Cerca:c base

Off the heels of a few successful digital compilations, newly found LA based label For The Heads proudly kicks off their vinyl series with a 4-track collaborative EP from Subtle Mind & mrshl. All 4 of these cuts bring freshness and originality to the ever-growing 140 sound and are a meticulous blend of styles given both of the artist's virtuosity and creative ability.

First, "Built The Same" sets the pace of the EP with luscious chords and a prolific melody all wrapped together by it's enticing low end. Next, the title track "Can You Hear It" is a weighty number focused on it's orbiting sub-bass and crisp percussion with a switch up that is sure to get any dance moving. On the B-side, an exceptional and unparalleled fusion of both modern synth-bass oscillations with the classical UK style groove and step of some jungle and garage is evident in "When The Rain Comes"; all of this pieced together nicely with a jazzy saxophone sequence. Rounding out the EP, "We're Alright Now" features a radiating, encircling melody that is sure to grab the attention of it's listeners with punching low end and soulful vocal shouts.

Marion formed in Manchester in 1994, releasing their debut single on Rough Trade. Signed to London Records, the band found themselves bundled in with the ‘Britpop’ scene, and made their national TV debut
by performing ‘Sleep’ on Channel 4’s cult TV show ‘The Word’ in February 1995. The band gigged throughout 1995, building up a fan base, and supported Morrissey on his ‘Boxers’ tour. This World And Body was released in February 1996 and entered the top ten of the UK album chart. Demon Records is proud to present a new edition of This World And Body, pressed on 180g heavyweight translucent gold vinyl. This exclusive version includes a print of the album artwork, hand signed by Jaime Harding and is strictly limited to 500 copies worldwide.

Melvin Bliss’ iconic ‘Synthetic Substitution’ (1973) has been sampled hundreds of times. Gracing records from Naughty by Nature’s ‘O.P.P’ to Public Enemy’s ‘Don’t Believe the Hype’, it’s one of the foundations of hip-hop. However, there’s a school of thought that says the sample could have been retired forever after Ced Gee used it for ‘Ego Tripping’. It was the first song to use those wonderful Bernard Purdie drums, and arguably the best.

Their first release on Next Plateau Records, this instant 1986 classic slams from the first bar, that hard-as-hell beat underpinned by stabs and the breathy ‘ultra-magnetic-magnetic’ chant beneath. Meanwhile, Ced and future legend Kool Keith go to town with pseudo-science and a thinly veiled diss of Run DMC – ‘Say what, Peter Piper, to hell with childish rhymes’. It’s a song shot through with promise they’d more than fulfil on their debut album, 1988’s landmark ‘Critical Beatdown’.

The flip, ‘Funky Potion’, doesn’t coalesce with quite the same genius but is still more than a curio, with the MC’s doubling down on their futuristic nonsense approach to lyricism. Rufus Thomas’ ‘Do the Funky Penguin’ is the base for yet more stabs, discordant scratches and a kitchen-sink approach that shows just innovative the group were prepared to be.

Never before released before on 7”, this undeniable hip-hop classic comes complete with bespoke hype stickers incorporating one of the great rap logos of all time.

House Of EFUNK Records returns with a vinyl only offering of floor focused club jams from Tom Flynn, the UK based producer who’s seen outings on Planet E, Vega Records & Dirtybird to name a few.

Highlighted by “Fifty Ways”, a polyrhythmic feast for the ears featuring Grammy nominated NYC legend Luisito Quintero on percussion... The original rides a pulsating afro-feel, while the deep mix envelops us in tense foggy atmospheres fit for those late night / early mornings. Detroit heavyweight, Shigeto supplies a remix that pumps the tempo and injects that Motor City jazz he’s so known for.

Rounding it out... "Catching Stars" brings us down gently, capturing the coastal breeze & warmth of a late summer day... Touché concludes the story, riding a bubbling bassline & playful melodies, it’s a track perfectly fit for the sunrise.

Theresa Stroetges has and always will be a traveler. Under the name Golden Diskó Ship or as a member of bands like Soft Grid or the improv collective Epiphany Now!, the Berlin-based multi-instrumentalist has continuously been moving through the fringes of experimental music, but also extensively explored the possibilities of tried and tested formulas - whether folk, rock, techno or pop. With her fourth solo album, her first for the Karaoke Kalk label, the Golden Diskó Ship is yet again venturing into unknown territory. »Araceae« is inspired by environmental changes and the eerie feelings that arise when faced with natural beauty - when everything seems perfect on the surface but something feels off underneath it all. As a whole, it is notably more focused on electronic grooves that provide the foundation for Stroetges’s poetic long-form storytelling.

Partially conceived during a residency in India, »Araceae« is the first Golden Diskó Ship record to feature two guest musicians. For »Wildly Floral, Slightly Damp,« Stroetges collaborated with percussionist Dripta Samajder who with his Sri Khol contributes complex rhythms to a driving beat that wouldn’t be out of place in the record bags of daring DJs. Sophia Trollmann takes over saxophone duties for »Ortolan,« a riveting coming-together of intricate, IDM-flavoured techno and jazz-inspired improvisation. Both are integral standout tracks on an album that clearly follows a holistic plan. Already the opener »Clouds of Neon Limelight« dips into anthemic synth pop territory, but unfolds into a great saga full of ominous undertones and Stroetges’s trademark: layered vocals that at once evoke feelings of uncanniness and intimacy.

It’s a juxtaposition that runs throughout »Araceae,« thus enforcing the album’s overall themes of sensual experience and alienation. »Game of Biryani« for example lends some of its musical structures from pop music, calling into question traditional songwriting conventions which here reappear as irritating echo effects rather than recycled old tropes. With the lush »Limping over the Prairies« and the adventurous »Glow-in-the-Dark Gloves,« Stroetges further challenges her audience by applying noise and a heavy dose of autotune respectively to disorientating effect.

The couple makes for an impressive finale of an album that scrutinises our ideas of what is natural - whether in music or the world around us. »Araceae« was inspired by the travels of its creator, but also sets out to ascertain what lies beyond everything that eyes or ears can perceive.

The Berlin based label Sonar Kollektiv has been waiting for it anxiously: Key Elements' debut album leads Jazz music into the new decade down-the-line. The music Key Elements create is fresh, merciless and ruthless and has always the finger on the pulse of the time. The album's eight tracks are all far away from Broken Beat nostalgia or Beatmaking nedism, they breathe inspiration from the young, thriving British jazz scene. Key Element's initiator, DJ and producer Marian Tone, built up a reputation in the Berlin hiphop, soul and jazz scene over the years (also as a co-founder of Beatkollektiv). With all of his compositions you always feel this heritage and his love and passion for hiphop. But the other two allys within ëKey Elementsû, drummer Waldi and the keyboard or bass player Jim Dunloop made their contribution with compositions and ideas as well. An album which was initially designed to be a mere solo project became an effort of a trio over the years being inherently consistent.

Actual Music is a Swiss record label with a focus on Detroit House, Deep House, and Nu Disco. Taking inspiration from the masters of Detroit, the label was started by Alexandre Gazzola & Michel Catanese in 2017.

Alex Mota is a DJ and producer based in Switzerland and as a member of Los Cruzeiros, he released on Crossfontier Audio, Monique Musique and Tenampa Recordings, working with Pier Bucci, Marc Poppcke, Hernan Cattaneo and Nima Gorji.

Here Mota provides us with a diverse four tracker. Opener ‘Senses’ is an uplifting nu disco stomper with nods to New Order with the vocal. ‘Buenos Aires’ fuses Flamenco guitar and Latin flavours a plenty fitting for the most Balearic dancefloor scenes, whilst working itself up into a rhythmic house beat too.

The relentless ‘Chicago’ goes heads down and four to the floor with some well-placed trumpet flourishes. Closing out the EP is ‘Bogota’. Latin flavoured House as the title would suggest, with scattered percussion and cheeky vocal samples.

For the second instalment of Subaltern’s 2020 program, we welcome one of the scene’s best-kept secrets – Imajika. The three hard-hitting tracks take listeners on a sonic journey through tribal rhythms, punchy drums and immaculate sound design. Calling upon ancient forces, Imajika makes a powerful statement with the Stagger EP.

Stagger
Ethereal glass chimes sing in the distance underneath an airy pulse to create an eerie intro until the groove enters to break the tension. We are offered a moment to breathe before being submerged by staggering drums driven by powerfully persistent bass-waves. Playful dubby FXs, gritty wobbles and naughty drum fills keep the head nodding throughout this stomper. After offering one last breath, the second drop hits with a relentless grunt that leaves us gobsmacked and then proceeds to devastate any sub to cross its path.

Unti Pundi
Mystical textures set a ghostly tone, overlaid by the meditative ‘Unti Pundi’. We are whisked through the caverns of time - space is created through reverbs and echoes of snares and droplets. A sinister pitch-oscillating synth takes your hand and as Imajika takes you deeper down the rabbit hole. Evolving basslines and masterfully placed drum fills add new depth to this monstrous beat before a shattering second drop wreaks havoc - Imajika shows no mercy.

Inside the Sycamore Root
Foreboding voices whisper in a secret language, seemingly summoning ancient spirits in a circular tree-based ritual. A cataclysmic drop fused with a tribal rhythm and propels us deep Inside the Sycamore Root. The spirits have been awoken. A gnarly bass pulsates as calls of the wild and menacing laser-synth stabs respond to the ancestral voices. The summoning continues and takes us even deeper into the wilderness as rumbling bass and tribal percussion take over - the descent into the great unknown continues.

Aes and Armless Kid, parisians based artists, share the wax together and give us a way to the raves. Four breaks and electro tracks to dance till the dawn.

Outta Sight’s collectable ‘Real Side’ series continues with two stunning sides from Ted Jarrett’s Nashville based ‘ref-o-ree’ label. Jarrett was a hugely successful songwriter and producer for a number of Tennessee labels before he formed Poncello and Spar ahead of the harder Soul sounding ‘ref-o-ree’ that was home to our star turn Wendell Watts. Little is known about Wendell Watts other than he recorded and released two 45s for the ‘ref-o-ree’ label in 1969. According to some sources he hailed from Detroit but these recordings are certainly Nashville based and were produced by label owner Ted Jarrett and arranged by his long-time collaborator Bob (Robert) Holmes. The 45s are highly collectable with “Kiss A Good Thing Goodbye” rarely seen for sale and available as a reissue for the very first time. Incredibly, both of our featured spins were originally released as B-sides. “You Girl” on the back of Watts’ soul-cover of the Peppermint Rainbow hit “Will You Be Staying After Sunday”, whilst “Kiss A Good Thing Goodbye” played second fiddle to the novelty Bob Holmes song “The Love Bug”. The latter was reissued in 1972 coupled with “Grooviest Thing Side Of Heaven” on the tiny Jiminie logo. Watts also released a chidren’s Christmas album in 1972, for which he wrote most of the songs, before bowing out of the music industry.

Green Vinyl

The HEX series explores the more clean side of the spectrum with a common denominator called acid influenced elements in all it's possible forms.

BPM, structure, form, styles can and will all be switched up held together by that wobbly origin called acid :)

The HEX series (based on the hexagons as you can see in the design) comes in a clear plastic outer sleeve with a big double-sided printed thick inlay card where the information about the record can be viewed. The records itself are all clear/silver mixed so every record is unique in its own way.

The first release by Prime features 4 different approaches to the genre ranging from trance influenced acid techno to electro and anything in between with the most RAW of the 4 tracks on the B1 which is dark and unwelcoming. The perfect opening record to start with broken beats going into a raw 4/4 frenzy later on.

Various Artists: Lisene, Hartta, Sourpuss & Interplanetary Criminal

"Banoffee Pies Records" drop the 13th release in the original series. This VA aptly entitled "Common Ground" is a crossover of influences from 4 artists with a selection of tracks all above 150 bpm from producers of a similar generation giving a nod to their youth and early musical journeys, largely inspired by Drum & Bass and Jungle raves across the UK.

The release divided in two with a Dark A side and Light B side offering parallel moods of depth and liquidity. The opening track "Class Of '92" from Lisene, one half of the Space Cadets duo, with previous releases on Seven Hill Records and an EP lined up with Planet Euphorique later this year, pushes complex drum patterns and pulsing synths evolving in energy levels throughout. The A2 from Bristol based Hartta offers a more spooked out bass heavy cut with "Hauntology", ready for powerful system rumbling.

The B side begins with title track "Common Ground", an ode to dusted jungle and liquid drum & bass from Leeds based Sourpuss, known for running the Stretchy Dance Supply parties, - this track serving hedonistic eye rolling gurner euphoria, sounding more like an og 90's prodcution. The last track on the disc "Vapour" comes from Manchester's Interplanetary Criminal. With his UKG EP "Move Tools" on BP010 landing on the label and many dance floors at the end of 2019, this nostalgic drum scattered jungle cut stylishly closes off the compilation. Ltd. Press. BP x

Mastered: Optimum, Pressed: MPO & Distributed by KUDOS.

Middle Eastern, dancefloor slammers from the Rollover Milano camp coming courtesy of Italy’s Ferrari.

On the A side a pair cosmic, club ready chuggers that dream up underground bazaar raves in far-away lands.

Take to the flip as Brooklyn based DFA head honcho Juan MacLean, offers up an interplanetary vision of ‘Talk’ with ‘Dotrium’ closing things out in trademark psychedelic style.

After years of searching for the elusive sensation of heart-rending beauty, Avondlicht releases his debut album on 3 April, 2020 on all digital platforms. The LP will be out on 8/4.

Hyperromance is the culmination of an emotional and geographical journey, as Belgian producer Matthias Dziwak sought to find and examine idealised moments of true romance within the less-than-romantic reality of existence.

Having already achieved a great deal with his initial run of EPs for labels like PIAS, Fog Mountain and Unit Delta Plus, Antwerp-based Dziwak became obsessed with the concept of Hyperromance – “a moment or idea so heavily romanticised that it seems impossible to be really experienced.” The melancholic feeling it sparked in his heart set him off on a journey through Argentina, Chile and Uruguay, via a month-long stay in Amsterdam and finally to settling for six months in Portugal. Throughout this time he made field recordings and began writing pieces that would feed into the finished album. Along the way he found a full spectrum of moments that allowed him to view the world in a truly romantic way, from the majesty of the Andean mountains and the snow falling on the Amsterdamse Grachten to encountering love in Lisbon. At other times he found himself lost, adrift and heartbroken, pulled back to Earth, as is the cyclical nature of the human experience.

Musically, Hyperromance’s grapple with day-to-day reality and rose-tinted fantasy is embodied through the contrast between organic instrumentation and high-definition electronics. Dziwak began writing his songs as simple piano pieces, which then transferred to a staple of synths and sound processing as they became more wholly defined. Sonically, the sound sweeps from modern classical and bombastic electronica to evocative ambient, even touching on jungle and techno along the way. Rather than being defined by genre associations though, Hyperromance is shaped by the swooning beauty of its composition, as the music pulls you in and out of richly rendered moments of joy and pain following Dziwak on his personal journey of truth and beauty. With visceral life experiences woven into the fabric of the record, Hyperromance is expressive on the most intimate level. It’s a record that dazzles with searing bright wonderment and casts creeping shadows as the time passes – a journey as nuanced as life itself, elevated by romance and grounded by reality, beautifully told by Avondlicht.

"WOLF Music" offer up something a little different to their usual tip, enlisting the warm dusty reverberations of four-piece, jazz-not-jazz collective Velour for a 7" of hazy, genre traversing rhythms. Alongside being producer for the Velour project, long-standing member of the WOLF pack Mr. Fries gives his own distinctive house touch to the flip side remix.

Perfectly capturing the new school of jazz, Essen-based Velour crisscross genres drawing on elements from each yet anchoring their roots in the richness of jazz’s deft melodies and percussive touches. Head-nodding down the open road, ‘Pose’ is that undeniably soulful, first swig of summer many tracks strive to be. Morphing into a woozy affair as the sun sets midway through, Velour’s songwriting talent well outstrips their years. Throw WOLF pack member Mr. Fries into the mix, kneading in his signature production style and the freshly baked result straddles the intersection between jazz, broken beat, house and soul.

Fries then takes on remix duties for the flip, maintaining that dusty demeanour yet going for a full frontal Moodymann-esque house interpretation. The smokey jazz bar sax, background hustle and weighty beat make for a summertime heater served straight from
the grill, garnished just right with Mr. Fries own vocals over the top.

Oracolo is Skinshape’s second full length originally released in 2015 and now remastered for 2020. The album plays out like the soundtrack to a psychedelic Spaghetti Western. ‘Old Days’ is one of a handful of vocal-lead tracks on the release that along with ‘Summer’ and the cinematic album title track, ‘Oracolo’ conjure references to bands like Can, The Bees or modern pysch pioneers Tame Impala. The instrumentals peppered throughout like the Quentin Tarantino-esque gem ‘Mandala’ and Motown reminiscing ‘Rubber Gloves’ highlight Dorey’s superb talent as an arranger and composer. Don’t let the vintage sound fool you either. All of his magic is original, without a sample in sight. Every instrument either played by Dorey himself, or his array of guest friend musicians. For the Oracolo artwork, Skinshape joined forces with acclaimed New York based artist Jared Buschang. This is one of Buschang’s early pieces simply named ‘Untitled’. The Picasco-esqe style makes the perfect visual representation for the music within.

Here is Niall Power’s debut release on Psyko social records, a 5 track EP filled with all sorts of Detroit inspired techno and electro bangers with remixes from some amazing producers such as Lee Holman, Leafeater and Ikeaboy.

Niall Power’s Steel Reinforcement wears it’s classic era Techno and Electro on it’s sleeve. Born out of a cross of diverse backgrounds and disciplines, the Irish based DJ spicing up the current techno aesthetics by adding a pinch of acid, sprinkled with that extra touch of sleaze. Power’s ‘Spinal Fusion’ and ‘Kyphosi’, embodies the visceral secrets of sounds that work the dance floors. Heavily blessed with taste and cursed with extensive dj background. Vicious kicks and snares along with synth and pad elements conjure up a painkiller haze, woozing in and out of consciousness. Teaming up with three huge remixes from Lee Holman |DE|MAR|CATION| Leafeater StickyGround and Ikeaboy D1 Recordings this EP is a great weapon for any techno or electro dj.

For PSR, this is a really exciting first release as it shows they have an in-depth understanding of the modern techno zeitgeist with inspiration from the past to explore all flavours of the genre for the future.

Early support from the likes of Neil Landstrumm, Jamie Behan, Sunil Sharpe, Aubrey, Plural, Cáilin Power and Dave Clarke just to name a few.

Uniting cosmic tones and lovely notes, unique sound collages and electronic noises, Muzak pour ascenseurs en panne ("Muzak for Broken Lifts"), Brigitte Barbu's first album, explores a dreamy universe, at the crossroads of electronica and the 70s’ post-tune-in/drop-out, echoing shadows of the peculiar doppelgänger; Pépé Bradock. Ça Plane pour Brigitte Barbu…

Resonant guitar notes, odd sounds, electronic hallucinations, and unexpected warm synth layers all gather together in Brigitte Barbu's first enigmatic album. Recorded and mixed during a reclusive one-week residency in a very special studio, under the benevolent cubic radiation of "Our Lady of the Ark of the Covenant,” using a computer, synthesizers, and various string instruments, giving birth to this resolutely unique album. The guitars were sharply disciplined, propelling strings into strange and hypnotic limbos, somewhere between a weightless journey through time and a fresh science lab experiment.

A perky cosmic album running away from rules and gravity.

"I wanted to compose an ethereal abstract Hip-Hop LP" says Brigitte, "with guitar as a brainwashed instrument, mirroring machines and computers, even if surely far from being unplugged". So much for that… With a real introspective dimension, the record stands out for its pure whimsical mood. The artist had strict rules for composing: “Each track is based on the association between a title chosen for its consonances, an open tuning, a random tempo and frequencies chosen for their supposed effects, real or imagined, on the mind, body & soul.” For example: Taro Patch -> Whale -> 93,75 BPM or Dobro -> Bear-> 118,125 BPM, Air Resistance -> Open Em -> Panther-> 480 BPM etc.

Brigitte surgically framed an electro-acoustic compendium, finding its atmospheric mothership… Brigitte Barbu, referring to a special interlude from a vintage release "Escalope de Dingue” (Fool’s Cutlet), explains that Muzak pour Ascenseurs en Panne is in fact a custom tribute to family, friends, triggered cosmonauts, René Clément and the card game where the winner is the bearded monarch nonchalantly stabbing himself in the head. It’s a lot!

After a two year hiatus VARY imprint is back with their third installment called “HiConcentrated Music“ which is a 5 track strong trip through Footwork, Beats, Ambient & R’n’B Bits, produced by Schmeichel in his basement studio underneath the store. Fans of DJ Rashad, RP Boo, post Dilla beat scene to Jordan Rakei should dig this.
Comes with another homemade graphic design by Julian Kramer.

We gladly present the long awaited debut album by kurdish multi-instrumentalist Philippos Sîpano and Frankfurt am Main’s mighty duo Dan Bay & Le Rubrique aka The MPC Orchestra. “The Spirit of Dilovan” pays tribute to Philippos Sîpano and Dan Bayat’s youth band “Spirit Of Dilovan”, sketches the different musical paths the two took over the years and finds its final form in their new collaboration with Dilovan Le Rubrique, a master in the studio and a true patchbay wizzard.

With multilayered arrangements based on different kurdish music traditions and inspired by their indivudual experiences of Pop- and Clubculture, Philippos Sîpano & The MPC Orchestra’s new album can be both perceived as diasporic Popmusic or epic dancefloor monster for experienced music lovers.

All songs were produced at Offenbach’s Upper Citycenter Studio and dedicated to all DIlovans* out there, hoping they will one day constitute the majority of all people and we will all find peace, love and habibtiness on planet earth.

* good-hearted people <3

With a hybrid jazz based on African grooves, Ethio-oriental melodies and psychedelic dub this Belgian five-piece creates an atmosphere where ancient and modern sounds fuse into a powerful, hypnotic and groovy sensation.

Receiving critical acclaim for their second album 'Artifacts' (2017), the Belgian quintet are pleased to announce the release of their much-anticipated third album entitled 'Future Flora', released 12th April via Sdban Ultra on vinyl / cd / digital.

Piloted by saxophonist/flutist/composer Nathan Daems (Ragini Trio, Dijf Sanders, Echoes of Zoo), the input of notorious musicians, drummer Simon Segers (MDC III, De Beren Gieren, Stadt), cornet player Jon Birdsong (dEUS, Beck, Calexico), keyboardist Wouter Haest (Voodoo Boogie) and bassist Filip Vandebril (Lady Linn, The Valerie Solanas) leads to the specific universe that only Black Flower is able to create.

Where debut album 'Abyssinia Afterlife' (2014) and 'Artifacts' (2017) bathed in an atmosphere of psychedelics, mythical figures, ancient sounds and modern cultures, new album 'Future Flora' refers to the power of plants and their importance for the future.

"'Future Flora' is a metaphor for the importance of feeding and watering powerful and revolutionary ideas and initiatives that can save our world. You can compare it with plants that fight between the paving stones of the city for their future. These "urban warriors" need water to survive and grow. Their future and ours depends entirely on how we look at the plant world", says Daems.

Black Flower's musical cross-pollination of sounds and rhythms remain on 'Future Flora', but there is still room for a more Western touch with Romanian and Maloya (Réunion) influences. Daems developed his own arrangements where Western, Oriental and Ethiopian scales and chords are fused together to create a real mix of traditional instrumentation and modern electrical vibrations.

The strong underlying groove is omnipresent, but the room for psychedelics, folklore and experimentation grows. Songs like new single 'Hora de Aksum' combine modern western rhythms with doses of Balkan eccentricities while 'Future Flora' takes you on a psyche-delicious 21th century Ethio-dub-jazz trip with echoes of Mulatu Astatke and Fela Kuti.

"The general feeling that dominates is that of strength and perseverance. The feeling that we have to fight for our future and that we have to do it now! The whole album is interspersed with this atmosphere and sounds swirling, haunting and ecstatic. For those who once saw Black Flower live at work, this energy will be extremely recognizable", he adds.

Composed as a means to map the cultural translation between Chinese culture and European traditions, Piotr Kurek’s A Sacrifice Shall Be Made / All The Wicked Scenes is comprised of pieces composed between 2016 and 2018 specifically to accompany theatre performances directed by Tian Gebing (500m and The Decalogue) and Grzegorz Jarzyna (Two Swords). Kurek attended performance rehearsals in Beijing and Shanghai, with additional preparations and recording sessions taking place back in Warsaw.

While most of Kurek’s past work is unaccompanied by other musicians or outside help, A Sacrifice Shall Be Made / All The Wicked Scenes features various Polish and Chinese musicians both from classical and experimental scene (Barbara Kinga Majewska, Grzegorz Hardej, Łukasz Rychlicki and Hubert Zemler) as well as by actors of Paper Tiger Theatre Studio from Beijing. This approach of Kurek exploring new players and places is further juxtaposed as Kurek recycled samples from his own past, including various recordings with musicians he did throughout years, found sounds from the Internet, or cannibalised old solo work.

Recorded over the course of several years, this aural report of a monumental multi-disciplinary venture is in the end an enthralled and enthralling survey of a contemporary composer who is unencumbered by geographic or cultural boundaries. Concurrently, ditching any resemblance to local musical traditions and rearranging the compositions for all three performances, Kurek has formed an architecture that allows the phases of rituals to unfold while projecting social structure assumed in myth making. The regrouping of different moments in these stories is a curious way of narrating another myth — a synthetic, polyvalent story set in a city that strangely reassembles Beijing, Giza, and Prague at the same time.

Piotr Kurek is a Warsaw based musician and composer who straddles the world of electronic music taking inspiration from various genres but fitting comfortably in none. Through his unconventional use of a wide array of instruments both electronic and acoustic, he built a reputation for himself as a qualified inventor of hypnotic worlds drenched in uncanny arrangements.

Kurek has already released a range of idiosyncratic, forward-thinking works on a variety of imprints (including but not limited to Sangoplasmo, Black Sweat Records, Hands In The Dark, Dunno Recordings, Crónica, Foxy Digitalis) and participated in numerous music festivals including Unsound, CTM, OFF, TodaysArt and UH Fest as well as participating in extensive tours in Poland and abroad. In 2014 and 2015 he opened for Bonnie “Prince” Billy’s two European mini-tours. In 2016 he has been selected as a part of Shape platform for innovative music and audiovisual art from Europe.

Beijing-based duo Zaliva-D returns with a second installment on Knekelhuis. After last year’s great EP, released on Shanghai label SVBKVLT, Zaliva-D unleashes a new record in these unreal pandemic times. At its core is a concept of data’s capacity to overcome any boundary, whether that’s physical, digital or mental.
The material at hand, created after the second European tour, pushes heavily through walls, with bombastically accentuated kicks. Blended with joyous, psychedelic songwriting, it is a testament to the power of music to unite despite involuntary confinement.
Artwork by Fenna Fiction. Mastering by Brandenburg.

Dievegge emerges again in the darkest hours for the second
instalment. Ouvrijster returns with three soulful house tracks
on the Amsterdam based label and comes back with a definite
improvement in production skills. The first track “Make Me
Move” is a deep disco groover that levitates you with vocals
longing for body movement. The deeper sounds empower the
desire to escape everyday life. “Konkelfoezen” then funks
things up with a groovy baseline and rich sounding stabs. It
yearns for bringing back the modern take on the 70’s sound
into the clubs of today. The slow burner “Sleazy Saints” rounds
up the record with an ode to the sleazy sounds, pleading for
the return of these saints. By its slower pace and unfolding
atmosphere it moves away from the easy heaters and
enriches the messages of these tracks. This second Dievegge
Recordings vinyl only release shows again the goal of this
project and the sound that Dievegge cherishes.

Rich NxT returns to FUSE to open June with his latest EP, ‘The Swish Cheese’.

A quintessential member of the FUSE family since its formation, longstanding resident label favourite Rich NxT may well currently be in one of his finest periods of musical output to date. With recent releases and remixes via the likes of Moxy Muzik, S .A.S.H. and his own NxT Records, and fresh from his stand out remix of Planetary Notions head honcho Joe Rolét on Infuse, the London-
based DJ, producer and label boss now returns to his home imprint of FUSE in emphatic fashion to deliver three fresh original productions in the form of his ‘The Swish Cheese’ EP.

A-side and title cut ‘Swish Cheese’ is a low-slung effort that layers rumbling sub-bass and squelchy stabs beneath icy snares to reveal a twisting and hypnotic opener, whilst on the flip ‘Your Time’ welcomes rich organic percussion arrangements, soft chords amongst tripped-out vocal snippets and further warping basslines. To close, the slick ‘Heaven Base’ shapes up the package with authority as swinging drum grooves meet soaring vocals and arpeggiated synths lines, offering up yet more trademark no-nonsense Rich NxT sonics via the ever-impressing London imprint.

Control is the incredible debut album from Sydney based vocalist Natalie Slade, produced by Hiatus Kaiyote's Simon Mavin and featuring contributions from other members of the Grammy Nominated group.

Combining Soul, Jazz, Folk and RnB, Natalie's timeless vocals dazzle across 10 stunning tracks, perfectly complimented by rich, live instrumentation and Mavin's vibrant production. The album is classic to its core, whilst taking a fresh and energetic approach to a long tradition of Soul/RnB long players. Familiar broken rhythms and jazz heavy motifs, notorious with Hiatus Kaiyote's writing and arrangement style are present, reminding us throughout that we are in the hands of true masters. The result is a kaleidoscopic reimagining of sounds and styles from an exciting new vocal talent.

Recording began after a chance encounter between Natalie and the Hiatus keys player Simon Mavin, resulting in a writing session that quickly escalated into a full blown album project. The chemistry was clear and the creativity flowed. Spontaneous recording sessions ensued, with visitors to the studio jumping in to play on tracks, the levels of musicianship on the album never fall short of stunning and Natalie's poetic and enchanting song writing shines throughout.

The album kicks off with an energetic flash on 'Cloud Cover', an arpeggiating bass line bubbles over skipping drums and aquatic synths. The title track 'Control' puts it's foot on the gas with a driving synth bass, broken beats and soaring vocals. 'Colour' see's Natalie pouring out her heart to the universe over a fluttering mellotron whilst the beautiful 'There Is Light In Everything' gives her a chance to show off her vocal prowess. Control is a truly unique and dynamic debut album from two masters of their craft, we hope you enjoy it just as much as we do

Recommend for fans of Hiatus Kaiyote, Rosin Murphy, Fatima, Yasmin Lacey, Khadja Bonet.

Limited to 300 units.

Project founded in Mallorca circa 2015 releasing 'Four Seasons' by the end of that year, it was a digital and musical tribute to nature itself.

Then based in Barcelona on december 2017 came out an EP/Anti titled 'Continental', 41 minutes of pure melancholic weird dreams with crunchy beats.

On may 2019 Diürn presents 'Una Història Hologràfica', one hour of experimental electronic music that expands through downtempo, techno and ambient. The album pushes the sound boundaries further by exploring the consciousness of the unknown.

The next reference of INDUSTRIAS MEKANIKAS, comes again in V.A. format, a series of compilations under the name ANTIKHRIST VISIONS, which includes already consolidated artists of the scene, together with other more noble artists.

This new delivery, continues faithful to its spirit, and comes loaded with six tracks, full of darkness and forcefulness, which undoubtedly will shatter the dance floor of any club.

Rhythms loaded with broken bases, strong basses, acid lines and devilish atmospheres that invite imnotism. A balanced mix with styles ranging from Electro Techno, or, Industrial Techno to EBM passing the Electro.

In this occasion, all presented in a Limited Edition 12″ Vinyl 180gm

On his third album as Trickfinger, John Frusciante makes the jump from Acid Test to its leftfield sub-label, Avenue 66, to unleash the full scope of his vision. On She Smiles Because She Presses The Button, the legendary, LA-based cult figure, presents his most diverse yet cohesive album to date.



Frusciante has the melodic and programming chops to jump from style to style while sounding only like himself. "Amb" is the welcome middle-ground between Balearic and IDM while "Brise” with its quick syncopations and rhythmic groove provide a contrasting fabric. Elsewhere, JF caroms through electro and pastoral, "intelligent" ambient. The common thread through this quixotic journey are his trademark, timeless melodies.



For years now, Frusciante has immersed himself in machines, learning tracker programs, synths and drum machines inside and out, applying the same, tireless approach he's exhibited throughout his career. On She Smiles Because She Presses The Button, this period of intense study leads intense creative liberation.

After he hit their sweet spot with a little 3/4 psychedelia on the ‘Kraut Jazz Futurism’ compilation, new Berlin based imprint Kryptox founded by the Gomma & Toy Tonics crew (yes, that new label dedicated to new jazz electronica phenomenas from the uprising German scene) do the sensible thing and tie down nomadic percussionist Niklas Wandt for his first ever solo EP. Anyone with a dancing shoe dipped in the underground will recognize the dungareed Berliner from collaborative outings with Bufi-body popper Wolf Muller, synth shaman Sascha Funke or his NDW dream team Neuzeitliche Bodenbeläge (whose funky bassman Timo Hein helps out here), and now he’s rolling (mostly) solo with four tracks of far out head music. Largely built around improvised drum jams recorded in Wandt’s rehearsal space in Berlin, the sounds on the EP mutated and matured before assuming their final form under the mix

Bristol-based artist Void Cells returns on Blind Allies with a solid five-tracks EP, filled with atmospheric beats and raw, distorted pads.
The record, different to the previous releases, includes a special remix by NX1 and features vocals by Helena Markos.

The vinyl edition is limited to 300 copies and comes in a sealed heavy old-fashioned cardboard sleeve. A free download code plus a BJINT logo sticker round up the packaging.

Paris-based producers Alcynoos & Parental (of Kalhex) present their collaborative effort "Shapes" on Beat Jazz International. Expect some super mellow tunes with producer guests like Remulak, Parental's brother Lex (de Kalhex), Ødyssee, Aywee Tha Seed and others. Scratches are provided by Debonair P. and DJ Soul Intellect.

Composite Profuse (Bunker Records, Minimal Rome) guides you through the fog on his new EP “North Electric Mist” on Onrijn Records.

The A-side gives you a trilogy of cold, melancholic and haunting electronic tracks that completes a musical journey through the Mist that plays in your head.

On the flip side, we have Animistic Beliefs that delivers a fantastic remix of “North Electric Mist”. Their snappy baseline in combination with the aggressive synth lets every club visitor be on his toes and wanting for more.

The EP ends with “A Blink of Hope into the Fog” and that's exactly what it sounds like. A feel-good ambient piece which is the perfect conclusion to this EP.

Belgrade's 'Yes' is back with its 3rd release - a debut EP by Moscow-based producer Yssue.

"The Laughing Gas" is a five-track collection of heavily percussive dance floor belters. Contemporary, and contagious.

Fractura del SueNo is the debut album from the Catalan and Berlin-based artist Ameeva and his first big step into his musical path. With the purpose of creating a conceptual LP which develop the idea of transcendence, power of mind and self-interpretation of the individual, Alex Busse has created an album where different influences share the same environment. From ambient and drones to deep techno, going through broken-beats, distortions, organic percussions, field-recordings and even the human speech, he has created a progresion in the storytelling which ascends in energy nd comes back to the origin point, making it ideal for a calm and deep listening where the listener can focus on each sound.

Simian Mobile Disco’s Jas Shaw and new talent Bas Grossfeldt present ‘Klavier’ – an album of haunted elegance, graceful poise and cerebral depth, which is centred around the Yamaha Disklavier.

Combining the prepared piano minimalism of Hauschka with Basic Channel style dub techno, the pairing is mirrored in the duo, where Shaw’s formidable dance music experience synergises with Grossfeldt’s arts-based appreciation of contemporary composition.

Four peak time, dancefloor remixes of tracks housed on SIRS outstanding debut LP ‘Banana Hard & Disco Kisses’ from the likes of Austin Ato, Yam Who?, Danilo Braca and SIRS himself.

First up on remix duties, Scottish goldenboy Austin Ato takes the sunset funk stylings of ‘Nightwind’ and flips it into a club ready house bumper, fitting perfectly with Hava Izmailova’s dreamy vocals. Rework don and Midnight Riot head honcho Yam Who?, then gives the Stee Downes vocal number ‘Forever’ a first pumping disco makeover that’s got future anthem written all over it.

On the flip side SIRS offers up a new tribal interpretation of ‘Turkish Disco Folk’, doubling down on the Middle Eastern influences yet with a tougher rhythmic side that will spice up any set its slipped into. Finally, NYC-based Danilo Braca inserts an acid injection into ‘If I Can´t Have You’ alongside a dose of sultry strings, ready made to warp any dancefloors out there.

Now finally, the great "Music Exists"-series by Tokyo-based duo the Tenniscoats is completed. Apart from the regular 4 volumes, there is a heavy cardboard box, beautifully screenprinted and hand-numbered by senorburns, in 12 different color-combinations. Inside you'll find an extra-LP of bonus-tracks and alternative versions, "Music Exists disc 5", which only comes exclusively with this box. Like on the other LPs, you’ll hear heartbreaking songs, beautifully arranged with acoustic guitar, melodica, psychedelic keyboards and soundexperiments. Also included is a A3-Poster with a drawing by Ueno not used within the previous album-artworks.

Limited one-time pressing of only 500 copies worldwide. There is a small amount of full boxes with all 5 LPs and Poster available, for those, who don‘t have any of the albums so far.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the Tenniscoats and their opus magnum "music exists".

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester

Embarking on a journey from Italy to Anatolia and from Africa to the Americas, Nelson of the East soars over imagined landscapes in his debut, motion picture- inspired album, Kybele. Plug in your headphones, drown out the world, and set
out on a mystic voyage of Earth through the lens of Kybele, the Anatolian goddess of wild nature.

With the world in flux and isolation taking its toll, musical escapism has become a much needed pastime for today’s armchair adventurers. Treating recorded sound as a vehicle of time travel, Milanese artist Nelson of the East (N.O.T.E) takes listeners on a journey through kaleidoscopic soundscapes with his debut album Kybele released on Tartelet Records.

Skillfully weaving the sounds of East and West, the nine-track LP fuses Turkish and cosmic influences with a strong electronic backbone into an otherworldly soundtrack of our time.

“The feeling that passes through the record isn’t straight. It changes, it turns, it is never predictable. Never being able to predict which landscape you arrive at next or where the music is taking you is key to enjoying the sound journey,” says Nelson. “

Named Kybele after the Anatolian goddess of nature, fertility, mountains, and wild animals, the record is a continuous saga that takes from the Berlin-based artist’s own adventurous spirit. Following his previous EP releases Night Frames and Phase Alternating Lines, Nelson explores new territories on Kybele.

The album opener, “Explorer,” is an exhilarating build up to what could be a 80s sci-fi movie, showcasing Nelson’s knack for cinematic moods. “Draw Me,” speaks to the artist’s intention of making a “snare album,” with an irregular, dominating beat untethering it from time or boundaries. “What I realize while I was writing the rhythm part is that the more you keep a beat simple the more difficult it becomes to make it interesting. So I just put down some rules to follow. For example, using swing as smoothly as possible, or using lot of syncopated sequence over the straight 2-4 groove,” says Nicolas.

Another thing Nelson achieves in this album is ambience, or the “motion picture touch” as he calls it. Tracks like the wild and obscure Culto, with its Anatolian nuances and middle eastern-sounding scales are made by layering synths to achieve an orchestral effect.

Other tracks capture the musician’s penchant for African and Brazilian grooves, like the Saudade mix of Burning Palm. On the B side, the Italo-flavored Phase Lines comes through with shimmering synth and electronic drums complete with hazy vocals delivered by DJ Rayne and Nelson himself. Yahuda dives into dark, melancholic electro with a Detroit feel not far from the sounds of the great Drexciya.

The album closes with ZETA, a track that could easily double as an obscure cinematic composition. The nine-track LP is strictly limited to 300 copies, pressed on 180g vinyl with artwork by The Emperor of Antarctica. No repress.

Ma Sha Ru announce the launch of Kindergarten Records with their second EP, Zer0: a chaotic blend of club-ready electro, broken UK bass and gnarled techno. Respectively based in New York and Berlin, their music is born of the intense bursts of time this transatlantic couple spend together.
Recorded in summer 2019, Zer0 finds producers Ma Sha and Rù delving deeper into the dark and trippy impulses hinted at with their debut.
Opener Slew is a bubbling cauldron of UK bass rhythms and agitational tension, while the title track Zer0 builds it’s ominous electro around a vocal sample of robot struggling with a mathematical quandary, ghosts rattling in the machine. Things get eerier still on the flip, It’s a Forest Rave paying
homage to a journey deep into the woodland near Vilnius in Lithuania, menace dripping from branches as pounding, gabber-indebted kicks propel dubby keys and a distorted video game lead. Showers rounds off the record with their most experimental effort to date, a broken 140bpm stepper that stumbles and stomps around its delicate, icy core.