a pulsating, laser focused album imbued with sci-fi cyberpunk overtones well suited to decrepit & dimly lit underground clubs world wide. Available as a limited run of 200 vinyls + digitals, released by X-IMG

Introducing the new record by Hendriks Toth on Sofa Movements Records.

Hendriks summed it up in his own words:

"I am glad that my first LP on vinyl is being released on a Slovak label.

Part of this LP was recorded on the streets of Kolkata, India, and also in Tbilisi, Georgia. Travel is closely connected to my music, and this EP is no exception, which is probably audible. Interestingly, in the track 'Low Histamine,' I sing for the first time (though perhaps I wouldn't call it singing).

Since I don't usually release music in Slovakia, I am very pleased that such alternative music can be released on vinyl on a Slovak label, and I take my hat off to the label manager.

I hope you will enjoy it, or at least find it an unusual experience, whether positive or negative."

First Word Records is proud to bring you 'The Making of Silk', the brand new album from Allysha Joy.

Allysha Joy is a deeply-expressive singer, songwriter, producer & keys player hailing from Naarm (Melbourne), known for both her solo work and as front woman for 30/70. A uniquely-talented artist, her husky soulful voice, formidable Fender Rhodes prowess and raw poeticism has garnered legions of attentive fans the world over.

As an integral performer in the modern day jazz-soul scene, previous support has included selectors Gilles Peterson & Jamz Supernova (BBC 6 Music), Jamie Cullum (BBC Radio 2), China Moses (Jazz FM) & Laurent Garnier (PBB France), along with stations such as NTS, Lot Radio, KEXP & KCRW, and publications including OkayPlayer, Dazed and The Vinyl Factory.

Along with a recent foray into the USA market with a string of successful shows, Allysha Joy has performed alongside acts such as Snarky Puppy, PJ Morton, The Teskey Brothers, Kokoroko and Children of Zeus, to name a few.

Joy has previously released two full-length solo albums 'Acadie : Raw' in 2018, 'Torn : Tonic' in 2022 and an EP, 'Light It Again' in 2020, along with countless collaborations and features over the past few years.

Entirely self-produced and affectionately poured over, 'The Making of Silk' is about a new understanding of the meaning of love.

Joy says, "it's the kind of love that bell hooks writes about, that lives in the poetry of Mary Oliver, Hafiz and the passionate dreaming of a Koryusai painting. It's about a love that is compassionate, that lives in open conversation, deep listening, the front lines of social movement and would never seek to stifle the light in you. It's about accepting our aloneness, the impermanence of all things and still forever wanting to prove it wrong, to say that I understand that all things change, all things end, hurt exists, but I will love regardless."

Riding on the waves of rich string arrangements, layers of vocal harmony and the raw poeticism she is known for, Allysha Joy's next album is embodying love.

'The Making of Silk' is due to be released on vinyl & digital worldwide, September 13th 2024.

We have invited for the first time in our closed creative community the soul and creativity of an old colleague, friend and fellow traveler on the road of DAO of life.

This is K▲NZ

If read from back to forth it comes from ZNAK, which means SIGN when translated into Bulgarian.

Originating and still gravitating in the suburban area of Lyulin district, these areas are known to give birth either to crime, or to art. In the case of Kaloyan “K▲NZ” Gavrailov, the shady Lyulin area, thankfully sparks the latter.

K▲NZ has had a lot of attention in regards to nightlife participation and on behalf of labels, but definitely not yet the deserved one. We are proud to present the platform for his first ever 12″ vinyl release with slightly odd in taste selection, and thus, rich in soul and creativity. -M-E-L-M-A-K-’s LKVBHR-12 installment is to be released also later this summer and by this we would like to tell Kalo: “welcome to the mob, big! Small-town-dogma-free techno rulez!”

Dejan Dex from 005 is back but with Blagoj in their mischievous music duo: Son Kota. From Misla to Termos, Dejan brings forth a new level of artistry with his right hand partner in this sizzling 3 track compilation. Literally sizzling, Termos isn’t shy in sound, waking up the listener with profound, sexy yet soothing beats in a humble, homemade kind of way.

“Our inspirations range from day to day activity. From 80’s pop rock music and good movies to tv shows and live sets from artists that we admire, together we combine all the sounds we hear into one full package.” - Son Kota

Son Kota - A story of two artists meeting halfway, making an alias to expand their music horizons. Focused on finely shaped sounds, and digging deeper as they can into the house music world.
Producing for 13 years running, Son Kota began paving their way around the same time. Coincidence? We think not. Destined to work together, Blagoj and Dejan were passionate pioneers on the Macedonian music scene with their like minded approach to genre identity and track ideation. Officially born in 2017, Son Kota was given its project name meaning “sounds of happiness” in French/Japanese dialect.

The two exude a sense of genuine awe and wonder for minimalism, and the blissful feeling it evokes.
Echoing the 90s once again, Son Kota offers a fresh batch of 3, including a remix by Arapu, each having its own musical idiosyncrasies.

Top of the track list is the dark and moody Vroche: a somewhat psychedelic ensemble of broken beats and synth stabs for the adventurous minimal listener. Up next is Termos, a marvelous piece that embodies classic house qualities peppered with nostalgic melodic elements. Finally, Arapu spins this record further with his own interpretation of Termos, bringing his signature touch to the table. Any Satya fan and production nut will be sure to appreciate his groovy minimal hypnotic flavors.

Review: Sade's Lovers Rock marks a significant evolution in the band's sound and image. Departing from their signature luxuriance, the album embraces a sparser, knottier sound that beautifully balances past influences with contemporary trends. Adu's vocals, thick and low as ever, blend seamlessly into the breezy landscape of acoustic guitar, reggae bass, and simple percussion, creating an atmosphere of understated sensuality. The album's themes range from new love to motherhood to societal issues, showcasing Adu's lyrical prowess and her ability to navigate the complexities of human emotions. Lovers Rock also pays homage to the cultural influence of Caribbean Britishness, both in its title and its musical style, adding depth to Sade's sonic palette. While the album was released amid a pop landscape dominated by shiny, slick productions, Sade remained true to their sound, avoiding obvious trends and opting for a more introspective approach. The album's impact reverberates through contemporary music and allowed Sade to maintain their unique identity and continue evolving with each release.

Fast ein Jahrzehnt hat sich Jamie xx seit Veröffentlichung seines Solodebüts Zeit gelassen. „In Waves“, das zweite Album des Londoners, der mit seiner Band The xx zu den prägendsten Figuren der jüngeren Musikgeschichte gehört. Erneut lässt er seiner Liebe zur elektronischen Musik freien Lauf und entwirft die Geschichte einer Nacht, in der man in den himmlischen Puls von Schatten, Licht und Dancefloor-Rhythmen hinabtaucht.



“In Waves” hat seinen Ursprung in einem Mix, den Jamie 2020 für BBC Radio 1 machte. Hier tauchten neben Tracks der aktuellen Generation an UK-Dancemusic auch diverse musikalische Helden auf, etwa Roy Ayers, Fela Kuti, Tom Zé oder Philip Glass. Auch erste Versionen von Songs, die nun auf dem Album erscheinen werden, waren zu hören. “Es erinnerte mich daran, warum ich diese Musik liebe“, so Jamie, der zuvor lange mit der Frage gehadert hatte, wie es für ihn weitergehen würde. “Ich fand einfach Spaß am kreativen Prozess, ohne dabei an ein Ergebnis zu denken.“



Jamie xx pflügt auf „In Waves“ durch die Subgenres und Dekaden und fügt Northern Soul, Disco, Garage, Acid House, Techno, Tropicalia. Hip-Hop, Funk und den Sound der UK Underground Pirate Radios zusammen. Die kleinen Momente sind dabei so eindrucksvoll wie das übergreifende Ganze. Etwa jener Part bei “Treat Each Other Right“, der parallel zum Album-Announcement erscheinenden neuen Single: Zunächst wird man herausgerissen aus dem breiten Breakbeat-meets-Future-Soul-Vehikel, um sich mit den gepitchten Motown-Vocals plötzlich im Mittelwellenradio der 60er wiederzufinden. Die Worte “I’ll never let you down“ werden in die Ewigkeit gezogen, bevor ein biepender Puls über atmosphärischen Synths einsetzt und man direkt zurückgeführt wird in die schweißnasse Katharsis des Dancefloors.



Im Zeitalter der Algorithmen ist “In Waves” Zeugnis für pure menschliche Empfindung, ein lebensbejahendes Gegengift, das über den Kopfhörer in eine andere Dimension führt und zugleich gemeinsam auf der Tanzfläche erlebt werden will. Mit dabei sind u. a. Romy und Oliver, The Avalanches, Robyn und John Glacier.

EN:
I am thrilled to present my new musical work, "Oscillations" – an album that explores the harmonious connection between the natural world and electronic sound art. The title "Oscillations" symbolizes the vibrations and rhythms that are omnipresent in both
nature and music.

Nature is an inexhaustible source of inspiration. From the gentle waves of the ocean to the subtle oscillations of leaves in the wind – everywhere, there are rhythms and patterns that are music in their own right. These natural movements and sounds inspired me to incorporate them into my compositions and weave them with
electronic elements.

"Oscillations" attempts to bridge the organic world and the synthetic soundscape.

Electronic sounds meet acoustic instruments and merge into a new, fascinating unity.

It's about uniting the natural beauty and the technical possibilities of music to create something unique.

With a piano, a double bass, a harmonium and a Moog synthesizer, I would like to invite my listeners on a journey into my sound universe.

DE:
Mit großer Freude präsentiere ich mein drittes musikalisches Werk "Oscillations" – ein Album, das die harmonische Verbindung zwischen der natürlichen Welt und elektronischer Klangkunst erforscht. Der Titel "Oscillations" steht symbolisch für die Schwingungen und Rhythmen, die sowohl in der Natur als auch in der Musik
allgegenwärtig sind.

Die Natur ist eine unerschöpfliche Quelle der Inspiration. Von den sanften Wellenbewegungen des Ozeans bis hin zu den subtilen Schwingungen der Blätter im Wind – überall findet man Rhythmen und Muster, die auf ihre eigene Weise Musik sind. Diese natürlichen Bewegungen und Geräusche haben mich dazu inspiriert, sie in
meine Kompositionen einzubinden und sie mit elektronischen Elementen zu verweben.

"Oscillations" versucht, eine Brücke zwischen der organischen Welt und der synthetischen Klanglandschaft zu schlagen. Elektronische Klänge treffen auf akustische Instrumente und verschmelzen zu einer neuen, faszinierenden Einheit. Es geht darum, die natürliche Schönheit und die technischen Möglichkeiten der Musik zu
vereinen und daraus etwas Einzigartiges zu schaffen.
Mit einem Piano, einem Kontrabass, einem Harmonium und einem Moog Synthesizer möchte ich meine Hörer auf eine Reise in mein Klanguniversum einladen.

It's our great pleasure to welcome Spanish duo NX1 back onto the label following their Earwiggle debut in 2019. Much has changed in the world since then but in the world of NX1, Samot and Surit's commitment to tense sonic combat remains resolute. The "Shaked Ear" EP is some of their most accomplished work to date, and a fresh follow-up to their recent debut album on Nexe Records. Raw acid lines, earth-shaking bleeps, fizzing distortion, murky vocals and a melange of sweeping kick patterns are just some of the key ingredients on display over this crushing 5-tracker. Once again finding a unique place within hard-edged rhythmic techno and industrial, with an atmosphere all of its own, NX1 are back to shake the dancefloor to its core.

Markus Guentner returns to his longstanding label, A Strangely Isolated Place following the triptych of ‘Theia’, ‘Empire’, and ‘Extropy’, presenting eight inspiring collaborations on ‘Kontrapunkt’.

Collaborations are nothing new to Markus, but it’s hard to see beyond his strong singular presence as a pioneer of long-form ambient and drone. Collabs have punctuated his albums in various places over the years, and he is no stranger to working as a duo amongst other projects, with such a strong conceptual thread throughout his prior ASIP releases, Kontrapunkt represents a literal pivot and counterpoint in his production approach. Instead of music encapsulating a strong conceptual narrative, Kontrapunkt sees Markus create a dialogue between himself and a collection of inspiring production partners.

Kontrapunkt opens with ‘Vanish’, a widescreen cinematic odyssey created in collaboration with fellow German and Affin label-head Joachim Spieth, forming the perfect opener with its modest subtleties. Australian-born Karen Vogt, renowned for her voice layering and looping, brings a beautiful, and natural addition to ‘All Light Will Remain’.

Sonae, who appeared on ASIP’s early digital releases, demonstrates her evolution into experimental flourishes with ‘Farbe Der Nacht’, adding pulsating techno tendencies and a menacing, metallic approach to Markus’ foundations. Multi-instrumentalist Pepo Galán harmonizes beautifully with Markus on ‘Ancestral Images’, adding complex nuances to a slowly evolving euphoric piece.
A master of synthesis, Arovane delivers a powerful display of supercharged electronics and coils of energy on ‘Utopian Fragments’. Benoît Pioulard's renowned expertise with guitars and tape distortion become a perfect counter to the electronics of Markus, blending styles seamlessly on ‘Father Of Waters’.

‘An unstoppable force meets an immovable object’ on ‘While Hunting Nightmares And Dreaming For Peace’, as Abul Mogard adds powerful restraint in a meeting of two drone titans. The album concludes with ‘Presence’, where Hollie Kenniff’s uplifting vocals provide a shimmering finish, perfectly bookending an album of perfected counterpoints and evolutions on the Markus Guentner sound.
Kontrapunkt will be available on Gatefold Black/Grey/Blue marble 2LP, digital and streaming on August 30th 2024. Mastered by Gio at Artefacts Mastering, Berlin, and featuring artwork by Noah M / Keep Adding.

The Verb EP connects with our core a3iliations of House Music, combining classical
elements like vocal samples and hooks, along with warm basslines, into a sparkling
atmosphere and fresh interpretation.
“Get Me” is without a doubt the track that received the most spins at Dixon's and Âme’s
latest shows. Nevertheless, “Stronger” and “Blue Zone” are energiser and great
examples of how these classical elements can be worked in a way that expresses a new
and exciting touch to the scene.

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, SMan, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Toolroom’s leading lady ESSEL returns to the label with a brand new killer vinyl 2 tracker. First up is her recent smash ‘Rave Is The Weapon’ with fellow female powerhouse and talented DJ, producer and vocalist, Alex Mills. Alex Mills is on an incredible journey! She had a UK top 40 hit last year with ‘Million Dollar Bill’ and as a talented vocalist boasts writing credits on records with the likes of Camelphat, Solardo and Ferreck Dawn. When these 2 are in the same room together, the energy that exudes from them is on another level! Their genuine friendship and thirst for fun is clearly visable and this spills into the record in a massive way. This BANGS! A peak-time tech houser in a similar vein to ESSEL’s Beatport chart topping tracks ‘Sweat’, and ‘Lennon’ with a lyric that will be screamed on dance floors and at festivals for the foreseeable future… ‘RAVE is the weapon!’ On the flipside is her late 2023 Toolroom single ‘The Edge’ that already sits on an impressive 4m streams and almost 40 Radio 1 plays. She has received a huge amount of radio support over the past few years which was rewarded with a DJ booking at Radio 1’s ‘Big Weekend’ back in May alongside the world’s leading artists. As far as the record is concerned… This is a real EARWORM! A stripped back, fun record with insanely catchy vocals and one that will please radio DJs, and club DJs alike.

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

"LATZFONSER KREUZ / FELTUNER HÜTTE scheduled for release on September 20th 2024 is the third single to be lifted from Ulrich Troyer's TRANSIT TRIBE due later this year.

Mamadou Diabate, originally from Burkina-Faso and now resident in Vienna, who is also a world-famous virtuoso balaphon player, collaborates on "Latzfonser Kreuz" with fellow countryman Hamidou Koita to produce a remarkable percussion track, both singing and employing talking drum and djembe to come up with a sound that can only be described as dubbed-out Nyahbinghi-style electro-beats! The track references the little church at Latzfonser Kreuz, which is the highest pilgrimage spot in South Tyrol, one of the highest in Europe; every year in June, the Black Lord, a black carved Gothic wooden cross, is brought from the village church in Latzfons to thepilgrimage church, where it remains throughout the summer.

On the flip for "Feltuner Hütte" Ulrich Troyer is joined by co-producer Osman Murat Ertel, founding member of the electro-psych-folk group Baba Zula from Istanbul, who has worked internationally for many years collaborating with the likes of Jaki Liebezeit, Fred Frith and Mad Professor. But here Murat takes us on a dub psych-out trip with his favoured electric saz, with wha wha FX, delay and echo, like Link Wray meeting King Tubby on the old streets of Istanbul."

Steve Barker (DJ, Radio Presenter - On the Wire, BBC 1984 – 2023, now Slack City Radio & reggae/dub columnist and contributor to The Wire)

Credits:

Mamadou Diabate: vocals (A) & talking drum (A)

Osman Murat Ertel: electric saz (B)

Hamidou Koita: vocals (A), djembe (A)

Didi Kern: percussion (A), drums (B)

Flip Philipp: percussion (B)

Ulrich Troyer: analog synthesizers & drum-machines, sampler, field recordings, dub effects (A+B)

A written by Mamadou Diabate, Hamidou Koita & Ulrich Troyer

B written by Osman Murat Ertel & Ulrich Troyer

Recorded by Ulrich Troyer at 4Bit Studio & 4Bit Bungalow, Vienna - except electro saz on track B recorded by Osman Murat Ertel at Saniki Studio, Istanbul

Mixed & arranged by Ulrich Troyer at 4Bit Bungalow, Vienna

Produced by Osman Murat Ertel & Ulrich Troyer

Mastering & Lacquer Cut by Kassian Troyer at Dubplates & Mastering, Berlin

Cover Drawing by Ulrich Troyer

Special thanks to Steve Barker, Mamadou Diabate, Osman Murat Ertel, Diggory Kenrick, Eva Kelety, Didi Kern, Hamidou Koita and Flip Philipp

Kindly supported by the City of Vienna (MA7 - Kultur), Federal Ministry Republic of Austria (Arts, Culture, Civil Service & Sport), SKE-FONDS (AT) & Amt für Kultur, Bozen (IT

Dark Entries picks up Severed Heads yet again for Ear Bitten, a double LP reissue of some of the band’s earliest material. As originary Aussie industrial legends - although founder Tom Ellard would balk at being branded as such - Severed Heads shaped the continental subcultural sound with their kitchen electronics, chaotic tape loops, and quietly infectious nursery-rhyme-esque melodies. In 1979 Ellard, Richard Fielding, and Andrew Wright abandoned the moniker Mr. and Mrs. No Smoking Sign and adopted the edgier name Severed Heads “to pretend to be an industrial band such as Surgical Penis Klinik & Throbbing Gristle.” Noise-rockers Rhythmx Chymx had placed an advertisement in a local shop looking for a band to share the costs of pressing an LP. The Heads set about recording a Dadaist racket on a pair of open reel dictaphones and a cassette deck using a TRS-80 computer, Kawai Synthesizer 100F and Korg Mini Pops drum machine. Ear Bitten was released in 1980; original copies now fetch obscene sums, in part due to most of Severed Heads’ copies perishing in a fire at Richard’s home. The band’s next endeavor was a cassette titled Side 2, a collection of free-form experiments fashioned as Ear Bitten’s second side. For this reissue, Dark Entries has collected both Ear Bitten and Side 2 on the first disc, presenting the album in its full form. Disc two includes the original first version of Ear Bitten, which was only unreleased because it was recorded in a format not suitable for pressing. The album comes in a gatefold sleeve designed by Eloise Leigh and includes photos, liner notes, and reproductions of the original Xerox inserts from the 1980 issue. Ear Bitten delivers 22 tracks of pain you can dance to!

Following on from his previous debut album Tape 1/Tape 2 on Soundway, Felbm delivers Tape 3/Tape 4 : an intimate, emotional, lilting and melodic solo project. These 14 lo-fi, instrumental, jazz-infused sketches were written on guitar, with cascading keyboards, vibraphone and drum machine. Possessing a restorative and soothing quality, it goes some way to balancing out a chaotic year for the world
at large.

With echoes of the dreamier end of 1980s English indie-pop, minimal ambient music and Brazilian bossa-nova, Topper’s musical storybook includes touches of The Durutti Column, hints of Antônio Carlos Jobim and Baden Powell, whilst all set firmly in the summer fields of Germany and the Netherlands. The recording method used for the creation and recording of Tape 3 and Tape 4 follows the same as his previous release: all sketches were initially recorded onto cassette on a 4-track tape machine. Most notably a vibraphone finds its way onto
almost every track fitting Topper’s sound-palette perfectly: warm yet distinctive, a percussive as well as sustaining sound that evokes some melancholy and a certain timeless nostalgia. Features that most certainly also apply to the other ‘new’ instrument on the tapes: mellotron flutes.

Tape 3/Tape 4 navigates the space between quiet, open, meditative tunes and more solid instrumental works, reflecting his constant search for an optimal balance between stillness and movement.

Die "French Touch Collection" ist eine Doppel-LP-Serie, die der französischen elektronischen Musikszene gewidmet ist. Beeinflusst von neuen Musikgenres wie House, Hip-Hop, Techno und den Rave-Partys, beteiligten sich Mitte der 90er Jahre mehrere französische Produzenten an der Demokratisierung der elektronischen Musik. Ihre Musik, die der britische Journalist Martin James "French Touch" nannte, wurde 1996 zu einem neuen, international bekannten Musikgenre, das sich durch elektronische Produktionen und Musiksamples aus Hip-Hop, Funk oder Disco auszeichnete. Anfang der 2000er Jahre erfand sich die "French Touch"-Szene mit einer neuen Generation ungehemmter Künstler neu, getragen von einem rohen, rocknahen Sound. Die 2010er Jahre brachten eine neue "French Touch"-Welle mit sich, die von der Popmusik beeinflusst war und sich mehr auf Melodien und Oneiric Universes konzentrierte. Dieses neue Werk ist dem House gewidmet, mit Künstlern und Tracks, die zur Entwicklung des "French Touch" beigetragen haben: "Bon voyage"!

Mexican supergroup Secret Echoes releases debut single ‘Bring My Beat Back’ on Crosstown Rebels. The project combining a trio of revered talents from the Mexican electronic landscape sees Estefani Brolo, Diego Cevallos, and Marco Anaya unite to reveal a first glimpse into their forthcoming debut album, with the single remixed by Zombies In Miami focus on the song's hypnotic vocals and raw emotive energy.

Secret Echoes is a dynamic collaboration of three acclaimed artists from Mexico’s electronic music scene: Estefani Brolo (of BROLORZIO & I.M YONI), Diego Cevallos (AKA Métrika), and Marco Balcazar (AKA Balcazar of Balcazar & Sordo). With each member bringing a distinct musical background to the group, creating a unique fusion of sound set to resonate with electronic music enthusiasts worldwide, Secret Echoes creates music that blends house foundations with melodic innovation.

The origins of the project trace back to the height of the pandemic, when Cevallos and Balcazar began collaborating on an album they had always envisioned. Renting a unique studio in Jiutepec, Mexico, equipped with analogue tape machines and high-end studio gear, and inviting their talented friends to contribute, Brolo soon joined the project - adding her melodic and lyrical expertise. The result was the recording of 11 tracks that were put on hold until the time was right. After revisiting the tracks and performing them live, ‘Bring My Beat Back’ caught the attention of Crosstown Rebels founder Damian Lazarus during 2024’s Day Zero performance. Inspired by its energy and potential, Lazarus signed the entire album, and this first single provides a first glimpse of what is to come from the enigmatic trio on an imprint known for continually pushing boundaries within house music.

‘Bring My Beat Back’ showcases the group’s distinctive blend of house music foundations, guided by Brolo’s captivating vocals above shimmering synths and refined percussion grooves to deliver a silky-smooth production balancing classic nuances with contemporary touches for the dance floor. Creatures Of The Night founders and Permanent Vacation regulars Zombies In Miami provide an extra layer to the package, with the renowned duo’s remix drawing for neon-lit synths and hazy tones for a deep dive into the late-night hours.

A highly talented artist who has grown to make a notable impression amongst the scene’s most revered tastemakers, DJ/producer and label owner Jhobei is an individual who continues to blossom. His deep, expansive sound has already welcomed material on Up The Stuss, Limousine Dream, Mindhelmet and Picnic Records, amongst others, while featuring as a co-founder of London-based collective and label Bizarre Trax. In addition, his work as one-third of dynamic trio Felon5, coupled with his unique sound, has taken him from Albania’s ION Festival to Los Angeles, alongside making a handful of appearances for FUSE and its sister brands on home turf at fabric, The Cause and Village Underground - plus 2024’s Open Air event at Barking Park earlier this year. Building on that relationship, late September brings fresh music as Enzo Siragusa invites the exciting selector to make his label debut with an array of impressive productions across his ‘Age Of Virality’ EP. A-side opener ‘Swarming’ is all action and kicks things off with authority as a snaking bassline guides a garage-influenced trip through bumping low-ends and hooky vocal samples, while ‘Machine Language’ delivers a mix of playful tones amongst sweeping melodies while delivering a heavy dose of robot funk. On the flip, ‘Defusion Solution’ is a heady late-night excursion through skippy percussion and cosmic tones, with ‘Rising Sun’ stripping things back to deliver a classy, hazy journey as organic percussion grooves unravel effortlessly. Digital buyers are treated to a bonus cut in the form of ‘Kontrol Urload’, a sci-fi leaning cut merging glistening neon synth motifs with punchy kicks and zipping effects for maximum impact.

Anthony Linell's Lundin Oil project suggests a politic and an aesthetic in one swift movement. We may make certain deductions about each, but we must work backwards from where they meet.
 
Through the brutalising industrial mechanisms to which titles cryptically allude, we are given an exponentially urgent image of devastation. This is projected, pitch-perfectly, into a rapacious and erosive aural demonstration that barely meet metrical demands.
 
Exploit Divisions, the first Lundin Oil release since 2016, redoubles this threatening realisation. The album pivots between seismic static waves and jagged rhythmic noise, seeking a wider vantage with melodic drone ensembles. A ferocious departure from his primary work, Exploit Divisions is a purposeful reminder of the savagery of brevity.


Recorded by Anthony Linell in Sofia, Sweden 2022-2024
Visual by AL
Mastered by Giuseppe Tillieci at EnissLab, Rome

432HERTZ Berlin Unveils its Hypnotic "Space Collective" Debut Vinyl

Prepare to lose yourself in the world of underground electronic music with the arrival of 432HERTZ Berlin's inaugural vinyl release. This meticulously curated collection transcends genres, weaving a spellbinding narrative that will transport you to uncharted sonic territories.

Side A: A Celestial Exploration

•A1: Computational Universe (Rinaldo Makaj): Brace for liftoff as Rinaldo Makaj's "Computational Universe" propels you towards the furthest reaches of the cosmos. Lush soundscapes shimmer with meticulously crafted synth sequences, evoking a sense of awe-inspiring discovery amidst the celestial expanse.
•A2: Mesosphere (Rickie): Descend into the enigmatic depths of "Mesosphere" by Rickie. A sophisticated bassline throbs like a beating heart, guiding you through a soundscape shrouded in mystery. Evocative leads and atmospheric synths create a captivating soundscape that lingers long after the final note fades.
Side B: Where Electro Meets Soul

•B1: Escape from Reality (Electric City): "Escape from Reality" by Electric City ignites a surge of raw energy, pulsating with the primal spirit of classic electro. This genre-bending track seamlessly integrates soulful influences into a driving electro foundation, creating a sonic odyssey that's both exhilarating and deeply moving.
•B2: Mario's Juice (Pumio Space): The journey concludes with Pumio Space's "Mario's Juice," a sonic elixir that washes over the listener in waves of euphoria. This tranquil soundscape provides a perfect descent, leaving you in a state of blissful serenity.



A Testament to Underground Electronic Music

Curated by Rinaldo Makaj, 432HERTZ Berlin's debut vinyl release is a powerful testament to the boundless creativity and diversity of underground electronic music.

In May, fans were treated to the first new music from Trentemøller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, Dreamweaver will drop in September, on Friday the 13th.
Featuring 10 tracks that traverse Trentemøller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of of Iceland's Disa, who has been in Trentemøller's fold since the Memoria tour.
Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentemøller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. The third track in the opening trifecta, "Dreamweavers" finds its footing with a percussive soft trot, which starts after what feels like a shortwave radio scan in search of the right chords, eventually dialing in a weightless voice. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst.
Dreamweaver is about to enter its next phase. With the hatch blown off of the portal, the noisy "I Give My Tears," driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant.
A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure." This diptych wraps up an album which certainly feels on-script for Trentemøller, but is also much more psychedelic than previous offerings.
Dreamweaver will be released on Trentemøller's own In My Room label. It is an exceedingly immersive experience, bound to release any dormant hallucinations you may be harboring.

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).