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Terra Magica Rec. is back with its fifth release “Club TERRAM”! This time it will be another V.A. compilation of never heard and unreleased original gems of electronic body music.

Think: A double 12” vinyl which is fully charged for dismantled club use as those mighty TERRAM clubbers say. Compiled and arranged by Tom Sprenger & Mirko Hecktor all tracks are dance floor oriented rhythms which will activate your maximum energy output as well as total chill out crash. Let the new bots work your life balance. Multiverse to introverse to metaverse. With its discoish genre splicing between 90s-IDM 2 Big Beat and Breakbeats 2 NuCosmic 2 Acid-Madchester 2 rolling trancey driven Goa beats the record reflects the electronic underground culture of dance clubs and discotheques of the past 50 years. These stand for emancipation, gay liberation, cicil rights, working class and democracy. Find your inner peace on the chill out floor side. Or go bonkers to the hedonistic main room floor fillers. Find your unique personal safe space in TERRAMs different floors and hidden rooms. A CLUB FOR A L L. As Richard Dyer wrote in 1979 “In Defence of Disco”: ‘Capitalism constructs the disco experience, but it does not necessarily know what it is doing, apart from making money’.

The underground is where we go moving.

The sequel came to light. The cohesion between past and present tools forms a pure and emotional intertwining that unites generations.

Tracks A1, A2, B2 and B3 were composed in 1998, 2010, 2001 and 2000 respectively.

300 copies available only 12" vinyl format.

Historically Fucked is a four way entanglement made to create short, eruptive songs and then set about obliterating them from the inside, like improvising a barrel to encase themselves in and then proceeding to lick their way out of it. It is about playing and laughing at playing, and it is about not doing either of those things sometimes. Sometimes it is to do with talking, howling or grunting, and sometimes it is to do with hitting and rubbing.
Historically Fucked contains four people, who each share the same duties, and whose names in sequence are Otto Willberg, David Birchall, Greta Buitkuté and Alecs Pierce. They are from Manchester and often other places. Guitar, bass, drums and voices keenly jostle amid the group’s frenzy of spontaneous rock throttles. Some of these rampant exercises in avant are collected on ‘The Mule Peasants’ Revolt of 12,067’, the band’s new album, released by Upset The Rhythm on February 3rd. This is the group’s first release since 2018’s mantlepiece staple ‘Aliven Wool’ (Heavy Petting). This is Rock and/or Roll as fertilizer, uncivilised and free, as if one were to imagine what the Plastic Ono Band would’ve hit upon if they had read ‘Riddley Walker’, the sound of an entire timeline of expression put back together back-to-front, misshapen and irradiated.

‘The Mule Peasants’ Revolt of 12,067’ is not mere Sedentary Rock but Blasted Basalt, Frog worshipping cave-funk, harmolodic hullabaloo-wop, a musical game of “badger in the bag”. It is the sound of sacks crammed full of aggregate, a chimerical mind-meld, a seductive din that is to a hound dog in blue suede shoes what a raking of the dorsal fin with a fat marrow pinecone is to a pelican in the midst of being fired from the academy.

‘The Mule Peasants’ Revolt of 12,067’ by Historically Fucked was recorded by Rory Salter, mixed by Otto Willberg and mastered by Mikey Young. The liminally worrisome artwork was painted by John Cobweaver.

“They say these days that History is Fucked. Nothing ever dies but continues to rule the earth as an undead tyrant that cannot accept its own decomposition, look earwardly upon the dance of the proudly dead and decrepit!”

Vymethoxy Redspiders, Leeds 2022

Cosmic Simmering is a very personal new album of unreleased material from Chris Gray on saft. The 13 track album has been composed of previously lost archives, restored DAT tapes and old CDs and it plots the musical evolution of one of house mysic's most underrated artists.

Work on this album started in March 2020 when Chris started digging around in his archives. Some of what he found was sketched in the late 80s, while other tracks were written a few months after Chris moved to Chicago and was living in his uncle's south side attic in early 1993. There are also some cuts from 1995 onwards which have been salvaged from deteriorating DAT tapes after a friend of CHris fixed his player. There is also a selection of early 2000s deep4life material taken from 20-year-old backups on cheap CDs, all brought back to life for this record.

Cosmic Simmering is a beautifully widescreen album that works equally on mind, body and spirit.

Ever dream you're in a spaceship on a never-ending journey to an unknowable destination? That's how Nyles Lannon often thought of life in the early part of the pandemic, when time seemed to stand still, before the vaccines or even knowing when there might be any. But whether that spaceship is a desolate prison or a vessel for escaping to a better world depends on how you use it. With literally nowhere to go, the Film School guitarist and his then-12-year-old son Skye, on drums and modular synths, would jam most evenings in Nyles's home studio, just to have something to focus their minds on and counter the tedium of "remote learning." What started out as a way to keep his talented kid busy became a means to process the anxiety and disorientation of that strange, scary stretch of time. The result is Vanishing, a ten-song album of moody melodies, new wave beats, droney rock, and even an electrogroove instrumental interlude, by the father-son project they named Nyte Skye.

The emotional toll of lockdown, our collective grief, the literal darkness that engulfed the sky thanks to devastating wildfires brought on by climate crisis—these are heavy subjects, but the songs also convey how we managed to keep each other sane, and inspired, through it all. Film School devotees will find plenty to love; so will fans of the Police (Stewart Copeland being one of Skye's major

influences), the Cure, Spiritualized, and Elliott Smith. The album's opener, "Dream State (I'm Vanishing)," is a wistful synth-driven indie gem about disappearing into an alternate universe where worries don't exist. "Doing Time," with its massive washes of 12-string guitar and sophisticated syncopated beat, is a shoegazey meditation on holding onto a child's sanguine outlook in the face of adversity. If dream pop track "Take Me Up Again" is the album's bounciest, its counterpoint is "Faded," whose bittersweet melody and gentle rhythm bely themes of physical and emotional frailty.

Ultimately, not only did working on Vanishing help the duo cope with a uniquely challenging situation, but just being stuck at home helped stoke their creativity. "Music was the only thing I did during the pandemic, besides online school," Skye says. "It gave us all this time we didn't have before to make the album." For Nyles—knowing they might never have that kind of time again—to be able to put out a record with his son is, simply, "a dream come true."

Vanishing was written, recorded, and produced by Nyles Lannon and Skye Lannon and mixed by Dan Long, with additional contributions from Zach Rogue (Rogue Wave), Nichole Kreglow (backup vocals), lyricist Neil Rodenmeyer (Lupa Rosa), and Ian McDonald (FUTRVST).

White Vinyl Edition

Tricky"s first album on his brand new False Idols imprint, launched almost a decade ago in 2013. "I was lost for ages" he says, after a 3 year hiatus since his previous album.

Jah Mason was born in Jamaica's Manchester Parish, and grew up in a Christian family. During his childhood, he was nicknamed Perry Mason for his ability to resolve disputes, and it was under this name that his debut single "Selassie I Call We" was released in 1991 on Junior Reid's JR record label.

Early in his career as a child star during the late 1960s, reggae singing legend Dennis Emmanuel Brown, received the nickname of "boy wonder of Jamaican music." In 1981, reggae fans unanimously ordained Brown with a new title, "Emmanuel, the Crown Prince of Reggae" and the undisputed heir apparent, following the death of reggae "king" Bob Marley. Brown, with his extremely powerful tenor and distinctive singing voice, established himself easily as one of the most impressive reggae artists of the twentieth century. A happy and friendly man, Brown amassed a loving and loyal following throughout his career, and upon his death at the early age of 42, he was widely eulogized for his outgoing personality. He recorded more than 100 records, including over 50 albums, from the time he was in his teens. The world of reggae music lost a "towering talent," noted Billboard magazine, when Brown passed away on July 1, 1999.

For Fans Of... Lady Wray, Lee Fields & the Expressions, Clairo, Thee Sacred Souls, Chicano Batman, Menahan Street Band, Khruangbin. Red vinyl 7” is strictly for Indies only. The female-led discodelic soul band Say She She take you tumbling into the blazing inferno of discovering and dodging infidelity with their latest song 'Trouble'. Co-produced by former Daptone touring stalwarts Michael Buckely (Sharon Jones/ Lee Field) and Vince Chiarito (Charles Bradley, Antibalas) at their analog studio, Hive Mind Recording, in Brooklyn. The track carries a classic sound for an age-old trope of feeling like you've reached the end of a beautiful love affair that's run its course, knowing you're out of time but still susceptible to getting pulled right back into the chaos. The wailing chorus will have you losing your head grappling with weighing up the responsibility of trying to fix a broken relationship and the lure of temptation as you find yourself falling for another. 'Trouble' leaves you engulfed in weaving vocals and gut-wrenching vibrato - caught between lofty desire and rock hard rejection.

For Fans Of... Lady Wray, Lee Fields & the Expressions, Clairo, Thee Sacred Souls, Chicano Batman, Menahan Street Band, Khruangbin. Red vinyl 7” is strictly for Indies only. The female-led discodelic soul band Say She She take you tumbling into the blazing inferno of discovering and dodging infidelity with their latest song 'Trouble'. Co-produced by former Daptone touring stalwarts Michael Buckely (Sharon Jones/ Lee Field) and Vince Chiarito (Charles Bradley, Antibalas) at their analog studio, Hive Mind Recording, in Brooklyn. The track carries a classic sound for an age-old trope of feeling like you've reached the end of a beautiful love affair that's run its course, knowing you're out of time but still susceptible to getting pulled right back into the chaos. The wailing chorus will have you losing your head grappling with weighing up the responsibility of trying to fix a broken relationship and the lure of temptation as you find yourself falling for another. 'Trouble' leaves you engulfed in weaving vocals and gut-wrenching vibrato - caught between lofty desire and rock hard rejection.

Die genreübergreifenden Symphonic-Metal-Pioniere DELAIN sind zurück!

Die niederländischen Symphonic-Metal-Pioniere DELAIN brechen mit ihrem mit Spannung erwarteten, brandneuen Album „Dark Waters“, das am 10. Februar 2023 über Napalm Records erscheint, in neue
Gefilde vor. Die makellose Platte markiert ein bahnbrechendes Kapitel in der Geschichte der Band und präsentiert die Idee des Keyboarders, Gründers und Hauptsongwriters Martijn Westerholt mit einer neuen
Besetzung. Original-Gitarrist Ronald Landa und Original-Schlagzeuger Sander Zoer stoßen wieder zu DELAIN und stärken die Kontinuität, während neue Mitglieder – die großartige Sängerin Diana Leah und der Bassist Ludovico Cioffi – ihren Sound weiterentwickeln. Dark Waters folgt dem Chartstürmer Apocalypse & Chill (2020) und integriert die raffiniertesten Sounds des Genres. DELAIN's renommierte Orchesterarrangements, hervorgehoben durch moderne Schattierungen, setzen neue Maßstäbe und manifestieren den Fünfer an der Spitze der Szene. Eine klangliche Achterbahnfahrt aus eingängigen Melodien mit explosiven Elementen – von Pop über Filmmusik bis hin zu glühendem Metal – verschmilzt perfekt mit Dianas fantastischer Stimme und zeigt ihr unglaubliches Talent und ihre musikalische Raffinesse.

Als brandneuer Anfang und sicherer Hafen gleichermaßen, setzt ”Dark Waters” zweifellos das Vermächtnis dieser millionenfach gestreamten führenden Symphonic-Metal-Band fort und enthält alles, wofür DELAIN geliebt wird, und noch mehr.

“Baile en el Infierno” & “Villa Incepciòn” are the new singles from Bogota-based cumbia band Conjunto Media Luna. Directed by accordionist and producer Ivan Medellin, Conjunto Media Luna makes a sound shift towards fresher and more street sounds influenced by the Sonideros from Monterrey, and the Chicano movement of the Low Rider Kumbias from California. However, Conjunto Media Luna still sticks to their roots by homaging the original format of the traditional Cumbia Sabanera from the Montes de Maria region of Colombia and including accordion licks that remind of Andres Landero’s style.
Edition of 500 copies, coming in a plastic sleeve including artwork printed cardboard.
Pressed on high quality Black vinyl wax (40 gr.).

Magenta Vinyl

“Baile en el Infierno” & “Villa Incepciòn” are the new singles from Bogota-based cumbia band Conjunto Media Luna. Directed by accordionist and producer Ivan Medellin, Conjunto Media Luna makes a sound shift towards fresher and more street sounds influenced by the Sonideros from Monterrey, and the Chicano movement of the Low Rider Kumbias from California. However, Conjunto Media Luna still sticks to their roots by homaging the original format of the traditional Cumbia Sabanera from the Montes de Maria region of Colombia and including accordion licks that remind of Andres Landero’s style.
Edition of 500 copies, coming in a plastic sleeve including artwork printed cardboard.
Pressed on high quality Black vinyl wax (40 gr.).

Called a "slow-burning vocal-house juggernaut," and an "invigorating artist's artist," BRANDON has put together a collection of tracks featuring some of the genre's best producers, such as Chicago scene founders DERRICK CARTER & ANTHONY NICHOLSON.

Pauline Marx, formerly of the fantastic duo La Fureur de Vouivre, seems like a being from another time and place; namely, an escaped marauder lurking in the forests of a Bruegel painting and integrating the surreal flora and fauna of a Boschian creation into the scenery and lore of deep Brittany. Her invented mythology is loaded with murky rituals and contorted mantras, backed by the surprising sounds and textures of terrains so earthly and so unreal.

The Devil at the Crossroads

Where do you think you come from? Where do you think you're going? Lasciate ogni speranza, voi ch’entrate: you, with the noodle to the four winds, who pass the threshold of this disc, you better leave all hope there, and glide in the poisonous footstep of the devil your guide.

Where do you think you come from? The mountain is no longer just the mountain; after your passage, it will no longer even be a mountain. Like the whole landscape, it will have been eaten, sauced by invisible leeches. Your nostalgia for the ground and your thirst to find the source will have only discovered a forest of vain words and foul water. Where do you think you're going? At the crossroads, the world is consumed in the previous future. Only the devil will know how to make you overcome the disgust of traditions, and only the love for the devil will give you enough vim to reach your goal: a village, perhaps, but which belongs to no one, a haven to your excessiveness .

The dark tradition to which this game of ternary trampling belongs, like the rhythm of a heart in tune with the inverted world, has no country and no assigned time. Rather a topology of Eve awakened after a thousand-year sleep, an idiosyncratic and possessed reading of our common humus, made up of stories composted in the limbo of the past, of songs captured in extremis vitae and rebus in the privatized antechambers of death.

What does she tell us about? Of our automobile and in love roamings, of the porosity of the membranes that separate beings and things, of the constant inversion of signs. The seventeen stages of this short journey, where intertwine the throbbing of objects, blown horns and rubbed horsehair, form the map of a country never to be found, ours, where only the voice of an old child and the disgusting devil's poisonous charm can guide us.

The gang that make up Utlandet aren't strangers to exotic rhythms and untamed saxophones. They have been playing parties and filling clubs around Norway for years, and are now readying the concept album Grandfather of Yucca, due in 2023 on Jansen Records. Having a yucca plant on the windowsill can’t replace traveling to an exciting destination. But still, it allows you to dream, and to wonder how things might be out there in the unknown. That alone is reason enough for Utlandet to pay tribute to this modest, sun-loving and exotic plant that through the ages has learnt to live with us northerners. Utlandet – the Norwegian word for ‘abroad’ – is a result of a surplus of energy emerging from a collective depression, where learning to appreciate the smaller things became a necessity for self-preservation. As crossing borders became a distant dream, the band members met for weekly rehearsals to – at least musically and mentally – reach new destinations. Accompanied by some good brew, Utlandet tore away from everyday life by creating music from a world filled with voodoo, deserts and tropical heat. The instrumental ensemble discovered how rewarding it was to be working with melodic structures without having to put words to them and that they preferred an off-key sax to off-key vocals. Adding words to music can limit were the music takes you, as it often becomes more specific, but melody alone has no boundaries and can transport you to any galaxy. So just let go, close your eyes, and go where the groove and melody takes you.

The pioneer of electric pop music, Giorgio Moroder (born April 26, 1940 in Ortisei, Italy) is an internationally acclaimed songwriter and producer who left his trace also in Finnish popular music. Several Moroder’s compositions and productions were released in Finland with Finnish lyrics in the 1970s and 1980s, when Moroder had his most creative peak. This compilation includes twelve Finnish Moroder covers from early bubblegum pop to electronic disco. Giorgio Moroder began his musical career as a singer. He gained success performing bubblegum pop in the late 1960s. He wrote some of his hits himself, but he also sang songs written by others. During his singer years he succeeded with songs Looky Looky (1969) and Son of My Father (1971). The latter became well known also in Finland, where it was covered by one of the most famous Finnish singers in 1960s and early 1970s, Ilkka Lipsanen alias Danny. The song found its way to Finland via Britain, where British band Chicory Tip had covered it first and made it to the charts with the song. Danny was not the only Finnish singer in the early 1970s who looked at Moroder’s repertoire when searching for good songs. Koivistolaiset was a singing and dancing duo of sisters Anja and Anneli Koivisto who were well-known celebrities in 1970s Finland. They released Moroder’s composition Good Grief Christina as On siitä aikaa in 1973. This song was also discovered from Chicory Tip’s repertoire. Cheerful and danceable bubblegum pop was an early 1970s phenomenon and in Finland it was the most popular music played in discos during those years.

Just over a decade on from the launch of Leng Records, the Simon Purnell/Paul ‘Mudd’ Murphy-helmed label is set to release its’ 50th 12” single. Fittingly, it’s the first of a series of sampler EPs that form part of the imprint’s belated 10th anniversary celebrations.

Later in 2020, label fans will be treated to a celebratory compilation featuring a mixture of Leng classics, overlooked favourites and previously unheard material. Some of this music will also be released on a series of vinyl EPs, with this first volume focusing on unreleased material from long-time friends of the family Q&A and Lex.

Q&A is a collaboration between Phenomenal Handclap Band founding member,
Quinn Luke, and long-time friend and musical associate Alexis Georgopoulos, formerly of San Francisco dub disco/punk funk heroes Tussle. The pair worked together extensively at the tail end of the 2000s, but only ever released one single: 2009’s “Tumbling Cubes/Trap Door” on celebrated NYC label DFA.

The two tracks showcased on this Leng Records sampler were recorded during the same period as that celebrated single but are only now seeing the light of day. “Revolving Mirrors” is a typically low-slung and percussive affair that sees Luke and Georgopoulos wrap bubbly electronic melodies and glassy-eyed aural textures around a suitably weighty dub disco groove. In contrast, “Pulse” is a deliciously hypnotic, mind-altering affair: a bona-fide late night throb-job in which trippy electronic motifs, chiming melodies and crunchy Clavinet riffs vibrate attractively atop another killer punk-funk bassline and locked-in drums.

Funkadelic’s eleventh studio LP, released in 1979, was more militant in tone than its predecessor 'One Nation Under A Groove' which described a Funk utopia. In contrast, ‘Uncle Jam Wants You’ stated mandate was to “rescue dance music from the blahs”. The album features a 15-minute version of what was to become the Funkadelic’s last hit single ‘(Not Just) Knee Deep’, an edited version of which made no.1 in the US R&B chart. This was Funkadelic’s first album since 1972 not to feature a cover design by artist Pedro Bell (although he did contribute the interior design). A reference to the “Uncle Sam Wants You!” US Army recruitment poster, the sleeve depicts George Clinton aka Dr Funkenstein in a Huey Newton Black Panthers pose. ‘Uncle Jam Wants You’ and Funkadelic-Parliament had a huge influence on Prince, The Red Hot Chilli Peppers, Bill Laswell, Tupac Shakar, De La Soul and many more across all musical genres. George Clinton’s genius Funk & Style will continue to be an influence for many more years to come... FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Those lockdown silver linings continue to reveal themselves when we least expect it... As proved, once again, by the inimitable Amsterdam techno HQ Deeptrax as they present this stunning analog exploration from scene stalwart Mark Peeters AKA Caim.? Inspired, created and sculpted during those strange times when none of us could rave, Caim simply describes the moment by saying the 'clubs were closed, but creativity kept on floating'... Now that floatation is bequeathed to us through these warm, rolling and wide-armed frequencies. Tapping into a spirit that goes right back to Detroit and Chicago, there's an understated groovemanship at play as Calm jams out on the same instruments house and techno forefathers used to sculpt this culture.? Music to get lost inside of, music to take away the stresses of the day, music that's a joy to mix, weave and tell stories with... Caim has created another timeless collection of grooves that could resonate with or relate to any period in the last 35 years of dance music culture.? From the warm, opening rumbles of 'Nepi' to closing rippling dubwise echoes of 'Kapura', very few stones are left unturned as Caim tells a tale of the ages that we can all float to. Here's to silver linings. ?

Repress!

Tarenah was one of only two singles pressed under the nom de plume of Psychedelic Research Lab - a collaboration between Scott Richmond and John Selway which began while the pair were attending music conservatory at SUNY Purchase College, in upstate New York. Scott produced the first version of the track for a modern dance performance in 1993. A mix of electronics and room full of live musicians, the session featured an afro-cuban percussionist, a Bangladeshi vocalist / tabla player, a classical flautist, and a reggae guitarist, with Scott on keys and engineering, and John on multiple TB-303s. The duo played the piece to a pal, who said, “Listening to your music is like being in a psychedelic research lab” and the moniker was born. DJ Jonathan Kadish, the chill out resident at pioneering NYC rave, NASA, championed the track and subsequently commissioned four remixes for his label, Gyroscopic Recordings.

The tune has been elevated to legendary status in certain circles - due to it being a firm favourite of “The Godfather Of Chill-out”, the late DJ Jose Padilla. Jose at this time had a penchant for “ambient breaks / breakbeats” - seminal stuff like the work of San Francisco's Hardkiss crew and other Bay Area artists. According to close friend Phil Mison, drawn to the Chill Mix, Jose Padilla played and played Tarenah at Ibiza`s Cafe del Mar. It was a daily constant in Jose`s sets for several seasons, and he eventually included the track on the second volume of his essential compilation series honouring said White Isle shrine - put together in the mid-90s for the label React. Sealing the tune`s fate and making Tarenah forever synonymous with Jose and the golden, halcyon, San Antonio, Cala Des Moro, sunsets he soundtracked.

The 3rd Floor Mix, named after the location of the SUNY Purchase studio, is tribally-tinged uplifting progressive house - taking its cues from the contemporary Dutch imprints, Fresh Fruit and Touche. John Selway’s Remix (titled “Spy’s Sub Mix” on the original pressing) strips the track back to a cool, more minimal, jack - heavily influenced by the “bleep” sound of Sheffield`s Warp Records. The Sleepwalker Mix is beatless. Tailored from twisting, intertwining, 303 drones.

Following Tarenah, Scott and John continued devoting their life to dance music. Scott went behind the scenes, founding - alongside Jonathan Kadish - the famous Satellite Records dance music record store chain. He also ran the house and trance labels, Central Park and Pitch Black. In recent years, Scott has worked in artist management, and within the global music festival scene, primarily with Vh1 Supersonic and Ticket Fairy India, which has taken him to Mumbai, Goa, and Pune. John has had an amazingly prolific electronic music career, building a vast, and varied catalogue of productions - both solo, and through collaboration. From Disintegrator and working on Deep Dish`s debut single, to Smith & Selway and The Rancho Relaxo Allstars. Along the way finding the time to run labels such as Serotonin and CSM. Currently John is teaching and mentoring the next generation of electronic music artists at 343 Labs music school, while still producing forward-thinking techno and electro.

This is the first time Tarenah has been reissued in full on vinyl, and Midnight Drive are very proud to present this sublime underground classic once more. Reissued in full conjunction with John Selway and Scott Richmond, remastered by Curvepusher, London and distributed worldwide by Above Board distribution 2022.

Maceo Plex's Lone Romantic label signs up new school techno innovators Any Act for the powerful Deti Techno EP.

Since their self-released protest EP ‘Civil Act’, Yaroslavl-based collective Any Act have put out music that is physically, socially and politically powerful. That debut from the TRAM Planet Records associates was an evocative offering that paired dynamic guitar riffs with samples of a policeman's voice and acid-laced basslines. They now continue their mission to unite and strengthen young music communities in their native Russia, as well as around the world, with this new standout release.

The bristling title track opens up with a killer electro-techno groove. Distorted synth stabs and dark vocal samples make for an intense and edgy atmosphere that will fire up any club. 'Jug A Jug' is another visceral track with razor-sharp synths ripping up the groove as busted bass blasts down low. Add in angular riffs and booming kicks and you have an explosive techno rave-up.

The excellent 'Bayla' is another no-frills, lo-fi, high-impact banger with thumping drums and brain-frying synth textures that are all coated in grit and grime. 'Till I Die' shows a different side with its sleazy feel and ghetto bass. A freaky female vocal and pixelated melodies bring late-night rave vibes before closer 'Chin Chin De' takes off on rugged electro drum programming. It's an explosive cut with raw attitude and unbound energy that places you at the heart of a strobe-lit warehouse.

This is a direct and potent EP from the hotly tipped Any Act.

Parisian DJ, producer and emerging fashion icon Kiddy Smile embodies the lifeblood of house music past and present. His music flashes with nostalgia for those mid-80s New York basements where house music first came alive. 'Teardrops In The Box' pulses with the intoxicating energy of a Ball in Kiddy's native Paris, with its deep-rooted traditions but its intensely forward-focussing culture.
Following up on his fearsome debut 'Let A B!tch Know' on Defected, Kiddy Smile has deployed the well-established remixing capabilities of Mystic Bill, a house champion from the underground schools of Detroit and Chicago. His 'Jersey Dub' eases back on the tempo for a syncopated strut to The Garden State, while the 'Vocal Mix' is a bulkier prospect, emphasising Kiddy's growling vocal with some serious attitude bass. Finally, his vinyl-exclusive 'Acid Mix' is specifically designed for getting twisted on dark, underground floors. Cowbell and raw synths give 'Teardrops In The Box' unadulterated dancefloor credentials but this is more than a club record; the layers to this track run deep.

The Men collection is back with a new double vinyl dedicated to the greatest voices of the Blues including the man who inspired Elvis Presley, BB King.

Tasteful double album with outstanding female singers. When it comes to vocal art alone, the jazz world is firmly in the hands of women. Just think of Billie Holiday, Ella Fitzgerald or Nina Simone. But singers of younger days, such as Sarah Vaughan or Diana Krall, are no less impressive with their enchanting voices. Reason enough for the French label Wagram to unite the most renowned female singers of the last decades on a double album.

For Fans of Aasha Puthli, Grace Jones, Minnie Ripperton, The Supremes, Love Apple, Liquid Liquid, ESG. Say She She's debut 45 features "Forget Me Not," an homage to New York City's Guerilla Girls and to all the women's rights and protest movements who have paved the way for change. Doused in the funkiest rhythm section and bursting at the seams with harmonies, the song is a psychedelic siren's call to disrupt and dismantle male dominated spaces. "Blow My Mind" is the fiery and seductive B-side. A song about returning to reignite the fire of a former flame you still carry the torch for - even after all these years. The impassioned and sultry cries "Mayday in my heyday, crying out for you to save me!" teeter between youthful yearning and blazing independence. Let the dreamscape bridges guide you to climactic hindi riffs, accented with operatic cries that will lift you yonder.

Landing on Cosmocities right on cue for the summer season ahead, Japanese producer Masumi Nishimura alias Inner Science deals out a new entry into his shimmering, shape-shifting mindset. Flying us off to a soothingly dreamy and colourful headspace, bristling with vibrant sound design minutiae to wrap your ears around, Inner Science exhibits the elevating power of his music through three original joints, complemented by two exquisite remixes from multi-faceted British genius Joe Goddard and Giegling staple, Map.ache. The acid-infused glitter of “Unfold” paves the way with understated bravura; a piece of squelchy yet dazzling nature, organically making the rounds between propulsive club music territories and exotica-laced cascades of sound. “Quiet Track 3” follows a similar course with its phantasmagoric landslides of chimey melodies and driving bass traction on stealth mode, all scudding and mingling with haiku-esque spiritual balance, while “Never Fade Away” blows the winds of poetic transcendence through a finely engineered mix of forward-racing groove and a honey-dripping, rainbow-like shower of elementally lush textures and envelopes.

Flip it over and here’s Joe Goddard taking “End of the Beginning" for a slower, slightly less sign-busy jaunt across sun-soaked clearings and pastures. Laying further focus and emphasis on the synth work and build-up here, Goddard channels Inner Science's many facets and wildland-like exuberance through a more directed, further orchestrated pathway. Tackling “Momentary Spread”, map.ache treats us to a further dynamic, floor-friendly approach, routing its listener onto proper functional, gridlocked tracks. Bleached-out pads evaporating into aether as the bass etches into your mind with durable effect, it’s a proper oneiric roller that engulfs you down its gushing throat of faded escapism and brittle, post-discoid melancholy

Scene Unseen return with their second release, following the debut release from Jinjé and this time we see a release from a pioneer in the Chilean electronic music and Hip-Hop scenes, DJ Raff.

Having released more recently on the label Big in Japan (the previous label from the Scene Unseen camp), with his beautiful Resistancia EP, the label were keen to welcome him back onboard for the new project.

Raff’s routes were originally in the Hip-Hop scene back in his native, Chile. His influence of this scene cannot be understated, as his name appeared in the credits of over 50 Hip-Hop releases coming out of the country. Most notably with Anna Tijoux and Makiza, as well as seeing his own track ‘Latino & Proud’ used in the EA Sports game, FIFA 2012 and then later as the theme music for the Comedy Central show, Broad City.

As time moved on, so did Raff’s sound and he started to move into more of an instrumental focus, moving away from any vocals and the Hip-Hop rhythms. Since then he has released on Mutante Discos, Nacional Records, Wonderwheel Recordings and his own Pirotecnia label, among others. As well as remixing for the mighty Dengue Dengue Dengue, Landikhan and more.

DJ Raff has played events like Sonar Barcelona, Mutek.ES, Lollapalooza (US, Argentina, Chile), RBMA Mexico and Red Bull also invited him to mentor at the 2015 RBMA Bass Camp academy in Chile. His last album 'Movimiento' was released in 2017 on Nacional records and earnt him a nomination for best electronic music artist at the Pulsar awards in Chile.

Raff’s new EP for Scene Unseen, Estado Líquido, is an EP of true beauty once again, showcasing four tracks that combine his signature Latin American vibes with his hip-hop influences.

The title track opens the EP with the calm samples and inspiration from the sound of the ocean, an emotive nod to the people attempting to travel from Africa to Europe over the years and the struggles they have faced.

“Basta” translates to “Enough” in Spanish, this track is inspired by the large-scale protests in Chile back in 2019 and lasting until March 2020. An electronic hip-hop beat alongside a constant synth arpeggio that was something more common to his early productions. Casualidad is a reference to a more personal stage of Raff’s life, with soft, bright, and uplifting melodies flowing between more fine percussive works.

Final track, Ceremonia, combines percussive African rhythms with melancholic Synth leads and pads, alongside a deep solid bass line and repetitive chants. The repetitive chants and percussions hold together the opposite worlds of happy festive rhythms and nostalgic melodies, taking the song to a place where both feelings combine in harmony.

Artwork is made by DMNC (Francisco Meneses) a designer, art director and VJ from Santiago de Chile. Previous work is linked to 3D animation and he actively collaborates with various electronic music projects across Latin America.

Paketo Wilson's Praise Him is a cult roots album that is hard to find on the seance hand market. When you do, it will cost you a small fortune, so this reissue will be music to the ears of fans old and new. He proved it back in 1982 with Trevor Davis under the Child of God label in just one day. It has hints of lovers' rock over the nice reggae rhythms with vocals that touch on classic themes of peace, love and unity, the trials of ghetto life and losing those close. Bobby Ellis and Headley Bennett bring mystical horns to most tunes and help make them all the more spiritual. This is positive and heartwarming reggae from a top songwriter.

The greatest hits of Nile Rodgers & Chic live at Paradiso on double vinyl. Includes the worldwide classic titles Everybody Dance, I Want Your Love, Upside Down, We Are Family, Le Freak, Good Times and many others. As always with Chic, the sound is excellent and music is just perfect!

Get back to the rich musical universe of Daft Punk with this album dedicated to the legendary duo. Rediscover their best hits with versions interpreted by :Chilly Gonzales, Christian Prommer, The Dø, Señor Coconut, Chamberlain, Kid Loco, Soulwax and many more…

For this uniquely personal retrospective spread over twelve vinyl discs, Sven Väth takes us back to the early days of his DJ career. On What I Used To Play we meet great pioneers of electronic music, gifted percussionists, obscure wave bands, and innovative producers of a bygone 'new electronic' era. Rough beats and irresistible grooves from the identification stage of house, techno, and acid remind us not just how far electronic music has evolved over the past four decades, but how great it was to dance to EBM, techno, and house for the very first time.

If there is one protagonist of the electronic music scene who has remained curious, innovative and at the very cutting edge of music for over four decades, it's Sven Väth. His multi-layered artist albums and Sound of the Season mix compilations have been defining the genre for over two decades, and even today, he is constantly on the lookout for the next top tune to add to the highlights of his next set. At least, that's the case when he's not producing them himself as an artist or remixer. "Actually, it's always been part of my DNA to think ahead," and nothing had been further from his mind than looking back at his past, but when in spring of 2020 the international DJ circuit had to be scaled down to virtually zero, the 'restless traveler' suddenly had time. Time to stop and reflect on "how it actually was back then, at the very beginning of my career..."

"It was a great trip and with every track, beautiful memories came flooding back".
In the London apartment, he had just moved into, Sven has set up a "little music room", where he cocooned himself for several days, "to look way back for the first time and review my musical journey through the eighties, so to speak."

The interim result was six thematically oriented playlists with a grand total of 120 tracks from 'early 80s' to 'Balearic late 80s', together with excursions into afrobeat, European new wave, and EBM sounds and a few epochal techno/house tracks from the USA in between. From these 'Best of Sven Väth's favorites', the project What I Used To Play crystallized. Sven remembers how the Cocoon team reacted to his proposal: "They found the idea of making a compilation out of it MEGA from the beginning and everyone said 'Sven, go for it', but then, of course, the work really started, namely, to clear the rights and to get clean sounding masters of the up to 40-year-old tracks. There was also disappointment, of course. We couldn't clear certain titles because the rights holders in the USA had fallen out with each other or simply disappeared from the scene. In short, it wasn't easy, but now I can safely say we got the most important tracks."

Finally, after two years of research, curation, design, and administrative fine-tuning, the "little retrospective" from 1981 to 1990 is available. The exquisitely packaged, and three-kilo heavy box set is not only physically impressive, WIUTP is also the definitive record of Sven Väth's musical development. On each of the twenty-four sides of vinyl, you can trace track by track, what influenced him during which phase, and how he took off as a DJ from his parents' Queen's Pub straight into the spotlight at Dorian Gray. There and at Vogue (later OMEN), Sven became the style-defining player in the DJ booth that he still is today.




1981 - 1990: Future Sounds of Now

In the early eighties, the crowd in clubs like Vogue and Dorian Gray danced to what nowadays we call 'dance classics' - mainly disco, funk, soul, and chart pop. It was up to a new generation of DJs, including Sven Väth, the youngest protagonist in the Rhine-Main area at the time, to create their own club-ready music mix. Good new tracks and potential floor-fillers were rarities that had to be sought out and found, in order to prove oneself worthy.
Without MP3s, internet streaming, or other digital download possibilities, music didn't just gravitate to the DJ, instead, it had to be tracked down. In well-stocked record stores in Frankfurt and Wiesbaden or even in Amsterdam, London, or New York, Sven and friends sourced the material for countless magical nights. On WIUTP we can follow Sven's very personal journey through this wild, innovative era in which synth-pop, funk, hip-hop, and disco were successively replaced as 'club music' by house, techno, acid, and breakbeat. By the end of the decade, it was clear to see that these once exotic 'fringe' phenomena would soon become 'mass' phenomena.



Early 80s

Dirty Talk by the Italian-American duo Klein & M.B.O. represents the most innovative phase of the Italo-disco genre in the early eighties like no other track. Mario Boncaldo (I) and Tony Carrasco relied entirely on the original synthetic drum and percussion sounds of the Roland TR-808, coupled with the raunchy vocals of Rossana Casale and guitar accents of Davide Piatto. Of course, other tracks from this period were also influential in style, most notably Unit by Logic System, which worked as the perfect soundtrack to the laser lighting system at the legendary Dorian Gray club. With stomping beats and robotic rap interludes, Bostich by Yello also belongs on Sven's eternal playlist - after all, it caught the attention of Afrikaa Bambaataa, who invited the Swiss duo to perform at the Roxy in New York in 1983.



EBM Wave - Mid 80s

From today's point of view, the almost ten-minute-long, downtempo track Giant by Matt Johnson's band project The The, would probably not be considered an obvious club classic. However, a closer (re)listen reveals the rhythmic intricacies of the percussion overdubs by JG Thirlwell (aka Foetus) on Johnson's composition, and it becomes clear why this exceptional piece of music is one of Sven's absolute favorites. Other classics from this phase include Kaw-Liga by the mysterious The Residents, the hypnotic-synthetic Our Darkness by Anne Clark (and David Harrow), and last but not least, the somber, monotonous anthem Where Are You? by 16Bit, one of Sven Väth's projects together with Michael Münzing, Luca Anzilotti from 1986.



US House - Late 80s

You certainly can't talk about Chicago house without mentioning Frankie Knuckles. The resident DJ at the Warehouse not only gave the name to an entire genre, but also produced epochal floor fillers on the Trax label like the timeless Your Love, sung (and moaned) by Jamie Principle. Acid house protagonists Phuture also hail from Chicago, and on We Are Phuture (also released on Trax) we hear the chirping acid sounds of the legendary Roland TB-303 in full effect. Another featured classic is No UFO's by Detroit's Model 500 aka Juan Atkins, who is rightly considered the 'Godfather of Techno' even if the genre-defining track from 1985 still breathes with the spirit of hip-hop and electro from the first breakdance era.





Afrobeat

Le Serpent, by Algerian-born Abdelmadjid Guemguem, is a track that sounds completely different from everything else on WIUTP. Made in 1978, it's a monumental, rousing groove created without bass or synths, just with five congas! Even though Guem sadly passed away in 2021, his immortal, acoustic beats are understood all over the world and will continue to enrich many thousands of DJ sets for years to come. Another classic that not only Sven appreciates beyond measure is Hugh Masekela's Don't Go Lose it, Baby. In addition to being one of the most important jazz pioneers, the trumpeter and freedom fighter from Johannesburg was very experimental, integrating electronic sounds into his music in later years, in a similar vein to Miles Davis and Herbie Hancock. Dutch jazz pianist Jasper van't Hof's afrobeat project Pili Pili has also aged well. The trance-like, almost sixteen-minute-long track of the same name, manages to fill a whole side on the seventh of twelve vinyl discs in the WIUTP box.



UK-US-Euro - Late 80s

Time for a change of scene, in the truest sense of the word, and from a musical perspective, this section is like landing on another planet. First up is Andrew Weatherall's classic remix of Primal Scream's Loaded, featuring the iconic Peter Fonda sample (lifted from the 1966 biker film Wild Angels) that came to personify the mood triggered by the British Second Summer of Love in the late eighties: "We wanna be free to do what we wanna do, and we wanna get loaded...". This period also saw the emergence of M/A/R/R/S whose only single, 1987's Pump Up The Volume, became a club classic with support from DJ legend CJ Mackintosh. In this most eclectic of sections, we also encounter New York house and reggae producer Bobby Konders and his seminal Nervous Acid.



Balearic - Late 80s

Those who know him, know that Sven had already lost his heart to the 'magic island' of Ibiza as a teenager, so with that in mind, the WIUTP project couldn't end without a Balearic chapter. Inspired by Manuel Göttsching's E2-E4, the immortal, eponymously titled Sueño Latino belongs in there without question. Equally popular on the island was, and still is Break 4 Love by Raze, which thinking about it, would also fit perfectly into the house chapter. Last, but not least, there's an overdue reunion with Sven Väth himself, in his role as frontman of the successful Frankfurt trio OFF. Together with Michael Münzing and Luca Anzilotti (later of Snap!) this 'Organization For Fun' created the off-the-wall club hit Electric Salsa in 1986 which incidentally turned into an international chart smash, putting Sven in the enviable position of having to decide between pop stardom and a DJ career. Well, we all know how that decision turned out and the rest, as they say, is history. A not insignificant part of his story is What I Used To Play. Enjoy!

Der Soundtrack zum packenden Dokumentarfilm ”Billie” (Kinostart 24.12) , der mit seltenem Archivmaterial und Interviews das dramatische Leben von Billie Holiday nacherzählt.
”Billie” entstand unter der Regie von James Erskine, auf dessen Konto unter anderem die Emmy-nominierte BBC-Dokumentation ”The Human Face” geht. ”Billie” erkundet Leben und die Karriere der legendären Sängerin auf der Basis von rarem Filmmaterial (zum Teil erstmals koloriert) und Interviews mit Künstlerkollegen wie Charles Mingus, Tony Bennett und Count Basie, sowie mit Holiday’s Stiefeltern, Lebenspartnern, Schulfreunden, Gefängniskameraden, Anwälten und sogar den FBI-Agenten, die sie einmal verhaftet haben.
”Billie” kommt in Deutschland am 24. Dezember ins Kino, bereits am 13. November erscheint das Soundtrack-Album, das die wichtigsten und schönsten Songs aus dem Werk Billie Holidays versammelt.

Waxwork Records is proud to present the Us Original Motion Picture Soundtrack featuring a score by composer Michael Abels. Us, released in March 2019, is an original nightmare written, directed and produced by Academy Awardr-winning visionary Jordan Peele (Get Out). Set in present day Santa Cruz on the iconic Northern California coastline, the film, starring Oscarr winner Lupita Nyong'o and Black Panther's Winston Duke, pits an ordinary American family against a terrifying and uncanny opponent: doppelgängers of themselves. A blockbuster that earned raves from critics and audiences alike, Us earned more than $250 million at the worldwide box office to become one the highest grossing R-rated horror films of all time, buoyed by an unexpected and innovative soundtrack and by a groundbreaking, terrifying original score by Abels. Us marks the second collaboration between composer Abels and Peele, who first worked together on Peele's 2017 Oscar-winning horror film, Get Out. For the Us score, Abels explored themes of duality and discord. "Sonically, what defines 'scary' is the unfamiliar," Abels says. "It is the things that we can't place, and that we don't expect, that take us to that place of fear. We wanted to really strike terror into the audience." Central to the score was the opening track, an anthem for the doppelgängers, known in the film as The Tethered. Abels hit on the idea of using choral elements. "Jordan really loves the sounds of voices, and the human voice is an incredibly expressive instrument that anyone can relate to," Abels says. "The anthem sounds a little like a march of people preparing for battle, like an uprising maybe, but the sounds are not in a recognizable language. In other parts of the film there are vocal effects, just these strange sounds. They're designed to really freak people out." Abels featured a 30 person choir, a third of them children, in the "Anthem," and implemented Eastern European instruments, violins, percussion and a virtual instrument called a Propanium drum. "It makes this trashy metal sound, but you can also play melodies on it," Abels said. "The Propanium drum has a sound that's both otherworldly but not electronic or like science fiction. It's a sound you can't quite put your finger on, which is why it works well in this film." Also included on the soundtrack is the 1995 hip-hop hit "I Got 5 On It" by Luniz and the stand-out track "I Like That" by Janelle Monáe. Abels also helped with a new arrangement of the Luniz hit, which is featured on the soundtrack as the 'Tethered Mix from Us'.



































[xi] 35 I GOT 5 ON IT (FEAT. MICHAEL MARSHALL) [TETHERED MIX FROM US] - LUNIZ

On the 25th release of their label Restoration (after 15 years of its foundation), the original trippy “Someone Else” comes with a mesmerising chicagoic heavy shuffled remix by dj Fett Burger.
On the B side, the sophisticated beats and the classy arpeggios layered over the gloomy “Amazon Crime” comes together with the first track produced by Francesco del Garda and The Analogue Cops’;
“Good Breath” (edited by Del Garda) is the state of the art of years spent behind the decks looking for the perfect combination of garage bass lines, eccentric beats and esoteric pads.

Yellow Vinyl
Over their six albums The Go! Team have taken sonic day trips to other lands - musically dipping into other cultures. But now on this, their seventh - they"ve bought a round-the-world ticket.... Benin, Japan, France, India, Texas and Detroit - all stops along the way. Wildly different voices from wildly different cultures side by side but all still sounding unmistakably Go! Team. Setting the course for a kaleidoscopic, cable access, channel hop. On the vocal roll call there"s Star Feminine Band, an all-girl group from West Africa, the Indian Bollywood playback singer Neha Hatwar, Kokubo Chisato from J-Pop indie band Lucie Too, 19 year-old Detroit rapper IndigoYaj, Hilarie Bratset (ex-Apples in Stereo), Brooklyn rapper Nitty Scott, and a whole host of others, alongside Go! Team staple Ninja. Picking up from 2021"s "Get Up Sequences Part One", Part Two continues the feeling of Technicolour overload. It"s a journey spanning Cyclone Tracey wig-outs, chroma key sitar psychedelia, Casiotone anthems, spoken word melodrama and kalimba callouts. Brill building melodies lead into musical handbrake turns, four track into panoramic. Eighteen years after their debut LP The Go! Team are still unlike anyone else and on "Get Up Sequences Part Two" they sound as fresh as a club soda....