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German DJ and producer Terrorrythmus returns with D3l3t3, a bass, gabber and hybrid rave inspired fire red five-tracker. It's time to get vacced and waxxed!

Red 140g vinyl comes in a printed sleeve with a download card and stickers.

Edition of 250pcs.

Joshua is the follow-up album to Olympic. While the second album, typically, often shows what critics call “maturity”, here Simon has released instead an album of adolescence. The musician opened up his own memory box to contemplate his childhood souvenirs, and dust them off of all nostalgia. At that time, he would VHS-record movies from TV and tape record soundtracks directly from the TV speaker, so he could listen to them in his bedroom. This is when he “discovered the power of music, the way it makes you enter another world, far from reality. I wanted to pay tribute to the era I shaped myself in – the ’80s and ’90s”. Tangerine Dream, Kraftwerk and Soft Machine. Logically, these are the sonic signatures that seem to haunt the album. The timeless pioneers of synthetic music constitute the sound references, without any established chronological timeline, that blend with the atmosphere of typically “French Touch” movie soundtracks – long before the term was even coined. “I use a musical palette that acts as a flashback to my favourite teenage movies: the synth sounds of Close Encounters of the Third Kind; the synth pads in Jean-Jacques Cousteau’s fascinating documentaries about the sea world; the melodies in the manner of François De Roubaix; the themes that evoke the soundtracks of late-night TV sessions (those by Verneuil, those with Belmondo, Depardieu, etc.); and the sci-fi ambiences like in Blade Runner.” In short, an aesthetic was decided on by Simon very early on: French analog synths instead of North American symphonic orchestras.

The name Joshua has two meanings for French 79: one is linked to the idea of nostalgia, the other to adventure. On the one hand, the computer in the 1983 movie Wargames, and on the other, the boat of French sailor Bernard Moitessier.

The track titled Joshua synthesizes the spirit of the album – an odyssey, a neverending crossing of the world in search of oneself, a spontaneous escape into the future, under the benevolent eye of the past. This epic invites everyone of us to a specific place in our imagination, which is also the source of an indescribable pleasure for French 79: a gust of wind, a sailboat ride, a skateboarding trick, the smell of freshly fallen snow, or the dull roar of an impatient audience.

The same aesthetic preferences are found in the videos that illustrate Joshua’s first tracks: for Hold On, the skateboarder chose to recall the cult ’90s skate videos that he would watch on repeat as a teenager, while Hometown hints at Close Encounters of the Third Kind. Although he now calls Marseille home, Simon continuously draws with passion from the anachronic contemporaneity of his childhood in the Eastern French region.

“I need escape to be able to create. A two or three-day sailing trip gives me enough inspiration to lock myself in the studio for a week when I’m back on dry land.” His boat takes him far away from everything, far from the Old Port where she moors, the rest of the time Simon would escape by walking the streets of his city or climbing the Alpine mountains.

Not only does the new version French 79 reveal a few biographical pieces of Simon henner's history, but it also inaugurates the first vocal track for the musician. One feels a guilty pleasure when hearing him take the lead on the first track, The Remedy. The electronic fugue that opens the album sets the tone: Simon has found the cure for his inner turmoil and wants us to discover our own treatment too. Hold On is a sonic explosion that celebrates the feeling of freedom - what's more of a teenage dream than this feeling - and it eventually command one to feel the same way too. Echoing Olympic, the electronic argonaut invites his muse again, singer Sarah Rebecca. On By Your Side and Touch The Stars, the native of Ocean Springs, Mississippi, now based in Paris, hoisted the mainsail of dream pop. First, though a dialogue that surfaced their unfailing attachment to the bonds of friendship, then through the light hearted atmosphere that leaves us with no choice but to believe in our own dreams and do anything possible to fulfill them. The quest for peace in the midst of the daily din is heard in both Code Zero and the title track Joshua, two majestic journeys in search of hedonism, combined with introspection.

If Shelter swam through the serene side of the Library experience on GBR016, CV Vision blasts off in the opposite direction, riding an explosion of funk breaks and frazzled synths into the event horizon on his retro-futurist opus ‘Insolita’.

As contemporary life accelerates way past peak-weird, CV Vision leans into uncertainty and leaves Earth in the rear-view. Strung out on Simulacron-3, World On A Wire and Omaggio Ad Einstein, the Berlin-based musician imagines his own Brave New World, an alternate eXistenZ in a secret simulation.

Using the space age obsession of the Italian libraries as a launch pad, Dennis Schulze slathers a sonic storyboard with ferocious percussion, psychedelic fuzz and the pastoral electronics of Germany’s Kosmische movement. But this is less Can, more uncanny - and Schulze perfectly renders the cognitive estrangement of a simulated reality through his adventurous production. The monolithic live drums, recorded in a Neukölln garage on a battered Soviet kit are smeared with tape hiss, compressed to death and fired through LFOs, re-materialising on record in impossible scale. Time slips out of joint under the wow and flutter of the reel to reel, drum computers add digital interference to organic rhythms and the unfaltering slew of the 303 lends the hallucinatory thrill of the club sound system to an already psychedelic affair.

As Schulze’s imagination runs free, we’re taken through epic space battles and narrow escapes, moments of reflection and affection and a final resolution, all expressed through a dexterous control of movement and mood. For every explosion of break-fuelled adrenaline, there’s a cruise into cryo-chamber music and holodeck exotica. For each neck-snapping blast of acid funk, there’s a zero gravity lullaby waiting just around the corner.

So put isolation on ice and surrender to the strange, this is a trip you don’t want to end.

Dead Nature, the solo project of former Spring King singer and prolific producer (The Big Moon, Calva Louise, Circa Waves, Dream Nails, Genghar, Police Car Collective) Tarek Musa, is announcing the release of debut album Watch Me Break Apart, and sharing the video for new single “Hurricane”. It follows the boisterous, sky-high indie-pop dramatics of recent single “Red Clouds”, which drew support from BBC Radio 1, BBC 6 Music, Clash, DIY, Dork, The Line of Best Fit, NME, The Independent, and The i Paper.

Producer and songwriter Tarek Musa has for a long time placed himself at the centre of other artists’ worlds, helping to hone sounds and build scenes through his production work for artists such as The Big Moon, Genghar, and Dream Nails, Calva Louise, Police Car Collective - as well as providing remixes for the likes of Circa Waves. As BBC Radio 1's Jack Saunders noted recently on-air, "we owe a lot to him out here... he's putting the passion from Spring King into the future of the alternative music that we love." With Dead Nature, Musa allows himself to step back from his role as architect for others and set about pursuing his own creative impulses.

Throughout Watch Me Break Apart, internal anxieties are made external, and re-purposed into a carnival of multi-coloured, fuzzed-up indie-pop. The strain of social media and a whirlwind news-cycle compound on the album’s cartwheeling title track, pairing thoughts of sleepless nights with isolated imagery (“A car waits at the lights, no one’s in the driver’s seat / In the ocean stands a tree”). "50 Foot Wall" and the paradoxically light-hearted "Hurricane" were both written against the backdrop of a growing climate crisis, and "Ladlands" zeroes in on social and political struggle, the rate at which change is happening, and the reality-warping nature of the echo-chamber.

Guro Gikling from All We Are sings backing vocals across the whole album, except for Hurricane which Jess Allanic from Calva Louise appears on.

Dead Nature, the solo project of former Spring King singer and prolific producer (The Big Moon, Calva Louise, Circa Waves, Dream Nails, Genghar, Police Car Collective) Tarek Musa, is announcing the release of debut album Watch Me Break Apart, and sharing the video for new single “Hurricane”. It follows the boisterous, sky-high indie-pop dramatics of recent single “Red Clouds”, which drew support from BBC Radio 1, BBC 6 Music, Clash, DIY, Dork, The Line of Best Fit, NME, The Independent, and The i Paper.

Producer and songwriter Tarek Musa has for a long time placed himself at the centre of other artists’ worlds, helping to hone sounds and build scenes through his production work for artists such as The Big Moon, Genghar, and Dream Nails, Calva Louise, Police Car Collective - as well as providing remixes for the likes of Circa Waves. As BBC Radio 1's Jack Saunders noted recently on-air, "we owe a lot to him out here... he's putting the passion from Spring King into the future of the alternative music that we love." With Dead Nature, Musa allows himself to step back from his role as architect for others and set about pursuing his own creative impulses.

Throughout Watch Me Break Apart, internal anxieties are made external, and re-purposed into a carnival of multi-coloured, fuzzed-up indie-pop. The strain of social media and a whirlwind news-cycle compound on the album’s cartwheeling title track, pairing thoughts of sleepless nights with isolated imagery (“A car waits at the lights, no one’s in the driver’s seat / In the ocean stands a tree”). "50 Foot Wall" and the paradoxically light-hearted "Hurricane" were both written against the backdrop of a growing climate crisis, and "Ladlands" zeroes in on social and political struggle, the rate at which change is happening, and the reality-warping nature of the echo-chamber.

Guro Gikling from All We Are sings backing vocals across the whole album, except for Hurricane which Jess Allanic from Calva Louise appears on.

In 1979 as a 15-year-old Eddie Piller was perfectly placed to be at the epicentre of the Mod revival. An inquisitive passion
for music, a family connection to Mod royalty The Small Faces, and an attitude that saw him travelling his home city, then
the country and then the world to take in the sounds that were emerging. In the years since, Piller has been a legendary
figure within the music industry setting up and continuing to own the ground-breaking Acid Jazz label, signing multiplatinum artists such as Jamiroquai and The Brand New Heavies collaborating on compilations with Martin Freeman and as
an award winning broadcaster even setting up his own Totally Wired Radio station. In The Mod Revival he looks back at the
movement that set him on his way.
• Mod is a sixties youth movement original built on sharp clothes, American soul music and nights on the town, that has never
really died. The originals added young British groups to their likes and then moved on, but their influence echoed on
through the 1970s in Northern Soul clubs, and in the sixties influenced bands of the pub rock era. When punk arrived, it was
supposed to sweep away the past, but instead the Sex Pistols were covering the Small Faces. The Clash brought in Mod DJ
Guy Stevens to produce London’s Calling, The Buzzcocks sounded closer to the Hollies than The Ramones and in The Jam’s
Paul Weller there was a musical and sartorial nod to the past of The Who, The Beatles and pop art arrows.
• Weller had spent the 1970s becoming obsessed by mod and saw punk as having a similar youthful energy to the era he had
missed by being born a decade too late. For others Weller’s style proved an inspiration, and as the Jam broke through in late
1978, they saw a wave of bands follow in their wake, and they themselves influenced others to form their own groups. But
there were other things. In bleak late 70s Britain the glorious optimism of the 1960s looked bright and shiny, and as it was
only a decade or so in the past, it was easy to pick up original records, clothes and books for pennies, and as you bought
these you met other like-minded souls who did the same. For those a little too young for punk, it was a community of gigs,
scooters, clothes, bands and records, and for many it developed on through.
• Eddie never stopped being a mod and has a unique perspective having now lived through four decades of being intimately
involved in the music that has emerged from the mod scene. In this part two double vinyl edition (Part 1 and its CD
equivalent reached #14 in the UK compilations charts) Ed guides us through some of his favourite music from the scene. He
guides us through a plethora of bands whose influences include The Who, The Kinks and the Jam, to sixties soul and R&B,
those with an eye on psychedelia. The records have a vitality and a certain stylish swagger to them, that marks them out as
mod. In the deluxe booklet, Piller has written a 5000 word note describing what it meant to him and has granted access to
his own scrapbooksfrom his many years of gig-going from which pages and memorabilia are reproduced.
• Eddie Piller’s Mod Revival is a personal appraisal from the founder of The Modcast, on what the mod explosion of the late
70s and 80s means to him…

Before there was Rimarimba, Suffolk-born, Felixstowe-based musician and home recording enthusiast Robert Cox assembled a cast of friends, some musicians and some not so much, for an experiment in group exploration and ecstatic expression under the name The Same. Sonically and gravitationally defined by Cox's collaboration with guitarist Andy Thomas (a partnership which formed in 1976 to record as General Motors), Sync or Swim, The Same's one and only album, also featured keyboards by Florence Atkinson and Paul Ridout, and vocals by Robert's sister Rebecca. Originally released in small cassette and vinyl quantities on Unlikely Records, Cox's imprint and a meeting point for many other musicians found at the fringe, the back cover of the original album jacket is as much a map of the personnel, place, and process fundamental to Sync or Swim as it is a table of contents for DIY music-making at the beginning of the 80s: "Recorded in peaceful Wiltshire between September 18th and October 6th 1981 (using a miscellany of home made devices) onto a Teac A-3300SX via a Teac A-3440. No noise reduction systems were used." Cox's own definition of British psychedelia is "folk music meeting technology and going bonkers." It's by this definition that Sync or Swim takes unexpected forms, from tape-speed tomfoolery, concrète sound collage and analog delayed marimbas, to the colorful spectrum of interwoven guitar play between Cox and Thomas reminiscent of Ghanaian Highlife but more accurately indebted to Jerry Garcia. On the album's culminating final track, "E Scapes," all of these elements are brought together in twenty-minute journey through layers of chiming guitar loops and spritely solos, keyed percussion, and tape experiments, all played as though the sun were rising over the standing stones of Salisbury Plain. Cox would later go to similarly greath lengths with certain solo sound endeavors, but the confluence of musicians on "E Scapes" pushes the piece to exceptional, unforgettable heights. Transferred and remastered from the original tapes, The Same's Sync or Swim arrives on LP July 16th, 2021 on Freedom To Spend, just in time for the album's 40th anniversary.

German DJ and producer Terrorrythmus returns with D3l3t3, a bass, gabber and hybrid rave inspired fire red five-tracker. It's time to get vacced and waxxed!

Edition of 250pcs.

hardcore kicker


b A2 Zero Control Deathchamber Par t2 - Hellfish - 200bpm - 5m49s

With his ongoing commitment to like-minded archivist label Finders Keepers Records, industrial music pioneer Steven Stapleton further entrusts us to lift the veil and expose “the right tracks” from his uber-legendary and oft misinterpreted psych/prog/punk peculiarity shopping list known as The Nurse With Wound List.
Following the critically lauded first instalment and it’s exclusively French tracklisting both parties now combine their vinyl-vulturous penchants to bring you the next ‘Strain Crack & Break’ edition which consists of twelve lesser-known German records that played a hugely important part in the initial foundations of the list which began to unfold when Stapleton was just thirteen years old.
From the perspective of a schoolboy Amon Düül (ONE) victim, at the start of a journey that commenced before phrases like kosmische and the xeno-ignant Krautrock tag had become mag hack currency, this compendium is devoid of the tropes that united what many would accurately argue to be the greatest progressive pop bands in Europe
(namely CAN, Neu! and Kraftwerk) and rather shatters the ingredients across a ground zero landscape for both inquisitive fans and socially rehabbing musos to begin to assemble a unique self-styled identity. If Krautrock was the music that journalist told us lurked behind schlager (German pop) in the 1970s, then this record includes the music that skulked behind Krautrock and perhaps refused to polish its backhanded name belt.
Including lesser-known artists like the late Wolfgang Dauner, whose career proceeded and outlived the kosmische movement while consistently informing and outsmarting them whenever they got stuck in their metronomic ruts, or how about Fritz Müller, the man who
was to Kraftwerk what Stuart Sutcliffe was to The Beatles but had more in common with Yoko and quite rightly couldn’t give a stuff about the Fab Four’s Hamburg roots.
Elsewhere we have a plethora of German bands made for German audiences as they try and shed secondhand flower power Americanisms and feel the benefits of much harder drugs and the realisations of difficult second album budgets while Kommune 1
newsflashes wipe smiles from everybody’s faces and replace them with opioid chic or acid-sarcastic grins. Bonzo Cockettes show us their Big Muffs and drummers ask for extra mics while Conny Plank goes for parliamentary office and gives babies good firm handshakes for the camera.
‘Strain Crack & Break: Volume Two’ is the sound of Steve Stapleton’s sponge-like mind and the dividends of anyone who was brave enough to even peek inside those brick-thick gatefold covers never mind drop the needle.
Over forty years since Nurse With Wound’s first album was released, Finders Keepers Records and Steve Stapleton take connoisseurs of our kind of music back to the disused elevator shaft towards ground zero. Arriving at the same checkout from different departments, Finders Keepers and Nurse With Wound continue to sing from the same hymnal with this ongoing collaborative attempt to officially, authentically and legally compile the best tracks from Steve’s list, where many overzealous erds have faltered (or simply, got the wrong end of the stick).
After ‘Strain Crack & Break: Volume One’ merely scratched the surface of this DIY dossier of elongated punk-prog peculiarities, this second lavish metallic gatefold double vinyl compendium drives a much deeper groove which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of German origin - the country whose music forged the prototype of the NWW inventory in the form of his secondary school vinyl wantlist in the early 1970s, comprised of disassembled free jazz, unshowered stoner psych, hypnotic prog, deranged monk funk and fuzzed out Deutschmark bin bonzo beats.

Purple Vinyl

Even if you're well-acquainted with composer and multi-instrumentalist Colin Fisher's richly varied output, his gentle fifth solo album, Refections of the Invisible World may come as a surprise. Psychedelic lyricism has always been a fundamental aspect of his sonic signature, but his second collaboration with producer Jeremy Greenspan (Junior Boys, Jessy Lanza, Morgan Geist) finds the Toronto native luxuriating in expansive atmospherics for its full duration.
That's not to downplay the eclecticism he finds within this ethereal landscape. Each track tills its own discrete sonic acreage, and while every one emanates from a clear focal point, the spontaneous impulse that drives Fisher's more audibly improvisational music always remains close at hand. Some pieces unfold rippling aquatic vistas or delight in prismatic guitar arpeggiation, elsewhere his plaintive, blues- infected tenor saxophone wafts like some strange jazz apparition, or becomes a chorus of cosmic murmurs. The presence of electronics is undeniable, but equally irrefutable is the organic instrumental sources of these disparate hues. In fact he's discovered a rare balance: no matter how effects-saturated, every gesture on the record feels palpably sculpted by Fisher's hands and breath. As such, Refections of the Invisible World carries a sense of intimacy at the heart of its diffuse, dream-like sonics.
Fisher has a been a major presence in Canada's music community for more than twenty years—particularly in more experimental and improvisational circles. Nothing short of a guitar virtuoso, he also wields saxophone, drums, and various other instruments with similarly refined musicality, vivid textural imagination, and sometimes feral abandon. His one-man-band tape Garden of Unknowning for Manchester's Tombed Visions, showcase all of this as he spars with different iterations of himself. The Quietus' cassette critic Tristan Bath extolled it as "miraculous," adding that "it’s a visceral experience soaking up this record, and it’s all down to Fisher’s utterly innate sense of musicality." He subsequently cited it in his 2018 contributor's year-end chart for the Wire.
In 2014 his partnership with Nick Millevoi's trio Many Arms on Suspended Defnition (Tzadik) prompted Spin's Brad Cohan to remark "Many Arms have dug even deeper into math-metal wizardry, bolstering their already imposing lineup with gale-force blowing guest saxophonist Colin Fisher, thus blasting their outré sonic blitz into a fire-breathing free jazz otherworld." Fisher later engaged the band's bassist, Johnny DeBlase, to team up with him and Kid Millions (Oneida, Man Forever) as Monas. As an ongoing collaborator to introspective dance music auteur Caribou, Fisher frst appeared in offshoot project Caribou Vibration Ensemble, and subsequently on acclaimed albums Swim and Suddenly. He's also made two duo albums with celebrated Nova Scotian jaw harp innovator chik white for Dylan and Lisa Nyoukis' Chocolate Monk label. In addition to performing alongside the likes of Jaime Branch, Joe McPhee, William Parker, Laraaji, Gerry Hemmingway, and Fred Frith, he has contributed to recordings by the Constantines (Sub Pop), Bernice (Arts & Crafts), Rhys Chatham (Table of the Elements), Born Ruffans (Warp), Anthony Braxton and AIMToronto Orchestra (Spool), and many more.

6 bloody acid techno tunes... Some electro, some hard and some hardhouse.
Melting of classics and visionars sounds.

Question everything. Consider your sources. Be wary of ulterior motives, insidious media narratives and even your own unconscious bias. Trust sparingly and try to make smart, informed choices. As the world slides further into ruin, it’s more important than ever to be vigilant and fight back. Luckily, Hacktivist are back to help cut through the noise and bullshit, tooled-up and ready to attack with renewed vigour and reinforced ranks. With Jot Maxi and J. Hurley now sharing the vocal and lyrical load, drummer Rich Hawking and bassist Josh Gurner bringing the beats and rhythms, and guitarist and production don James Hewitt fleshing out the group’s genre-fluid muscle, new album Hyperdialect arrives less like a mission statement and more as a flaming musical Molotov, declaring all-out war. “Hyperdialect isn’t an album for people to just casually listen to,” J insists, “we’ve taken things to the next level, which I didn’t even think was possible. We spit the truth. *We are the truth.*” In 2016, when Hacktivist initially set sights on their enemies with debut album Outside The Box, the world wasn’t fully equipped to heed their warnings and pay attention to its timely rallying cries. They return into a very different one, however – a world that’s sadly now all-too-finely-attuned to the horrors they first forecasted four years ago. “It’s becoming clear that we are on the brink of some type of revolution,” says Jot, with no small dose of conviction or optimism. “Hacktivist are here to bring truth and positivity – the silver lining of a society clouded in poisonous fear. Hacktivist also represents a voice that isn’t afraid of saying what needs to be said. We’re already living in the future. We have the choice to either be shaped by it or to stand up and shape it ourselves. Which path will you take?” It was with those battle lines clearly drawn and ambitions duly set that Hacktivist entered into the creation of Hyperdialect. Starting almost two years ago and developing on the acerbic sonic filth introduced by 2019 singles Reprogram and Dogs Of War, the five-piece felt fired up by their new working dynamic and the collective process involved, with each member actively encouraged to contribute ideas until the best outcome was reached. Unusually, for such a group of bloody-minded insurrectionists, this democratic approach worked wonders – a testament to how much they were all on the same page on these 12 tracks.

Ever effervescent producer Kangding Ray continues to connect experimentalism and dancefloor, hitting home hard on his newest EP on Figure.
Storming out of the gate, Doppler Shift packs the momentum to take off, its dry-thumping arp-ride raising the levels from zero to hero. Meditating on murky sounds, Branches displays the producer’s extraordinary skills at splicing together seemingly disparate DNA of sounds to create otherworldly but compelling tapestries of rhythm.
Turning things for the flip, from colourful dub chords emerges Terra, a driving tune reminiscent of the 90’s spacey chill-out-rooms of. Taking it a notch deeper, Robust builds its lively groove around modular experimentations, the machines ultimately becoming an extension of the artist himself.
A special bonus for the digital version, final track Deeper begins unassumingly beatless, only to pick up the pace for a blissfully trancey journey.

This journey, this slowly drifting sonic meditation, is an 'inner soundscape', a dialogue between the senses, the conscience and the world, inside / outside, interconnected. Like waking up from a long dream, and being stuck into its echo. The April Sessions immerges the listener into a drone-ish universe, full of random acousmatic events, inner monologues and a vast and unwritten subjective map to be drawn.

The April Sessions has been living in a seedy hotel in Brussels for a few months. She listens to the sparse traffic outside her window, locked in and locked down. 'Everything is constructed', she says to herself, 'even the sound of a solitary aircraft at 25,000 feet traverses the sky no further out than the inside of my skull'. Other weird sonic phenomena criss-cross the inner cosmos of her brain and streak across her private sky like comets. And then there is the unshakeable presence of that inner monologue, known to her variously as the Tacit Dictator, the Subvocaliser and, nightmarishly enough, the voice of the Merlucid Hake. (Anthony Moore, St Leonards, 10th of March 2021)

Anthony Moore, Dirk Specht and Tobias Grewenig have known each other and worked together since the early 2000s. They have collectively participated in a number of projects including live performances and recordings. In 2016, as part of The Missing Present Band, they released the live LP 'The Present Is Missing' on A-Musik. The following year they released 'Ore Talks', a double LP, realised in collaboration with Therapeutische Hörgruppe Köln.

Anthony Moore was born in 1948, founded the band Slapp Happy (circa 1972) with Peter Blegvad and Dagmar Krause, then worked alongside a.o. Fred Frith and Tim Hodgkinson in the unclassifiable band Henry Cow. He released several solo albums, composed soundtracks for experimental movies. His path also crossed Kevin Ayers's, Pink Floyd's, Richard Wright's. He was appointed professor for research into sound and music in the context of new media at the Academy of Media Arts in Cologne, Germany. He still continues to write and perform.

Dirk Specht is a sound artist, musician and curator. He studied architecture and media art and is active in the fields of sound works for choreography, radio drama, sound art, film and video art soundtracks. He published releases with several bands and projects. He has been an assistant for research into sound from 2011 to 2016 at the Academy of Media Arts in Cologne, and is a founding member of Therapeutische Hörgruppe Köln.

Tobias Grewenig studied at the Academy of Media Arts in Cologne. He primarily deals with non-linearity in his audiovisual installative works and performances, including projects with the artist group 'Therapeutische Hörgruppe Köln', the ensemble 'The Knob, The Finger & The It' and the improvisation collective "Frequenzwechsel". The conception and development of electronic instruments and code is a key component of his artistic work. He lives and works in Cologne.

Exclusive premieres scheduled in Music is My Sanctuary and Les Yeux Orange and heavy dj support including Groove Armada's Tom Findlay, Blessed Madonna, Erol Alkan, Dino Soccio, Tricky Disco, Leo Zero and many more

"In The Dark", is the new release from Casbah 73. A sensual, sinuous disco affair dealing with touch, human contact and yearning. Three different versions, each a completely different dancefloor proposition and ranging from organic and soulful disco, to hands in the air, uplifting funky horns to searing club banger, all crashing pianos, fierce bass, deep Moog and wild, dubby vocals. It is, in a nutshell, what we need now.

Following on from his recent debut release on Defected/Glitterbox Records, Spanish/US DJ and producer Casbah 73 continues from strength to strength with this, his latest offering, out now on his spiritual home Lovemonk Records.

Recorded locally with a group of top flight musicians and featuring a stellar vocal performance from Angela Gooden.

Will Hofbauer & Sangre Voss team up for ‘Steppe EP’ this June on Control Freak Recordings, featuring a remix from Discwoman’s Ciel.

London-based Will Hofbauer and Sangre Voss, who’s individual work has seen them appear on labels such as Rhythm Section and Will’s own Third Place imprint, team up for the first time on Control Freak Recordings for the wonky ‘Steppe EP’, picking up early support from Ben UFO, Bradley Zero, and more.

Leading the release, ‘Pumice’ tumbles through rolling low end, crunchy percussion and an eerie breakdown for a high energy start to the A-side. ‘Flundra (Flundra Mix)’ follows with bubbling pads and speaker-rattling subs around a kick-less drop, leading into a shimmering breakdown.

On the flip, ‘June-O’ sees the duo craft a low tempo slugger, peppered with tablas, bells and eagle samples around warped, loopy synthesis. Ciel’s remix of ‘June-O’ takes the B2 spot, adding stuttering percussion, vocal chops, and additional wildlife samples to the mixture to round out the release.

Will Hofbauer & Sangre Voss ‘Steppe EP’ drops on Control Freak Recordings on 18th June.