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Unter Präsidentschaftskandidaten und zukünftigen Astronauten, war die North Carolina Agricultural and Technical State Universität in Greensboro eine Brutstätte für schwarze Spitzenleistungen, Aktivismus und Talent. Unter einem halben Dutzend Labels versammelte der lokale Tölpel Walter Grady eine wechselnde Besetzung von Städtern, Homecoming-Queens und großen Männern auf dem Campus um einen schillernden Sound zu manifestieren, der sowohl einheimisch und revolutionär war. "Eccentric Soul: The Linco-Label" versammelt melodische Meilensteine aus dem Geburtsort der Bürgerrechtsbewegung.

Unter Präsidentschaftskandidaten und zukünftigen Astronauten, war die North Carolina Agricultural and Technical State Universität in Greensboro eine Brutstätte für schwarze Spitzenleistungen, Aktivismus und Talent. Unter einem halben Dutzend Labels versammelte der lokale Tölpel Walter Grady eine wechselnde Besetzung von Städtern, Homecoming-Queens und großen Männern auf dem Campus um einen schillernden Sound zu manifestieren, der sowohl einheimisch und revolutionär war. "Eccentric Soul: The Linco-Label" versammelt melodische Meilensteine aus dem Geburtsort der Bürgerrechtsbewegung.

Chiminyo is a UK-based jazz/electronic artist and the founder of the new label NRG Discs (having previously released on Brownswood, Nightdreamer, Gearbox, and Astigmatic, with artists such as Gary Bartz, Shabaka Hutchings, Maisha, Nubya Garcia, Cykada, Uniri, as well as solo). Chiminyo is a versatile musician who blends the raw energy of live drums and percussion with cutting-edge electronic production.

His early solo releases showcased his knack for unique approaches to making music, using self-coded software to trigger synths and samples from every cymbal crash and drum hit, eliminating loops and click-tracks. This DIY, tech-driven methodology allowed Chiminyo complete, spontaneous control over his music—all from the stool behind his drum kit—creating a sound that is both daring and innovative.

Chiminyo's latest project, NRG, continues this trend of innovative thinking. Born from discussions around the UK jazz scene, Chiminyo concluded that this musical expression is less about "jazz" and more about the energy (NRG) that fuels it. As a result, NRG has evolved into a semi-regular event where Chiminyo brings together some of London's finest musicians for live, improvised performances that encapsulate the spirit of the scene. These live recordings are then given the magic production treatment by Chiminyo and co-producer Aviv Cohen, transforming them into the masterpieces we get to hear on wax.

The first three NRG LPs were a massive success, generating over 600,000 streams, selling over 800 copies (without distribution support), and receiving airplay on BBC Radio, Jazz FM, NTS, Soho Radio, and many more. High-profile DJs like Gilles Peterson and Jamz Supernova championed the albums, which were also covered in print by The Guardian, Jazzwise, Echoes Magazine, and various online channels. This success led to an invitation to record a live album at Ronnie Scott's, one of London's most iconic jazz venues—an incredible opportunity for any artist.

NRG 4 brings together some of the best jazz and electronic musicians in London. The album features Marisia Osu (harp), James Akers (tenor saxophone), Daniel Casimir (double bass), Lyle Barton (synthesizers), and Tilé Gichigi-Liperé (live electronics)—an all-star lineup whose members have released multiple records on Concord, Brownswood, Jazz Re:freshed, Astigmatic and more, and have collaborated with artists such as Laura Misch, Nubya Garcia, Blue Lab Beats and Emma-Jean Thackray. Three tracks are graced with features from Jorja Smith's backing vocalist BAELY and Cuban saxophone maestro Regis Molina.

Limited to 400 12" LPs (350 standard, 50 screen-printed limited edition).

Wilson Tanner return to dry land with Legends, a wine-soaked agricultural fantasy, made among the grapevines at Manon Farm in South Australia. Where their earlier works settled into the sun-struck torpor of a suburban Perth backyard (69) or drifted off-course on a riverboat on Port Phillip Bay (ii), Legends trades salt air for vineyard sweat, the scrape of boots on dry earth and workers’ radios humming with the summer test cricket season.

Through this agricultural haze an image of a working vineyard emerges - ducks, dogs and plovers intrude; tractors and quads fly-by; stainless steel gleams at the edges. Recorded without mains power, the Manon demos overflow with farmyard ingenuity. Wind, brass, balalaika, balloon, pipe and synth are trained onto the staff with wire, tape and string.

A caricature of Australian viticulture, Legends is packed to the horns with the mythology and manure of natural wine. Swigging and belching in camaraderie, Wilson Tanner press their surroundings into something raw and unfiltered, letting bum notes, leftovers and sediment linger in the bottle. A cornucopia of biodynamic sounds.

Ein dynamisches und erhabenes Werk voller Emotionen und Sensibilität, "From Where You Came" als eine Reihe nächtlicher Übertragungen, altertümlicher Verfeinerungen und lebendiger Geschichten, die reich an erhellenden Qualitäten sind. Die Kombination von programmatischer Musik des 19. Jahrhunderts mit Jazz aus der Mitte der 70er Jahre und ihrem unverwechselbar farbenfrohen und mehrdimensionalen Kompositionsansatz, der die Improvisation einschließt, ermöglicht Coverdale die Synthese mit Live-Instrumenten in einer genrefreien, aber deutlich erkennbaren Geste der Wiederverbindung mit Land und Körper durch Klang zu verbinden. Sie betrachtet Komposition als diagnostische Methodik zu spirituellen Zwecken, leitet emotionale Resonanz wie Ladungsströme und verdrahtet das rein Gefühlte in elektronische Signale. Obwohl sie auf mehreren Kontinenten komponiert und aufgenommen hat, unter anderem im GRM Studio in Paris und dem Elektronmusikstudion EMS in Stockholm, wurde "From Where You Came" im ländlichen Ontario, Kanada, fertiggestellt. Mit Beiträgen der multidisziplinären Klangkünstlerin und Cellistin Anne Bourne und dem mit einem Grammy ausgezeichneten Posaunen-Wunderkind Kalia Vandever, enthalten die 11 ausgedehnten und doch verdichteten Kompositionen des Albums Streicher, Holzbläser, Blechbläser, Tasten, Software und modulare Synthese, die eine musikalische Sprache einschreiben, die Animationen mit ungefilterter, beeindruckender Klarheit wiedergibt. ,Alles kann eine Stimme haben", sagt sagt Coverdale. ,Für mich ist die Stimme mehr als nur menschlich." Passenderweise ist es die eigene Stimme der Künstlerin die sich im einhüllenden Schwellwerk des Albumauftakts in Luft auflöst: ,Everything you know is real", singt sie in ,Eternity`, "I'm sorry, life is beautiful." Als zwischen Animismus und Animalismus oszilliert, ist das folgende Album absolut voll von Leben in all seiner atemberaubenden Komplexität. Coverdale rechnet mit der Erfahrung von Trauer, Entwurzelung und dem Druck der totalen Freiheit und Unabhängigkeit ab, und beweist eine übernatürliche Fähigkeit, die Trübsal in höchst fantasievolle und inspirierende Fantasy-Epen aus Klang zu verwandeln.

Europe's first lady of House is back on Heist with a massive new EP and a Demi Riquísimo remix.

Cinthie’s 2023 Piano Heaven EP on Heist was a big release for both her and the label, getting tons of airplay and support from the likes of Pete Tong, Danny Howard, Chloe Caillet and Blessed Madonna. The Dam Swindle remix of ‘Won’t u take me’ that followed on that year’s Round Up is still among her top tracks on any platform. Cinthie now returns to Heist with an EP full of dancefloor weapons that range from classic grooving house to quirky rave.

With her frequent plays at renowned clubs all over the world, as well as spots in her Berlin back yard like Panorama bar, Cinthie has the ideal testing grounds for new peak-time material. And that’s exactly what the A1 ‘Deep inside love’ is: an epic peaktime weapon. With a stomping beat and signature uplifting keys, she serves up themes of classic 80s and 90s house music with a modern aesthetic. With that, Deep inside love has all the ingredients to become an instant Heist classic.

The A2 shows us Cinthie’s rave side, where we see her inspiration from the current dancefloor high octane energy. Or maybe it’s just her early rave days that are finally back in the limelight after her well received ‘Rave Baby’ release on Aus Music. Either way, ‘Higher’ is a fun tune with an infectious beat, classic rave stabs and a female vocal telling us to take her higher. We’re sure that this won’t be a problem, cause this track is built for those clubby highs.

‘Get up’ is a lovely organ-led track with long ethereal strings and dubby vocal chops. The breakdown deepens the mood with some heavy chords tuned in true house style before a free-flowing drum roll (crashes and claps included) catapult you into back into the full groove.

We asked close friend Demi Riquísimo, a man not unfamiliar with dancefloor wizardry himself as head honcho of Semi Delicious records, for a remix on ‘Higher’. His version is exactly what you’d expect from a class producer like him: it’s a breezy, effortless, mildly throwbacky and most definitely fun remix to conclude an EP that navigates through all kinds of moods with one clear goal in mind: Make people dance.

Enjoy the music and as always, play it loud!

Lars & Maarten

Berlin-based French-Irish multimedia artist Zoe Mc Pherson levels up on their third full-length "Pitch Blender", mangling years of experience DJing and performing live into a tight set of cybernetic soundsystem experiments that flicker between the rave and the art space.

Cast your mind back to February 2020 for a moment, when Mc Pherson released their last album "States of Fugue". The world seemed less tangled somehow, and yet Mc Pherson's precision-engineered fusion of exploratory sound design and visceral club pressure seemed to hint at a cataclysmic event none of us were really expecting. Only a few weeks after its release the world changed forever, and the majority of us were grounded - forced to consider our lives and the movement (or lack thereof) surrounding us. The philosophy of this extended time period is welded into the bones of "Pitch Blender", Mc Pherson's supple third album. They have learned plenty in the last two years, and infuse all of that anxiety and spiky emotionality into a spread of tracks that sound as powerful in headphones as they do over a well-tweaked soundsystem, soldering vocals, environmental recordings and instrumental flourishes to unpredictably pneumatic, cybernetic beats.

Anyone that's caught one of Mc Pherson's energetic live performances over the last few months will have an idea of what "Pitch Blender" is made of. They're an artist who's somehow able to match the raw energy of post-punk and no-wave music with the brain-altering potential of the best experimental club tracks, vocalizing an incongruous post-lockdown reality over beats that sound as if they're in a permanent state of flux. 'On Fire' splutters to life in a frenetic patter of drums that blur into oddly soothing hoover sounds, snaking lysergically towards a drop that's teased constantly, and never comes. We're forced to wait until 'The Spark' for that, fighting through choppy, pitch-mangled guitar and rolling beats until a gruesome kick drum forces its way through the psilocybin mists and heaving Bristol-inspired bass clonks. Backed up with just the inverted traces of recognizable breaks, this vigorous pulse lies at the heart of "Pitch Blender", the driving force that powers Mc Pherson's sound even when it's only hinted at.

'Blender' is the moment where Mc Pherson show their full hand, using crackling sound effects, ghost vocals and uneven rhythms to build a textural landscape that's so evocative you can almost taste it. Squealing modular synth effects sound like gameshow buzzers being triggered in another dimension and propel the track forward - it's club music, just about, but Mc Pherson's motivation is world-building, and their world is colorful, abstract, and dizzyingly surreal. "Obsolete user," their voice echoes over driving airlock kicks. But they take a swift left turn with 'Lamella', reducing the kinetic club rhythms to a longing simmer and letting loose with powerful vocals, intoning with robotic, gender-fluxed intensity. On 'Wait', New York City's clacking crosswalk signal - already an effective club track on its own - is transformed into a reminder to slow down, juxtaposed with booming sub-heavy kicks, acidic synths and effervescent percussion that rattles in time with the vibrations. It's foley rave, built for pure psychedelic intensity to blur the line between real life and sonic fiction.

One of the album's most galvanic tracks, 'Power Dynamics' curves a double-time rhythm around breathless HQ sound design squiggles until it hits a polyrhythmic crescendo, striking a queasy balance between rave hedonism and ritualistic hand drum energy. It all builds towards eerie closing track 'Outside' that acts as an important wind down, spotlighting Mc Pherson's ability to operate outside of the rhythmic spectrum, using cinematic scrapes and flickering neon synths to create music that's tense but never terrifying. The track feels like the end credits of a particularly bewildering movie - something between the cyberpunk dystopia of "Ghost in the Shell" and the vivid, sky-scraping beauty of "Koyaanisqatsi". Mc Pherson has managed something special with "Pitch Blender": mashing together genres with rare focus, and sharpening their engineering skills to a fine point, they've concocted an antidote to contemporary malaise - a wakeup call that's begging us to loosen our limbs and move.

Tee Pee Records is proud to announce a limited edition pressing of this classic on marbled Tiger's Eye vinyl. Annihilation Time are an incendiary mix of '70s rock and '80s hardcore, with riffs personified by their legendary bar brawls and bloody-faced performances. Then again, constant touring with Municipal Waste and Caustic Christ - during their murky beginnings - can have that effect.

All tracks written, recorded and produced by AVAWAVES (Aisling Brouwer & Anna Phoebe). Imogen Williams - vocals on Heartbeat, Bones, Escape, Sleep Tight, Raindrop, Crush. Klara Schumann - cello on Bones, Sleep Tight, Raindrop. Ben Wright - guitar on Escape. Phillipp Johann Thimm - cello & electronics on Crush. Steinway grand recorded at Sender 49 by Dan White and assisted by Dani Evans on Heartbeat, Bones, Rumour, Sleep Tight.

TJ Allen - additional production and mix, plus co-producer on Earth, Nightdrive, Rumour and Sleep Tight.

Mastered by Guy Davie at Electric Mastering.

All tracks written, recorded and produced by AVAWAVES (Aisling Brouwer & Anna Phoebe). Imogen Williams - vocals on Heartbeat, Bones, Escape, Sleep Tight, Raindrop, Crush. Klara Schumann - cello on Bones, Sleep Tight, Raindrop. Ben Wright - guitar on Escape. Phillipp Johann Thimm - cello & electronics on Crush. Steinway grand recorded at Sender 49 by Dan White and assisted by Dani Evans on Heartbeat, Bones, Rumour, Sleep Tight.

TJ Allen - additional production and mix, plus co-producer on Earth, Nightdrive, Rumour and Sleep Tight.

Mastered by Guy Davie at Electric Mastering.

Provoker return with Mausoleum. Refined, ornate and bigger than ever, Mausoleum takes Provoker's shadowy sound to new heights, aided by executive producer Kenny Beats. "Pop on the outside, dark on the inside". Embodied by the garish arcade machine on the cover, the songs on Mausoleum lure listeners in with addictive melodies and slick production, but hold them tight with the tales of heartbreak, loss and revelation within.

Scorpion Child wields a sound that hearkens back to when guitar rock ruled the airwaves and going to concerts was the ultimate main event. The Austin, TX quintet released its self-titled debut in 2013 via Nuclear Blast Records. The album landed at #26 on the Billboard Heatseekers Chart and #99 on the Billboard Hard Music Albums chart. Following its premiere by Eddie Trunk, iTunes named "Polygon Of Eyes" its "Single of the Week," and Scorpion Child earned a nomination for "Best New Band" at the Classic Rock Magazine presented "Classic Rock Awards." The group's second album, 2016's 'Acid Roulette' was recorded with GRAMMYr Award-nominated producer Chris "Frenchie" Smith Meat Puppets, _And You Will Know Us By The Trail of Dead and featured the fan-favourite tracks "Reaper's Danse", and "My Woman in Black". The band's new album, 'I Saw The End as it Passed Right Through Me', is set for release on February 14 '25. Austin, Texas band, Scorpion Child, plays dark rock and roll that blends haunting themes and atmospheric melodies; the group's unique fusion of post-punk, hard rock, and brooding aesthetic has garnered it a dedicated fanbase. On the heels of a multi-year reinvigoration, the unit returns in 2024, galvanized with a fortified lineup and renewed dedication. The first taste of what the strengthened Scorpion Child delivers lies in wait with the new single, "Outliers", a powerful punch of a song, filled with introspective lyrics, that perfectly encapsulates the band's distinct style. "Outliers" was recorded at Austin's Point West Recording with Charles Godfrey (Black Angels, The Mountain Goats) and represents the first official new music from Scorpion Child since the 2016 release of its full-length LP, 'Acid Roulette' (Nuclear Blast Records). "Outliers" will appear on Scorpion Child's impending new album, 'I Saw The End as it Passed Right Through Me', slated for an early 2025 release date via Noize In The Attic. With the drop of "Outliers" comes the track's accompanying music video; stream Scorpion Child's "Outliers" now at this location. "Outliers" deep dives into the organizational use of fear tactics and the related, unknown forces that we are supposed to run from, or conform to," offers Scorpion Child vocalist Aryn Jonathan Black. "The song is a look into the thought that "they" are always watching us and that we should play the same game from our POV in the shadows." The vinyl LP is milky clear.

The latest release in a new series from alt. folk trailblazers The Owl Service, 'Black Chapel Music part 3' sees the Essex-based collective once again drag traditional folk music into pastures new. On these two recordings The Owl Service venture into a kind of eighties goth/dream pop sound, heavy on airy synths, vintage drum machines, and modulated guitar tones.

The A side is a new take on a traditional folk ballad collected in their native Essex, while the AA side fuses original lyrics by late, great Brit-folk legend Peter Bellamy, set to music by the late and equally great German performance artist Klaus Nomi.

Guest vocalist Liz Overs (East Sussex-based folk singer formerly of Chalk Horse Music & Pocket Size) has just released her debut solo album 'Nightjar', recorded with guitarist Neill MacColl, which has received glowing reviews in Mojo, The Guardian and Americana UK among others, plus radio support from Mark Radcliffe (BBC Radio 2 Folk Show).

Standard weight black vinyl 7” in die-cut sleeve with postcard insert. 300 copies for the World.

Illusive Bristolian producer Claude Cooper returns with ‘Friendly Sounds Vol 1’; part psychedelic trip, part romping beat tape, part party. The album was inspired by the vinyl discoveries made from Cooper’s months of digging and cataloguing the bulging inventory of Bedminster’s Friendly Records record shop. Cooper fed these myriad captured sounds through the studio and then, blurring the lines between sampling and performance, arranged and embellished them with keyboards, drum machines, bass guitar and more, also co-opting BEAK> bassist Billy Fuller and esteemed composer Ben Salisbury to contribute.

With most of the tracks in and out within 90 seconds, the album is best enjoyed as a continuous course. Play side A, play the B, then flip it back and listen all over again. Stand out moments include tremulous cut ‘n’ paste jam ‘Jackie’, the moody string-laden ‘Rainbow Eternity’, funky sitar workout ‘Nerd Nork’, and atmospheric closer ‘Take Flight’. Sharing a similarly broad and experimental sound palette as the likes The Avalanches, Madlib, The Go Team, and Edan; ‘Friendly Sounds Vol 1’ is the soundtrack to a wild joyride down South Bristol’s North Street, foot on the gas, hand on the horn, LPs spilling from the boot.

Cooper’s irrepressible debut album ‘Myriad Sounds' (Jan ‘22) caught the attention of the UK's press and radio alike. Mojo's four star review described it as “Bristol’s beat scene backdrops late night jams”, Uncut enjoyed the "rugged psych-funk romp" and Louder than War declared "it’s vital and vibrant and exactly what we need to kick start the year”. Bonus round 'More Myriad Sounds' (Apr ‘23) added Brooklyn vocalist Brain Fog to the melange with a bounty of pyretic vocal performances. DJ Mag called it “A fierce, kaleidoscopic trip” while Bandcamp Daily said “This album of cross-genre influences is as likely to get it included in any number of best-of columns, with the theme of serious fun as their common element”. Called a "mysterious Bristol breaks scientist" by Lauren Laverne, BBC radio DJs including Cerys Matthews, Gideon Coe, Huw Stephens, Jamie Cullum, Stuart Maconie, and Tom Ravenscroft have rinsed Cooper’s tracks, with Huey Morgan inviting Cooper to contribute a Block Party Mix for his show.



‘Stay A While’, the first showing of Cooper’s new shop sampling stunners, was released on 7” in January ‘24. Lush string flourishes sliced with 6Ts girl-group vocals and rollicking piano chords resulted in a dreamy, end of night, lights up anthem in-the-making that The Arts Desk called “A horn-fired, beatsy, chop-around that recalls The Avalanches”. Releasing the album is Friendly Records, the best little record shop in Bristol and now a burgeoning record label. Opened by Tom Friend on North Street in 2016, it’s gone on to become a hub of the local musical community. As well as Claude Cooper, the label has released LPs by Alison Cotton, Floating World Pictures, Christian Madden & The Enemy Chorus, Nick Craft, as well as handling the War Child series of 7”s with BEAK>, Idles, J Dilla, PJ Harvey, Portishead, and Sleaford Mods + Hot Chip.



Claude Cooper will DJ at the one-day Friendly Festival on 10th May in aid of War Child, which will feature Sleaford Mods, Katy J Pearson, The 45s, Zalizo and DJ sets by Ishmael Ensemble, Heavenly Jukebox and Friendly Records DJs.

'Trá Pháidín are an Irish nine piece collective from Conamara, Galway, a wild coastal region of West Ireland where Gaeilge remains the first language. The group are currently lighting up Ireland's underground with their joyful noise, a unique and unpredictable blend of traditional Irish folk, post-rock, jazz, and Dadaist absurdity. The glorious album An 424 takes us on a psychogeographical journey along the 424 bus route which follows this remote stretch of coastline, introducing us to the landscapes and the characters who depend on the buses. Expect wild improvisational flights filled with brass, woodwinds, harp and fiddles alongside relentless grooves.

Here's what the band themselves have to say about the album:

Psychogeography is a funny aul term......the effect geography and landscape of a certain area has on the psychology, identity and nature of the local people...........I suppose

Notoriously, Conamara is famous place for psychogeoraphy due to the work of the great Tom Robinson. He walked every coastline in every area contemplating the geography, culture, history, Gaelic language, English language and folklore of the area while he was drawing it's best map with great depth and detail.

Right, so I've given context, a few buzzwords and some interesting names, now it's time for the absurd stuff....

"Bóthar Chois Fharraige" (the R336 and whatever anglicized name they call it) is well known by everyone in the South Conamara Gaeltacht (Gaeltacht is an area where Irish/Gaeilge is the dominant language, there aren't many because we were colonized by the British and our government doesn't care about its own language). The people of Conamara travel this road almost every day by car, by bike, on Peadar Óg's buses or of course, through the medium of the 424 (the bus service provided by Bus Éireann, Ireland's public-private bus company). From Bearna to Carna (maybe sometimes a detour in Casla going as far back as an Cheathrú Rua and/or Leitir Mealláin)

Every passenger is well versed of gorgeous views of the landscape that is on offer on this journey. Included are Cuan na Gaillimhe/Galway Bay, An Bhoirinn/the Burren, na hOileáin Árann/the Arann Islands,Aillte an Mhothair/the Cliffs of Moher, Portach Mhaigh Cuilinn/the bogs of Maigh Cuilinn, Bóthar Loch an Iolra/Eagle lake road, Cuan Casla/Casla Harbour, Cuan an Fhir Mhóir/Greatman's Bay, Cnoc Mordáin/Mordáin hill, Sléibhte Mhám Toirc/the Maamturk Mountains and Na Beanna Beola/the twelve pins. Passengers would also be well used the unique character of the bus. Depending on the day, you will get a unique perspective of the "complicated identity" of the Gaels as the bus travels from the Gaeltacht into anglophone Ireland, or maybe going the other way.

This is a topic you could write a PhD about (and maybe someone already has). But, if you are someone who grew up or lives in this region, you have a particular understanding at this stage of how complicated Gaelic psyche is and the kind of spectrum of identity along bóthar Choise Fharraige. With the landscape in mind, this bus journey is a great meditation of the various topics of life.

‘Bhfuil tionchar ag an mbus ar nádúr na ndaoine?
Nó an bhfuil tionchar ag na daoine ar nádúr an bhus?'

'Does the bus effect the nature of the people?
Or do the people affect the nature of the bus?'

Le gach dea-ghuí,
TP.

(translated from Gaeilge by Peadar-Tom Mercier)'

The band signed to 6131 Records, who gave the group a budget of one thousand dollars to record their first full-length. Johnson, then 24, compiled songs he had composed over various years, including some dating to his teenage years. He viewed the debut as a greatest hits of sorts, a collection of his best work to date. The album was recorded in September 2010 at Earth Capital in Los Angeles with producer Alex Estrada. The group aimed to emulate the sound of Weezer's 1996 album Pinkerton, particularly the spacious way drums were tracked on that LP. Johnson requested Estrada distort his vocal tracks, due to personal pressure: "Maybe I was trying to cover my voice up a little bit because I was insecure," he admitted.

On ‘Animal’, Ash Fure appeals to “animal intelligence” by using sounds that are inherently physical and driven by perception, athleticism and interaction. Placing polycarbonate sheeting over an inverted subwoofer she built alongside her partner Xavi Aguirre and brother Adam, Fure isolates the physical impact of sound by focusing on psychoacoustic sub-bass pulses, semi-perceptible micro-rhythms and discomfiting white noise bursts, linking the process to her experiences in Berlin and Detroit’s techno dungeons where the sound has to adapt to the space it’s performed in. When she performed ‘Animal’ for the first time, Fure fabricated a “listening gym”, allowing the audience to interact in real-time by circuit training in response to the sound. The sweat is almost audible across the record, a run-on selection of rhythms, resonances and abstractions that sound like interlocking heartbeats on a series of treadmills. Her fascination with techno’s cavernous cathedrals is clear from the beginning, but Fure doesn’t worship at the altar: we’re hit with the feeling, not the aesthetic. The beats themselves, made from unstable vibrations and waterlogged, reverberating clicks, echo the brain’s unconscious reaction to repetition in a vast concrete box, the feeling you get when each percussive snag ricochets from every surface in the building. Coddling these whirring, criss-crossing polyrhythms with harsh, distorted low-end retches, Fure accurately recreates the energy and fatigue of the endless weekend sesh. We never once encounter techno in its expected shell, just its residue - the outline of humans figuring out their relationship with technology, architecture and each other. Fure’s use of dynamics is also deviously smart, marking out an overall rhythm that’s not tied to the strength of the sounds themselves, but just volume and physical impact. Often her most brutal sounds - ear-splitting squeals and overdriven mechanical whirrs - are reduced to an almost inaudible level, a bit like the bandy legged trip to the bathroom, or the escape to some dimly lit nook, the part of the night where you can still detect the sound on your skin without being battered by it. When the undulating rhythm returns in earnest, Fure masks acidic sequences in jet engine expulsions, still refusing to objectify anything that an AI model might be able to pick up on.

Shjva / Stereometrix The Praga Jam | Different Times (DIFF005)

A side written & produced by Shjva.
B side written & produced by Stereometrix.
Mastered by Tangible Air.
Designed by Gerardo Corizzo.
Stickered cover.

Since 2021, FLUPKE counts nine releases, seven self-made music videos, a video game, many stages set on fire, collaborations and remixes with Vonfelt, Émile Londonien, Ouai Stéphane, DJ Earl, amongst others. Time has come for FLUPKE to compile the best of his colorful and pixelated universe on solid wax. LE BEST OF is a manifesto of the French producer’s duality between high and low resolutions, crunchy and textured sounds, that has been fueling his spaceship to explore cosmic and electronic soundscapes.

Aus Music founder Will Saul collaborates with Fink and James Alexander Bright on the final EP in the AUS200.

After music from the likes of Quantic, Dam Swindle, K-Lone and Cinithe, Will Saul brings celebrations around his label's 200th release to a close with one track alongside long-time friend Fink and one with James Alexander Bright, an artist he discovered and signed to !K7 during a 10-year stint A&Ring with the label.

Saul's music has provided the backbone of the label since day one. His club-ready EPs and more immersive, expansive albums have helped to define its melodically rich fusion of bass and house. Just as importantly, his A&R has helped it evolve over the last two decades so it remains as relevant as ever with the current generation while providing a platform for contemporary talents to shine.

First up here he links up with his old friend, singer, songwriter, guitarist and producer Fink who, as Sideshow, was behind the first-ever release on Aus back in 2006. Since then, he and Saul have continued a fruitful working relationship which now bears juicy musical fruit once more. Their 'Slo-mo Life' is six sublime minutes of deep, dubbed-out downtempo. It's powered by a prowling bassline with tender melodies and introspective chords next to subtle vocal loops that cannot fail to bliss you out. Fink then offers up a remix as Sideshow that rides on airy jungle breaks while evocative synths are smeared in painterly fashion before decaying in endless reverb to an angelic ambient sound.

British multi-hyphenate James Alexander Bright has built up a colourful body of albums and EPs that soundtrack everything from hazy daydreams to lazy afternoons in the park via dance floor trips. The singer has worked with, among others, Groove Armada’s Tom Findlay and Girls Of The Internet and always brings a lovably lo-fi and intoxicating sensibility.

'Blue' is a raw, live sound with crashing hits and broken kick patterns. Bright's nagging vocal speaks of emotional pain while shimmering chords bring the heat. Bright's remix reworks the track into a widescreen hazy breakbeat soul track that gives his vocals extra room to make their mark while the exquisite live drums from Joris Feiertag keep you moving.

Transversales Disques proudly presents the first official LP reissue of "Deserted Palace", studio album written & performed by Jean Michel Jarre in 1972, during his work experience at G.R.M. (Groupe de Recherches Musicales).

In 1971, an order was placed with producer Francis Dreyfus to provide sound for public places such as airports and libraries. He decided to pass the project on to Jean-Michel, who had recently been signed by his record company.

These fifteen tracks are made with only two synthesizers (EMS VCS3 & Farfisa organ) in an experimental and very minimal style.

"It was a crazy album, totally homemade, with rhythms that I made in my student room, with a minimum of equipment and at the same time electronic sounds that I stole from the GRM where I went at night after stealing the keys to the studios. It is a pirate record, in every sense of the word, in which we find what I did afterwards.” JMJ

Audio restored & remastered

Opening DNO Records’ 2025, Clearlight returns to the label alongside new signee Sentient, bringing four creepy cuts of insectoid minimalism that reanimate the drum & bass exoskeleton.

On the A-side, ‘Mandibles’ aims to stun. Hurtling forth with hulking drums, this tunnelling rhythm is beset by swarms of glitchy percussion and synth zaps that’ll frazzle minds with their sheer chaotic energy.
‘Suboptimal’ reveals what’s lurking in the deep, as heavyweight bass and incessant kicks burrow through a murky soundscape of croaks and rattles, only to be sprayed by a chirping acid line that cuts through the mix with deadly precision.

Flip over and the Belgian-British pairing delivers two extended jams. The seven-minute ‘Psychodrifter’ is packed with an overdriven low-end that crackles and heaves like it's trying to talk with a mouthful of bees, while globular whoops and twinkling pads squirm and beckon like bioluminescent lures.
‘Kukulu’ is longer still, building and building and building in intensity. Waves of warning bells and skittering background noise, bongo flourishes and spurts of grinding bass come together with hive-mind-like cooperation to form an enrapturing epic.

Another example of visionary world-building from the DNO camp, the ‘Mandibles’ EP will wriggle down your earhole and have you itching for a dark basement full of bass bins.

Rhythms of postmodern realism at the very bottom of the DNO.

To celebrate the label's 10th & 11th release, Soul Quest Records have curated a family type affair that sees faces both new and old for the label. An encapsulation of the sound that the label has been pushing since its inception back in 2023, the VA contains a wide reaching spread of house orientated cuts that showcases the labels musical personality and depth - and is reflective of the supreme talents behind the music.
The A side opens proceedings with three emotive house numbers, with label co-founder Max Sinàl and King Crowney’s track ‘Intentions’ landing first. A smooth, soul-laden progression, with subtly placed muted trumpet throughout. From the ethereal vocal lines of Liv East through to the gentle breeze of thechords, this one is Soul Quest to its core. Co-founder SIxm Sol lands next with ’NYBB’, a percussive groover that once again demonstrates a deft level of subtle interplay within the melodic layers. Dreamy vocal lines hit all the right notes alongside a blend of atmospheric pads and tinkling jazzy notes. Wrapping up the A side, Hitch 93 presents ‘Uno, Dos, Tres, Four’, which features an ear worm of a chord progression weaves its way around a rock solid percussive foundation, as the vocals chime out through the middle that helps craft a deeply hypnotic atmosphere.
The B Side opens up with Rob Redford and his track ‘Garden Party’. This track focuses around an inspired ‘everybody loves the sunshine’ sample, and exudes big level, blue sky energy, with hands in the air feels throughout as the dance shifts with smiles all round.

Two prime house steppers land next, with ‘The Blues Kitchen’ by Soul Groove presenting a top quality drum pattern that entices whilst the vocal lines and engrossing melodic section wrapping the dance around its little finger; and finally, ‘Edith’ by Flying Moth may be short but its ever so sweet - skipping stepped grooves interlaced with a bass line that thuds to the rhythms of the heart, whilst the melodies atop stir the emotions ever so delicately.

Trambeat are an original soul band from Croydon, South London, formed in 2012 by songwriting duo guitarist Graham Potter and drummer Des James. The two played together in various bands over the years, eventually bringing together like-minded musicians from the Croydon music scene to form Trambeat. The name "Trambeat" derives from the where the band call home, with all band members living along the tram line that runs through the heart of Croydon. Initially the band operated as a loose collective, recording music and self-releasing it online and on CD. But following the 2013 release of their debut vinyl single, "Walk a Mile In My Shoes", and debut album "Tales From the Comprehensives" on Berlin labels Firestation Records and Sundae Soul Records, things began to move fast. With regular airplay by Gary Crowley on Radio London, offers of gigs began to roll in and they quickly morphed into a tight and exciting live band. Trambeat have supported the likes of Ranking Roger's The Beat, Geno Washington, The Four Aces (Desmond Dekker), Shakatak, The Flatmates and The Popguns and have featured at festivals right across the UK and Germany. Trambeat's debut release with LRK Records in 2023, the uptempo funk/soul crossover song "Don't Hold Back", proved popular at both Northern Soul and Funk clubs and was championed by "Northern Soul Girl" Levanna McLean who released a widely viewed clip dancing to the record. Indeed it became a staple at her very own Bristol Northern Soul Club and Funk Addict nights. The new single, "All Killer, No Filler", builds around a sultry, strutting bass riff bolstered by jazzy horns and a funky Nile Rogers influenced guitar. Vocalist Aimee lays down her manifesto for love without compromise, before building to an anthemic chorus you can't help singing along to.

The compositions of Miłosz Kędra (b. 2001) explore synthetic sound, electroacoustic music, and self-built acoustic instruments, seeking diverse timbres, tunings, and textures. His main field of work is the pipe organ. Through minimalist motifs, he has transported the instrument’s sound beyond the church space by synthetically processing its tones. He is currently pursuing a Master’s degree in New Media Music at the Academy of Music in Poznań and recently completed a Bachelor’s degree in Electroacoustic Composition, during which he built his own pipe organ from scavenged pipes.

~ Liner notes ~

Miłosz Kędra - "their internal diapasons"

The pipes that Miłosz Kędra used to craft his own organ emulator have lived many lives. They come from churches scattered across Greater Poland—some trimmed for a more presentable façade, others left to gather dust in parish houses until, stripped of purpose, they were cast away. Their first voices have faded, their inner resonance unsettled, yet with patience, one can teach them to sound again—to sing in their altered state, to be gently coaxed out of silence.

Audiomancy—the conjuring of lost sounds—is the word that lingers when I try to grasp the lore crystallizing with Kędra’s second album.

The resolve with which the musician and composer has inhabited his self-built instrument recalls Witold Szalonek and his search for “unexploited properties of wind instruments in classical music.” Szalonek sought to map these hidden voices into a system of multiphonics, revealing over 160 on the oboe alone by 1968. Some sound eerily alike, yet emerge through distinct gestures—“a particular breath, a precise choreography of levers and apertures, the seamless fusion of the two.”

The splitting of a single note into its spectral fragments—allowing a melodic instrument to speak in two, three, even four voices at once—enabled Szalonek to bend the rigid structures of Western music. "their internal diapasons" follows a similar path: an aesthetic bypass through which Kędra taps into the sacred gravity of the church organ, only to reveal it as a domesticated echo of something far older—the primal theater of transformation. To listen closely to an instrument is to learn its flaws, to turn its imperfections into a new way of speaking.

Each of the nine compositions on "their Internal diapasons" is an invitation—to approach the material world with the intent of letting it speak beyond expectation. An instrument that is at once a sculpture, a performance, and a manifesto of voicing the discarded suggests that its creator—following the path of Didier Eribon (Returning to Reims)—might take as his motto, a principle of asceticism, Sartre’s words: “What matters is not what is made of us, but what we ourselves make of what is made of us.”

Filip Szałasek

Immersed in the encounters of Afro-Brazilian cultures and in the influences of yoga philosophy, Brazilian singer-songwriter Alvaro Lancellotti drew inspiration to create his new album: “Arruda, Alfazema e Guiné”. The songs merge the spiritual and musical realms as fundamental elements of its conception, yet remaining free from any fixed aesthetic. With a percussive strength connected to its sound, “Arruda, Alfazema e Guiné” was released by the American label Amor in Sound, led by Mario Caldato Jr. (Beastie Boys) and Samantha De Lucena-Caldato.

Alvaro Lancellotti is a multifaceted artist whose songs have been recorded by renowned artists such as Marcos Valle and Maria Rita. Among his collaborators are Rogê, Wado, Davi Moraes, his brother Domenico Lancellotti, and legendary artists spanning generations, such as Mateus Aleluia and his father, Ivor Lancellotti.

Cenk Esens Name ist in der Londoner Jazzszene allgegenwärtig, wo er sich als gefragter Keyboarder etablierte. Der Sohn des wegweisenden türkischen Jazz-Fusion-Keyboarders Aydin Esen studierte am renommierten Berklee College of Music, zog nach London, und entwicklete sich zu einem der beeindruckendsten Pianisten der Szene, mit Auftritten u.a. im Kultclub Ronnie Scott. Nach mehreren hochgelobten Singles und seinem jüngsten Album "Chaos In The CBD", präsentiert Cenk nun sein neues Meisterwerk, die LP "Endlessly". Aufgenommen in den weltberühmten Air Studios mit den Weltklasse-Musikern MckNasty (drums) und Tom Driessler (bass), gelingt ihm ein wahrhaft fesselndes Hörerlebnis.








h 23 (Live In Istanbul) feat. MckNasty








[h] 23 (Live In Istanbul) [feat. MckNasty]








[h] 23 (Live In Istanbul) [feat. MckNasty]

Process of Elimination explores sickness as a teacher for anti-capitalist modes of being; a rewilding of the self. The product of an attempt to be indestructible, this sickness has an unknown diagnosis. The only route to determine the indeterminable is via a process of elimination. Eliminate the noise so it may quieten and make space for listening to what whispers underneath, allowing a return to the present moment. Slowness and queerness as technologies, questions as answers and mysticism as a path to healing when science alone does not suffice.

London-based multidisciplinary artist El Hardwick’s sophomore album follows their experience of becoming chronically ill after years of treating their body like a machine. El explains: “After failing to receive a diagnosis, which is only given via a lengthy process of elimination, I instead turned to autonomous modes of healing rooted in mysticism and herbalism; putting aside the need to be defined. My journey towards accepting my disability is told in parallel to my coming-out as trans. I also see my non-binary identity as a process of elimination: I am neither gender, both, in-between. It is through rewilding myself from capitalism and gender normativity that I learn how to connect to my body and the earth; no longer allowing either’s energy to be extracted from. The less I sought answers, language, metrics and analysis, the more peace I found.”

"A powder keg of bangers primed to shake the rat race to its core" - The Guardian Australia (Best of 2023) "Simultaneously chaotic and precise, no matter whether the palette is fierce rap, punk energy or slinking beats." - Rolling Stone Australia (Best of 2023) London/Melbourne rap duo Teether & Kuya Neil release their long-awaited debut album YEARN IV. YEARN IV captures the brooding and vivid world of two musical outsiders. Raised by the internet, the pair find their voice amid a sea of clashing cultural experiences and sonic histories, finding solace in the isolation of contemporary urban Australia. Recorded in Melbourne and completed in London, the album captures the duo's hyper local yet globally influenced rap sound at its core. Kuya Neil's drum heavy production collides with Teether's surreal and immersive storytelling, blending thrash metal and club music aesthetics with the echoes of the early internet. Lead single `ZOO' plays with the silent throes of cultural diversity over a paranoid trap instrumental, 'BLUSH' is a blissed out digital love letter wuth shimmering autotuned hooks and rave inspired breaks. `CHANEL' (featuring Indigenous Australian songwriter Alice Skye) is a guitar driven lament for Australia's myopic cultural landscape, fading out with "I'll never reach my full potential here". Teether & Kuya Neil released their first mixtape GLYPH via Chapter in 2021, receiving airplay from NTS, Dublab and Australian radio, plus writeups via Brooklyn Vegan and NME. Four tracks from `GLYPH' were featured in the iconic Australian Netflix series 'Heartbreak High' the following year. 2023 mixtape STRESSOR charted in the Australian Independent Top 10 and made it into end of year best of lists for The Guardian, Rolling Stone and NME Australia. The mixtape was nominated for Best Hip Hop Album at the 2024 Australian Independent Music Awards and named Album of the Week by 3RRR and fBI Radio. Teether & Kuya Neil have performed around Australia and New Zealand. They have played alongside international peers MC Yallah & Debmaster and They Hate Change as well as supported veteran alt-rap outfit Shabazz Palaces and Chicago Footwork pioneer RP Boo. As a solo artist, Teether has collaborated with New York rapper Billy Woods and toured with his outfit Armand Hammer in Australia in 2022. In 2024, he opened for the legendary Kim Gordon. Kuya Neil is an active producer in underground dance music, releasing tracks on UK labels Chinabot and Moveltraxx and has toured South East Asia as a DJ and promoter.

Arriving as a standout group in the current American shoegaze renaissance, Phoenix four-piece Glixen transcend all expectations of what the genre should currently look and sound like. The band creates a profoundly heavy sonic experience with their music, paying respects to their predecessors but resulting in something completely modern. An amalgamation of influences like Björk, My Bloody Valentine, Godflesh, t.A.T.u, and Hum, their sound crawls with intensity and introspection to contrast lead singer Aislinn Ritchie's lulling vocals. Ritchie, began the project in 2020 enlisting guitarist Esteban Santana, drummer Keire Johnson, and bassist Sonia Garcia. Their approach to music has landed them on expansive tours and shows with rock music titans and contemporaries alike, supporting acts like Interpol, DIIV, Narrow Head and Nothing. Glixen has released a steady stream of music since their inception, with one EP and a handful of singles under their belt. She Only Said, was first released last summer with taste making Philly label Julia's War Records, bringing them to the attention of the national DIY scene. Working with producers like Jack Endino (Nirvana) and Sonny DiPerri (My Bloody Valentine, DIIV) for recent releases, this year has seen them take their sound to the next level, previewing a continuous sonic evolution.

Ltd. Fruit Punch Vinyl. Arriving as a standout group in the current American shoegaze renaissance, Phoenix four-piece Glixen transcend all expectations of what the genre should currently look and sound like. The band creates a profoundly heavy sonic experience with their music, paying respects to their predecessors but resulting in something completely modern. An amalgamation of influences like Björk, My Bloody Valentine, Godflesh, t.A.T.u, and Hum, their sound crawls with intensity and introspection to contrast lead singer Aislinn Ritchie's lulling vocals. Ritchie, began the project in 2020 enlisting guitarist Esteban Santana, drummer Keire Johnson, and bassist Sonia Garcia. Their approach to music has landed them on expansive tours and shows with rock music titans and contemporaries alike, supporting acts like Interpol, DIIV, Narrow Head and Nothing. Glixen has released a steady stream of music since their inception, with one EP and a handful of singles under their belt. She Only Said, was first released last summer with taste making Philly label Julia's War Records, bringing them to the attention of the national DIY scene. Working with producers like Jack Endino (Nirvana) and Sonny DiPerri (My Bloody Valentine, DIIV) for recent releases, this year has seen them take their sound to the next level, previewing a continuous sonic evolution.

Arriving as a standout group in the current American shoegaze renaissance, Phoenix four-piece Glixen transcend all expectations of what the genre should currently look and sound like. The band creates a profoundly heavy sonic experience with their music, paying respects to their predecessors but resulting in something completely modern. An amalgamation of influences like Björk, My Bloody Valentine, Godflesh, t.A.T.u, and Hum, their sound crawls with intensity and introspection to contrast lead singer Aislinn Ritchie's lulling vocals. Ritchie, began the project in 2020 enlisting guitarist Esteban Santana, drummer Keire Johnson, and bassist Sonia Garcia. Their approach to music has landed them on expansive tours and shows with rock music titans and contemporaries alike, supporting acts like Interpol, DIIV, Narrow Head and Nothing. Glixen has released a steady stream of music since their inception, with one EP and a handful of singles under their belt. She Only Said, was first released last summer with taste making Philly label Julia's War Records, bringing them to the attention of the national DIY scene. Working with producers like Jack Endino (Nirvana) and Sonny DiPerri (My Bloody Valentine, DIIV) for recent releases, this year has seen them take their sound to the next level, previewing a continuous sonic evolution.

"The Way We Were Vol. 1" ist eine Sammlung bisher unveröffentlichter Demo-Aufnahmen aus Francis Rossis persönlichem Archiv. Das Album vereint frühe Aufnahmen für sein vielbeachtetes zweites Soloalbum "One Step At A Time" (2010) sowie Songs, die später in ihrer endgültigen Version auf einer Reihe von Status Quo-Alben erschienen sind: "Heavy Traffi c" (2002), "XS All Areas" (2004), "The Party Ain't Over Yet" (2005), "In Search Of The Fourth Chord" (2007). Francis Rossi zeigt auf diesem Album eine Vielzahl an Stilen und Ideen. Was die Songs eint, ist, dass sie in der Art und Weise präsentiert werden, in der sie zuerst entstanden sind - roh, aufrichtig und direkt aus dem Herzen vorgetragen, ohne den Einfl uss von Studioveredelung oder kommerziellen Überlegungen. Unter den 17 Songs befi nden sich mit "Scary Mary", "Why I’m Walking", "Load On My Mind", "Can’t Change The World" und "Life Has Changed" zudem fünf Tracks, die nie zuvor außerhalb des Studios zu hören waren.

"Fimbulvinter" by Bjorn Riis: A Journey Through Darkness and Light... Named after the legendary long winter that heralds Ragnarok, a time of both destruction and rebirth. Bjorn Riis' new album Fimbulvinter is a profound and deeply personal work. Drawing from his own experiences with anxiety, Bjorn explores themes of hopelessness, paranoia, and despair, ultimately finding a spark of hope and gratitude in the darkness. "This isn't an autobiographical album," Bjorn explains, "but I wanted to share parts of my own journey and address a subject that I feel is both deeply important and still somewhat taboo." Musically, Fimbulvinter reflects Bjorn's diverse influences, blending the atmospheric and introspective tones of progressive rock with the energy and swagger of the hard rock bands he grew up with in the early '80s. Fans of Kiss, Black Sabbath, and classic progressive acts will find much to love in the album's rich soundscapes. From the driving, anthemic energy of "Gone" - a track made for blasting on the open road - to moments of introspection and monumental heaviness, Fimbulvinter is a dynamic journey through darkness and light. Bjorn takes centre stage on the album, performing all instruments and vocals, while also enlisting contributions from talented collaborators, including Henrik Bergan Fossum (Airbag), Arild Broter (Pymlico) and Kai Christoffersen on drums. Longtime partner and co-producer Vegard Kleftås Sleipnes also returns, ensuring the album's production is as impeccable as its compositions. With Fimbulvinter, Bjorn Riis once again demonstrates why he is a cornerstone of the progressive rock scene, delivering music that is as emotionally resonant as it is sonically captivating.

"Fimbulvinter" by Bjorn Riis: A Journey Through Darkness and Light... Named after the legendary long winter that heralds Ragnarok, a time of both destruction and rebirth. Bjorn Riis' new album Fimbulvinter is a profound and deeply personal work. Drawing from his own experiences with anxiety, Bjorn explores themes of hopelessness, paranoia, and despair, ultimately finding a spark of hope and gratitude in the darkness. "This isn't an autobiographical album," Bjorn explains, "but I wanted to share parts of my own journey and address a subject that I feel is both deeply important and still somewhat taboo." Musically, Fimbulvinter reflects Bjorn's diverse influences, blending the atmospheric and introspective tones of progressive rock with the energy and swagger of the hard rock bands he grew up with in the early '80s. Fans of Kiss, Black Sabbath, and classic progressive acts will find much to love in the album's rich soundscapes. From the driving, anthemic energy of "Gone" - a track made for blasting on the open road - to moments of introspection and monumental heaviness, Fimbulvinter is a dynamic journey through darkness and light. Bjorn takes centre stage on the album, performing all instruments and vocals, while also enlisting contributions from talented collaborators, including Henrik Bergan Fossum (Airbag), Arild Broter (Pymlico) and Kai Christoffersen on drums. Longtime partner and co-producer Vegard Kleftås Sleipnes also returns, ensuring the album's production is as impeccable as its compositions. With Fimbulvinter, Bjorn Riis once again demonstrates why he is a cornerstone of the progressive rock scene, delivering music that is as emotionally resonant as it is sonically captivating.