Suche:club

Sasha introduces LUZoSCURA, a new compilation that hasevolved from the thriving eponymous playlist. Featuring adiverse package of original works from a host of fresh talent, aswell as established artists and Sasha himself, it traverse selectronica, ambient, breaks and techno. Meaning light and dark, LUZoSCURA began on Spotify as a stash of tracks sent to Sasha which didn't meet the pace of his clubsets nor suit his venerated label LNOE, LUZoSCURA came into itsown through 2020 as Sasha gravitated toward more mellowed sounds while being off the road, and clubbers diverted their ears to home listening. Gaining a renewed source of energy inconnecting with more gifted, budding producers and seeing the project blossom, the idea for the compilation came off the back of doing a live stream solely featuring tracks from the playlist. Meticulously compiled to flow like a DJ mix for home listening, Sasha kicks it off with the buoyant, breaks-influenced 'Corner Shop', the first of his three tracks on the compilation. MJ Cole is among the established artists to feature with blissed out track 'Maestro', while The Micronaut, a multi-instrumentalist whose back catalogue was a favourite of Sasha's through lockdown, offers an immersive trip in 'Koelsa'. Lau.ra, lead singer from British experimental rock band Ultraísta, evokes a sense of spiritedness in 'I'll Wait' before we hear again from Sasha with another breaks-loaded trip in 'HNDI' and a collaboration withB ritish producer Franky Wah. Closing the odyssey with a stirring, expansive soundscape is synth duo Felsmann + Tiley.

After more than a decade at the forefront of the global club music scene withseveral celebrated albums and EPs under their belt, Peruvian duo DengueDengue Dengue's seminal 2014 Enchufada EP 'Serpiente Dorada' is still oneof the most impactful of their exciting career. Capturing the vitality of theirearly genre-defining work, where the traditional and hypnotic rhythms ofcumbia were modernised through a collage of electronic music styles,'Serpiente Dorada' is still at the top of their most played music on streamingplatforms to this day, and has motivated their fanbase to continuouslydemand a physical edition since its initial digital release. The wait is finallyover as in 2021, just as the band completed 10 years of activity, we arepressing a beautiful 12'' vinyl edition in black and gold colours, freshlyremastered for vinyl to give this essential release the quality it deserves. 'Serpiente Dorada' remains an absolutely infectious and colourful mixture ofglobal sounds, where genres and styles are used as a starting point on theirongoing hybrid exploration of the interaction between traditional LatinAmerican music and modern electronic music, where the total is much morethan the sum of its parts.

ave you ever been trippin' on Brandy? Well here's your chance to get down... deep down. Served by two kings in the industry who wish to remain unnamed.
Dropping the octaves and upping the opiates, the duo slow dance an R'n'B vocal through dewy pads and echoing perx, concocting a late night anthem for the club and the bedroom.

Heavenly Recordings announce the debut solo album from
acclaimed Bay Area multi-instrumentalist, producer and
composer Dougie Stu.
Dougie grew up outside of Chicago and his early education
began in jazz clubs and festivals as a teenager - frequenting
sessions with Jeff Parker, Fred Anderson, Nicole Mitchell and
other members of the AACM. Left exceedingly inspired, he
continued on to the University of Michigan, studying bass
under Detroit jazz royalty Robert Hurst and Geri Allen, where
he deepened his practice in Jazz and Contemplative
Studies.
Now, based out of Oakland and Los Angeles, Stuart
collaborates within many Jazz, Hip-Hop, and Experimental
music scenes. His works include compositions for the NPR
podcast Snap Judgement, along with co-writes and
production with various groups including: Brijean, Bells Atlas,
Meernaa, Luke Temple and Jay Stone.
Dougie Stu’s ‘Familiar Future’ is a uniquely jazz-attuned
album that is soulful and ethereal. It draws inspiration from
artists and producers like Lonnie Liston Smith, Charles
Stepney, David Axelrod and Alice Coltrane. Stuart has
arrived at a sound that harkens back to the golden era of
soul jazz and R&B, while still sounding contemporary.
The band feature the immediately recognizable guitar
stylings of Jeff Parker (Tortoise), who was one of Stuart’s
biggest influences growing up in Chicago, Maya Kronfeld
(Georgia Anne Muldrow, NYEUSI) on Fender Rhodes, Steve
Blum (Bells Atlas) on synthesizer, percussionists Brijean
Murphy (Toro Y Moi, Poolside), John Santos (Tito Puente,
Dizzy Gillespie) and drummer Hamir Atwal (tune-yards).
Special guests include Marcus Stephans on flute, Shaina
Evoniuk on violin and Crystal Pascucci on cello. The album
was engineered and mixed by Rob Shelton at Tiny
Telephone and he also appears on synthesizer on one song.

Those who pay close attention to DJ Harvey’s sets should already be familiar with NuNorthern Soul’s next single, a fully licensed reissue of a sought-after 1980 promotional seven-inch from legendary Spanish Flamenco singer Manuel Mancheño Peña, better known as El Turronero (‘The Nougat’).

Both ‘Las Penas’ and ‘Si Yo Volviera A Nacer’ have long been secret weapons in the sets of dusty-fingered Balearic DJs, with Harvey regularly dropping the tracks during his sessions at Pikes Hotel on the White Isle.

Both tracks first appeared on Pena’s 1980 album New Hondo, a set that updated the then veteran Flamenco artist’s sound for the disco era. Whereas most of his previous albums were more traditional Flamenco affairs, New Hondo combined his throaty, effervescent Flamenco singing style with the driving grooves, swooping orchestration and spacey synthesizer sounds of European disco.

To promote the album, Spanish label DB Belter pressed up a promotional “45” featuring two of the most club-friendly cuts on the album. It’s this release that is being reissued for the very first time by NuNorthern Soul.

A-side ‘Las Penas’ is undoubtedly an off-kilter, late-night disco classic. Built around a flanged, action-packed disco-funk bassline, metronomic beats. soaring and layered female backing vocals, intergalactic synth sounds and stirring strings, the track steps up a level when ‘El Turronero’ takes to the microphone to belt out an infectious, energetic vocal in his trademark Flamenco style. It’s the kind of cut that’s as haunting and intoxicating as it is funky and floor friendly.

Flipside ‘Si You Volviera A Nacer’, another of New Hendo’s most sought-after tracks, is another unique and righteous concoction. Looser, groovier and warmer in tone, it sees another sublime, Flamenco style lead vocal from Pena accompanied by even funkier bass, spiralling ’70s synthesizer sounds, sweaty drums and some seriously exotic instrumental flourishes (think sitar and kalimba). It’s every bit as alluring as the more driving A-side, and equally as playable.

Both tracks may be unusual in comparison to the artist’s other releases, but they expertly capture a moment in time, when disco dominated dancefloors all over the world and inspired even the most traditional and historic of European musical styles. Quite a number of flamenco-disco records were made in Spain during the late ’70s and early ’80s, but very few are quite as magical as these.

2024 Repress

Mystical Disco returns to vinyl after six years. Jackson Lee brings a moody atmosphere to the A side with a Motown revisitation swirled in hazy pads while A2 follows the vibe with some deeper shades of acid. The B side is all about devotion to city and feline. Empire State is a peak-time club slammer and love song to New York City. B2 brings out the analog hardware for a colorful, bubbling synthesizer ode to the best studio companion ever. Mystical Disco 8.5 is dedicated to Jedi the House Cat.

Manni Dee returns to Perc Trax for the release of 'A Low Level Love', his second full album following on from 'The Residue' released in 2018 by Berlin techno institution Tresor. Manni opened his Perc Trax account back in 2017 with his 'Throbs Of Discontent' 12" which featured his breakout hit 'London Isn't England' and since then he's become Perc Trax regular releasing his recent 'Everyone's Replaceable Now' 12" plus his 'Gulabi Gang' contribution to first of the 'Forever' various artists series. During this time Manni has gone from a cult UK favourite to being internationally recognised, performing all around the world.

On 'A Low Level Love' Manni expands on both his previous album and his recent run of Perc Trax releases, mixing his trademark club techno rhythms with broken beat and non-dance floor outings. 'No More Heroes' and 'You Don't Always Get What You Want' see Manni at his most melodic and introspective, whilst the storm of kick drums on 'Closer' shows a new intensity and aggression to Manni's music even when compared to the heaviest of his previous releases.

Guest slots and collaborations can often detract from the artistic vision of an album, but Manni chooses his co-conspirators well, with vocalist Sylph adding a human element to album opener 'Persist & Change' and London acid techno legend Chris Liberator providing both vocals and some of the inspiration for club hit in waiting 'London In My System'.

'A Low Level Love' will be released by Perc Trax on 17th June on 2 x 12" vinyl, CD and digital. The album was mastered by Matt Colton at Metropolis, London. The front cover photography was taken by Bruna Kazinoti and design was handled by Adult Art Club.

A few years ago, Don Zilla was sat alone in an internet cafe teaching himself FL Studio, dreaming of becoming one of Africa's greatest music producers. These early experiments evolved into 2019's "From the Cave to the World", an EP that showcased Zilla's rare fusion of eerie industrial electronics, lurching bass and constantly-shifting East African rhythms. Now the manager of Kampala's Boutiq Studios, Zilla returns to Hakuna Kulala with his eagerly-awaited debut album "Ekizikiza Mubwengula", a labyrinthine album that weaves freewheeling dance sub-genres into a bejeweled tapestry, signaling a path to the future. There's the cybernetic 'nuum funk of dBridge, Emptyset's overdriven, cacophonous anxiety, the hyper-paced airlock club ofShanghai's Hyph11E and the confrontational intensity of Dreamcrusher; everything is melted into a groove-fwd whole that's tough to resist. Tangling trap into slippery, atmospheric doom-step on 'Buziba', experimenting with uptempo, Slikback-esque rhythmic complexity on 'Tension' and reshaping noisy industrial ambience on 'Shots', Zilla uses the album to continuously challenge expectations, folding sounds in on themselves Inception-style and allowing fresh rhythms, textures and forms to peek through. It's a bold step from a central character in East Africa's rapidly-growing stable of paradigm shifting experimental club producers.

Dieses ausgegrabene Matthew Dear Album wurde ursprünglich nach seinem gefeierten Album Asa Breed (2007) aufgenommen. Für Fans von Beck, Bill Callahan/Smog, Bibio. In erster Linie kennt man den gefragten texanischen DJ und Elektronikproduzenten Matthew Dear seit über zwanzig Jahren als Grenzgänger der Clubmusik, der nur im erweiterten Sinne als Popmusiker aktiv ist. Auf seinem 'neuen' Studioalbum überrascht der US-Musiker jetzt mit ungewöhnlichen Klängen. "Preacher's Sigh & Potion: Lost Album" wurde vor zehn Jahren aufgenommen, aber das Material nie veröffentlicht. Inspiriert vom Gitarrenspiel seines verstorbenen Vaters und klassischen Country-Folk-Favoriten wie Emmylou Harris, wendete Dear an, was er über Techno-Arrangements wusste, um einen organischen, loop-zentrierten Sound zu erforschen, der bluesig, persönlich und verspielt ist und die Geschichte von Pop und Rock, den Twang von Country, den Aufbau und das Loslassen von Techno durcheinander wirbelt.

The Scientists’ powerful brand of deranged swamp-rock returns with
a vengeance as In the Red Records unleashes Negativity, an allnew
magnum opus featuring the first new full length album by the
Australian band’s penultimate line-up in thirty-five years.
The bruising eleven-track collection features a Scientists
configuration much beloved by connoisseurs of the band’s work:
singer-guitarist Kim Salmon, lead guitarist Tony Thewlis, and bassist
Boris Sujdovic, all veterans of the group’s defining 1981-85 outfit,
and drummer Leanne Cowie, who replaced drummer Brett Rixon on
the storming 1986 release Weird Love.
A solid crop of fresh originals is highlighted by the opening
statement of purpose “Outside”; the offbeat, yowling waltz “Naysayer”;
the hilarious, self-mocking “Suave,” which Salmon says was inspired
by the work of his countrymen the Moodists; and the utterly surprising
“Moth-Eaten Velvet,” a Velvet Underground homage in ballad form
that features a three-piece string section. Instrumental guests on the
album include producer Mumford, who contributes trombone on
“Make It Go Away,” and Salmon’s daughter Emma, who essays piano
and background vocals.
Negativity is the third Scientists release and the first fulllength
album for In the Red. The current quartet cut the single
“Braindead”/“SurvivalsKills” in 2018 and the five-song 2019 EP
9H2O SiO2, the title of which translates (in a hat tip to the lyrics of
the group’s classic “Swampland”) as Nine Parts Water, One Part Sand.
Those recordings were issued in conjunction with the group’s first two
U.S. tours during that period.
Raw, freewheeling, and spattered with the high-voltage sound, the
Scientists have drawn from such influences as the Stooges, Suicide,
the Gun Club, and the Cramps, Negativity is jubilant, unpredictable
listening.

Arpege Records come back on the turntable for their fourth release with the great german ATREE who was already there on their first various. But for this time, they selected three clubby / housy tracks + a bassy remix from the producer ROB AMBOULE.

Suburban Bases favourite duo Krome & Time rare DAT studio masters saved!
Krome & Time provided the very first Suburban Base release that launched the now legendary label, under the alias Kromozone catalogue number SUBBASE 001 set the tone for the label that became and integral part of the development of Rave and Breakbeat Hardcore into Jungle and Drum & Bass!

So who better to kick off the relaunch of such a revered brand than the legendary duo that started it all KROME & TIME! With brand new sleeve design from original SubBase illustrator Dave Nodz!

Having accessed a long forgotten storge facility and discovered a treasure trove of Suburban Base master tapes, we struck gold when we found box after box of unreleased and exclusive master recordings from some of the biggest artists within the SubBase family.

The two exclusive tracks that make up this release were huge dubplate only specials and have never been released as vinyl singles or digitally. Finding the master copy of the once thought lost 'Original Juggling' was incredible, the song is much asked after and as an album exclusive on the 1995 Telepathy Dub Plate Special was never given a full release only appearing on that project.

‘Non-Stop Rocking’ was a 1995 dubplate recorded specifically as an album exclusive for the legendary Drum & Bass selection album project and stayed exclusively on dubplate receiving extensive club and radio play whilst remaining only available within D&B selection.

These sought-after tracks remained stuff of legend never having had a digital release or full vinyl release… until now! From the original master tapes of Suburban Base we present this slamming 12inch from Krome & Time

Clear Vinyl

WRWTFWW Records is happy to announce the release of Para One’s new album SPECTRE: Machines of Loving Grace, available in half speed mastered 180g double lp housed in a heavy sleeve with UV spot varnish. Machines of Loving Grace, the new album by Para One, whose real name is Jean-Baptiste de Laubier could be called fiction. It is an object freed from constraints, formats, genres, territories: the gospel of a new world. Six years after Club, eight years after Passion, his previous LP, this lover of electronic music, who has also been putting his sensitivity to the service of movies (soundtracks for Céline Sciamma in particular) opens with this record a new dimension in his artistic career. “I needed to break away from patterns and systematisms of formats, and take unexpected turns. To do so, I had first to allow myself to do so”. Allow oneself and maybe above all confront oneself – with one’s childhood, with one’s childhood’s ghosts, and what fantasies, ideals, memories, and grey areas they harbor. He had to go back – without giving up on his position as an adult, as a full-fledged artist – to the sources of his imagination, to the moment when music was holding almost mystical power. And then revisit it to make something new out of it. Just like Sanity, Madness & the Family (the feature film directed by Para One that he just finished and of which it is a consubstantial part), Machines of Loving Grace has an investigation around a family secret and the father figure as its starting point. “When you go down the path – of a work, of a person, of the past – you never really find out what was. You find yourself

Los Angeles independent label Minky Records is issuing
two crucial, hitherto unheard slices of music recorded in the
’80s by the late L.A. punk rock legend Jeffrey Lee Pierce
and his band The Gun Club.
On June 12, the company will release an exclusive single
version of the Pierce original “Bad Indian” and a cover
of Jody Reynolds’ “Fire of Love.” This Minky 45 will be
accompanied by an even more impressive vault discovery:
Soulsuckers On Parade, a full-length 1984 Pierce solo
recording drawn from an abortive session for the cowpunk
compilation album Don’t Shoot, first released by Zippo
Records in the U.K. The vocalist is supported by an allstar
unit comprising guitarist Dave Alvin, drummer Bill
Bateman, and the late pianist Gene Taylor, then of the hot
L.A. roots combo The Blasters, and bassist Jack Waterson
of Green On Red; Chris D. (Chris Desjardins, who also
produced the date) and The Gun Club’s Kid Congo Powers
guest on background vocals.
Featuring covers of songs originated by Willie Nelson,
Big Joe Turner, and Creedence Clearwater Revival, a wacky,
profane blues Pierce improvisation called “New Way of
Walkin’’, and a rampaging, demented seventeen-minute
original, “Walkin’ Down the Street (Doin’ My Thing)”,
the album will be issued as a limited edition Kelly-green
vinyl LP on Record Store Day (June 12), and an unlimited
expanded CD package (with studio chatter and improvised
vocals and jams) on the same day.

Shall Not Fade's Time Is Now series continues to showcase the cutting edge of breaks and bass oriented club music. This time they introduce Groovy D; this new solo project of one third of Sheffield-based trio Denham Audio curates a totally fresh take on garage which is soulful, unique and genre-defying.

Afterworld Groove EP features female vocalists and a collaboration with Time Is Now regular Interplanetary Criminal; vocal heavy tracks are a highlight of the record, taking the garage sound away from the confines of the club. "Outta Control" is one of these tracks; Emma Cannon's vocals walk the edge between soulful and mournful, contrasting the wild breakbeats and deep, dirty bass. The title track uses housey intoned keys; this is daytime garage, made for summer parties. Taking influence from his Sheffield home, "Keep Movin' On" has a classic bassline sound palette, cheeky stabbing synths and hyperactive breaks.

"Project Zeus" opens the B-side: stutters of snare and punching bass are broken through with a classic, uncontrollable bassline; the tongue-in-cheek sample that forms the drop will undoubtedly bring a smile to British fans. More minimalist B2 "Timeless" is a chorus of bubbling ear candy until the rolling sub bass looms into a deep, headsy climax. Manchester's Interplanetary Criminal joins to close the EP; with vocals from Anna Straker, "Higher" takes a genre-spanning approach in hazey garage percs and soaring pads. The tempo is down, and misty, romantic sax forms the backbone.

In this solo EP syberian98 builds up a shelter and escapes nowaday brutal and generic technoish sound. You find here acidized, much more soulful, trancy, leftfield tools. And sure, this simple three note sequence going thru the both sides reminds you a bored happy morning feelings of a loud warehouse party which you want to leave slightly away soon.

Music on Hold deliver an LP with strictly "only the hits" in updated graphics and soundbite studio wizardry. It's the shinning neon-colour video game classic you never played in your youth in the arcades. You only dreamed about it after too many bong hits. You think you've heard these songs before? Ha! You've never heard them better brother. Gary Wilson called, and sung you a melody and the Human League stole the synth lines.. then The Spits put lead guitar in slow-motion. This is a record for all four seasons in all TV Colours and black and white nouvelle vague romance. This LP is the first baseball bat you take you A Ferrari parked outside a strip club. This is the flock of seagulls that exploded in the sky The project once a solo affair is now a power-trio featuring funky starship troopers Guillaume Mobstaire and beloved cult-hero Mathis (Police Control, Skategang) in the shuttle. And as they blast off into cyberspace, tThey toss this their first greatest hits out of the cockpit and into your hands.

More a family than a band, BANDA MAJE formed in a home studio in the historic district of Salerno, in Southern Italy, on the initiative of Peppe Maiellano (composer and keyboards) and Tonico Settanta (producer, rapper and DJ). The collective has an ever-changing number of members, all of whom – a bit like the lively port city they are from – exist at the crossroads between Italian melodies and imported genres like funk, soul and disco.

Released by Four Flies Records, a label specializing in vintage Italian soundtracks and brand new productions with a strong cinematic feel, Banda Maje's debut album "Ufo Bar" transports you to an imagined version of Salerno that combines local tradition and 70s pop and film culture.

Listening to the album's eight funk- and soul- infused tracks also means seeing stories unfold in the streets of this re-imagined city: from the jubilant uprising organised by the women from the Rione Fornelle neighborhood in "Fornellesse", to the cigarette smuggling story in "P' ciel, p' mar, p' terr"; from the distinctly southern Italian pucundria (bittersweet melancholy) in "Sunday Embarcadero", to the saga of provincial nightlife in "Living Disco Club".

While the LP's Side A is sunny and cheerful, its Side B is more nostalgic, almost nocturnal, with bittersweet vibes in "2010" and new wave-influenced synths in "Ago". This variety of moods reflects the emotional depth behind the music of Banda Maje: "We want to leave a trace of what we experience: the narrow little streets brimming with life; our love for Neapolitan music, for Italian soundtracks from the 70s, for B-movies and the saga of cigarette smugglers; our passion for vinyls and cassette mixtapes, not to mention second-hand love affairs and dusty afternoons spent watching third-division football."

Premieres from Data Transmission and Bolting Bits. Early support from Hospital, Huey Morgan, Rupture, Fanu, Rob Luis, Anthony Kasper (Fokuz), Red Rack'em, Bandcamp Weekly, etc.

150 copies pressed on 180 gram vinyl. Picture shows the HF021VFELT edition which comes with 'Nuthin' But a Jungle Thang' die-cut felt sleeve insert (in assorted colours), with Heard and Felt embroidered fabric tag. HF021V edition is the same 180g vinyl without the felt sleeve insert.

With music from Jonny Faith's recent Night Lights EP appearing in Grand Theft Auto and best of 2020 lists including Gilles Peterson's, you might think Jonny would continue to mine his take on hip hop and broken beat. Well, all in good time. He's been ready to enter the jungle for 20 years, and he's not waiting any longer.

Now based in Melbourne, Jonny first got involved in music in Edinburgh as a DJ and turntablist in the 90s, getting hooked on jungle, drum & bass, hip hop and the hybrids of these championed by the Mo'Wax label. Formative experiences included hearing DJ Hype spinning in Newcastle, seeing the Roni Size/Reprazent live show with two drummers and hanging out at cult Edinburgh club night Manga, where residents G-Mac and DJ Kid hosted the likes of Marky, Grooverider and J Majik.

Jonny was keen to start making his own sounds, signing up for an electronic music production course. But it wasn't quite what he was after.

'The course turned out to be more house-oriented,' Jonny recalls. 'Sampling wasn't on the curriculum, and the students weren't allowed to touch the Akai S900, the sampler used in lots of the early jungle classics.'

When Jonny did start releasing his own productions a few years later, he was starting to explore the experimental beat scene around the time Flying Lotus and Hudson Mohawke (another Scottish turntablist) were starting to make their mark.

Jonny continued to widen his sonic palette, adding elements of dub, jazz, funk, electronica and broken beat, and picking up fans like Radio Nova Paris, KCRW, Vice and Clash Magazine along the way. But he's never been more than one degree of separation from his jungle/D&B roots. He continued to buy and play the music, did the odd D&B remix and snuck sonic elements and techniques into his tracks at various tempos. Over the years his releases have shared labels with the likes of Peshay, Om Unit, Drumagick, Reso, Kid Drama and Danny Scrilla.

Now, more than 20 years after those early experiences in Edinburgh, Jonny unveils his first jungle/D&B EP, On Lock. And it sounds like he's been making this music the whole time. In a way, he has.

The single 'Open My Eyes' bursts out the gate, chopping not only the breaks and the soul for a tune that sounds like Amerie's '1 Thing', or some Just Blaze chipmunk soul, reimagined for the 174 BPM crew. Jonny started this one as a hip hop beat for a live routine on his MPC, but it only really came together when he reframed the groove around a D&B rhythm. Next up, Jonny tries a similar trick on his own boom bap tune 'Stay in Your Lane' from the 'Night Lights' EP. His new Step Off Mix totally recontextualises US MC Lady K's slinky soulful rap and hooks with a tough and funky junglist groove. One for fans of the old Roni Size/Bahamadia collab. 'Create' then spaces things out just a touch, with atmospheric but propulsive drumfunk. Vinyl bonus track 'Nuthin' But a Jungle Thang' layers cascading amen breaks, timestretched vocals and a massive double bass-line over the wah guitars and synth whistling of a G-funk era classic.

With early support for Jonny Faith's take on jungle/D&B coming from Hospital Records, Rupture (Rinse FM) and Fanu (Metalheadz), Jonny is ready to be welcomed (back) into the scene.


b A2: Stay in Your Lane (Jonny Faith Step Off Mix) feat. Lady K

Fresh gear from the UK's Koreless - limited copies.

Played by Caribou, Jamie xx and TNGHT in their BBC Radio 1 Essential Mixes, and with further support from Oli XL and HAAi, ‘Joy Squad’ sparked a mass trawling from fans online for the track Koreless describes as his attempt to “build a club rollercoaster that swallows you up and spits you out”. Now finally released on 12” vinyl.

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

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

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

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

Izorgor’s sound reflects his burly bouncer name. Drums pound and hi-hats slash in the mean and murderous “HDF-N”, a soundtrack for car crashes and late late club sessions. “Nosferatu” comes from a similarly evil place, percussion is fed through a mincer before a fog of distortion descends to smother samples. If you’re after a respite, you’ll have to wait or feck off home. “HDF-S” wades in. Similar to his sibling in terms of rancorous rhythms, this beast drips with 303 sweat and venom with just a touch of salvation in those soaring notes. Boris Brenicki, of Ontal fame, ends with his own sepulchral take on “Nosferatu.”

Ian McDonnell is an Irish producer living in Wicklow near Dublin. Alongside his solo releases as Eomac he's also one half of the duos Lakker, noeverything and Lena Andersson. 'Cracks' represents a change of scenery and a change of practice from his previous two albums which were both conceptualised from the outset and recorded while living in Berlin. In contrast 'Cracks' was made in a beautiful rural part of Ireland without any outside pressure. These circumstances allowed Ian to wipe the slate clean and make an album guided by his mood on any particular day, connecting into the subtle power of his new environment and reflecting it, rather than working to please the suffocating demands of clublife. The title 'Cracks' comes from the idea that, to quote Leonard Cohen, a crack is "how the light gets in", but also of course it's a title that bears witness to the cracks fomenting in the world right now. The music comes across with depth and passion, sounding deep and mossy with Eomac's penchant for punchy, shuffling drums underpinning the emotive tracks. From the off, the furious 'Mandate For Murder' flips and repeats Akala's protest about systemic racism, rushing deep into the panicked sirens of 'Portuguese Man O' War'. The album settles into a sense of mystery, wildness and dark otherworldliness with the foggy drone and timber kick of 'Ancient Self' reflecting the awe and spiritual connections to his new environment, much like the gorgeous strings and aqueous bleeps of 'Seashells' or the pitch-shifted shoegaze of 'Prophetess'. At other points it responds to the human condition, for instance the cathartic 'Falling Through the Cracks' where a broken scream is pitted against clattering drums. At other moments it simply reaches out; 'Reasons to Live's' whispered mantra of "I know you are loved by somebody" is gently insistent. It ends with a reference to a place he's left behind, seen through the lens of nature. 'All the Rabbits in the Tiergarten' could be a missing track from Aphex's Ambient Works, albeit with cut-up scissoring drums. The album is a fruitful move, inwards and forwards.

High Pulp returns with a brand new instalment of covers, on Mutual Attraction Vol 2. A spiritual jazz journey, interpreting arrangements by Arthur Verocai, Cortex and Casiopea. The 8-piece fusion band pays homage to tracks and artists that have woven themselves into the DNA of their band.

The Mutual Attraction series is about paying homage and looking back to influences that have paved the way for informing the band’s sound. It was important to the band to find 3 different significant spaces to record each volume. MA Vol. 2 was recorded at a house that the group’s drummer, Bobby Granfelt holds many fond childhood memories. It is the house that his father grew up in, and a house that his grandfather built. A house that would eventually become Granfelt’s current residence and also is the band’s homebase for rehearsing and hanging out. It is a reflection of the past and the present, as are these interpretations of songs. Rich textures and cinematic grooves alongside trippy guitars, lush Rhodes keys, and soulful horns. Covering tunes that may have flown under the radar, but have impacted the group immensely.

High Pulp are an 8-piece band that emerged from the Royal Room, a legendary Seattle Jazz club where they held “Funk Church” jam sessions in 2017. Their signature sound is a Psychedelic fusion of Hip-Hop, Funk, Jazz, and Soul which come together with complex, well thought out arrangements and progressive style. After successful sessions and premieres with prestigious station KEXP, and being at the forefront of the Seattle music scene, they are now branching out and taking their sound worldwide.

Play On Records is proud to present Flashed Glass, a full length LP from electronic duo Sleep D and mixed chamber ensemble Ad Lib Collective. Culminating from a two-year project borne out of a live collaboration in a Melbourne underground carpark, the LP marries the euphoria of the concert hall and the club, presenting a rich sonic universe for the listener to discover.

Having first been introduced at rehearsals for Play On's 6th series in late 2018, the two groups hit it off, opting to perform a semi-improvised set together, rather than two separate sets as originally planned. They soon realised their pairing could unlock sounds they wouldn't have otherwise found on their own, and their idea for further collaboration was born.

In March 2020, the two groups recorded at Head Gap studios in Preston — layering sounds, building melodies, and striking out what didn't work — until the COVID-19 pandemic cut things short, twice, due to Melbourne's dual lockdowns. This resulted in an accidental hybrid work, finishing as a mix of live professional recordings, and DIY home-recorded samples, with the latter including crushed plastic and pulverised sea shells.

Phonica White is back with a special four track EP from up and coming London-based producer Keisuke titled ‘At Last’.

Hailing from Manchester, Keisuke (aka Christopher Iwatsu) has a long and varied background in music. From an early age he learned and performed orchestral percussion, touring the UK and Europe. Then, while studying in Glasgow he became immersed in the city’s fertile club scene and began to fuse his percussive experience with dancefloor production, slowly honing his craft over the past decade.

For a debut 12”, the record is therefore a refreshingly refined statement of intent. The four tracks range from uplifting rolling rhythms (‘At Last’) to serpentine melodies (‘For Petre’) and bumping introspection (‘Going Nowhere’) to lighthearted complexity (‘Hatsu’). Every piece is carefully considered and executed, primed for the floor and the mind.

Artwork as always is supplied by the talented Pedro Carvalho de Almeida.

VAYA001 - Selected Electronic Music from Leipzig: Filburt, Josi Miller, Lydia Eisenblätter, Mbius, subkutan, Varum. Vor dem Hintergrund, dass durch die Covid-19 Pandemie sowohl Clubs als auch Kulturstätten unter erheblichem Existenzdruck stehen, wollen wir unseren Beitrag zum Clubund Kulturerhalt beitragen: der Erlös aus Vinyl und digitalen Verkäufen kommt dem Live Kommbinat und somit Leipziger Veranstaltungsstätten zu Gute.

Big Ever is the new moniker of Sydney born, Berlin based music producer Thomas McAlister. Over 2016-19 Big Ever released a string of EPs and singles under the name Cop Envy; through Black Opal, Templar Sound, Cry Baby Records, Decisions and Hypercolour. Incienso is hyped to release the debut Big Ever EP “Otto” as the first in our run of very exciting records coming out in 2021.

Coming through with four distinctive and vibrant club tracks primed for all hours of the night or early morning, Big Ever lets loose on 2021 with a bold and unique take on percussion, bass, and ambiance working in unison to extraordinary effect.

Written, Produced and Mixed by Thomas McAlister
Mastered by Rashad Becker
Artwork and design by Ezra Miller

A long awaited new start for the Italian-born, Berlin based DJ & producer Bertrand. is set to be marked on 7th of June along with a 12′ vinyl only release on Future Déjà Vu. ”Bohr Model” summons new horizons in Bertrand.’s sound with an abundance of heady uppers & forward pushing dance anthems. The techno-electro mini-album is his first EP since 2019 and boldly highlights an advancement of Bertrand.’s production style and refined musical visions. The diverse take on captivating club tracks demolish the conventional means of dance music creating an audible narrative right at the intersection of edge-cutting sound and classical dancefloor weaponry.

What began as a challenge to fight creative stagnation, soon grew into a fully-fledged audio-visual project for Belgian DJ, producer and live artist, Biesmans. Setting himself the goal of making three tracks per week for a month, he re-scored ‘80s pop culture moments – including films, TV shows and games, resulting in a brilliant 12-track work encompassing new wave, indie, dark wave, electro and
disco.
Moving his modular-heavy studio to Berlin in 2014, the ensuring years saw Joris Biesmans drop heat on Correspondent, Disco Halal, AEON, 17 Steps and Future Disco. He’s been a core member of Watergate
family since his arrival in the capital, working as the club’s sound technician. He made his debut on Watergate Records in 2020 with the well-received ‘Electric Love’ EP.
The ‘Planes, Trains & Automobiles’ album took shape in April last year as the lockdown was starting to take grip and Biesmans needed a positive distraction. Ensconced in the music of his childhood and ‘80s
pop cultural fodder, he locked himself in his studio and set about creating, later digging through archival footage to match the music. Biesmans, who previously undertook work scoring films, was so absorbed by the process, he’d sometimes do it in reverse; allowing the vintage media be the guide. Throughout the period, the clips were shared each Monday, Wednesday and Friday on his Instagram, building up a firm following from fans, friends and colleagues. And thus, the project found its wings, developing into an album.
Throughout the dozen tracks, highlights are plentiful; from the neon ambience of the Kraftwerk-inspired ‘ ‘Cosmic Cruise’, which later accompanied a smoky scene between Tom Cruise and Rebecca de Mornay in ‘Risky Business’; the sun-soaked, retro-pop title track, which became the album’s first single, and was paired with a jubilant dance scene from the Breakfast Club; ‘Cold Void’, the album’s second single, which saw Biesmans link up with fellow Belgians Boi Wonder and Tom the Bomb for a dark wave creation built around a heavy guitar solo and set against a backdrop of Blade Runner clips; and the silky electro funk of ‘Another World’ that soundtracks scenes from Miami Vice.
Biesmans explains about ‘Planes, Trains and Automobiles’: “I started this as a lockdown challenge, in which I would make three tracks per week for a month, alongside providing videos where I re-scored
footage of 80s pop culture moments. Inspired by the movie of the same name, I picked the title because it ties to the theme of ‘mobility’. Our society is based upon being mobile and when Corona hit us, we
could taste a bit of being immobile. As an artist that meant, I could focus on making music 100%. No distractions, no weekend gigs, no parties just making music. This new lifestyle resulted in my first album.
A journey into the past but looking forward to the future, experimenting with other genres and techniques to make a real album that goes beyond club music.”

Everything has its right moment in space and time. And Rhode & Brown’s debut album “Everything in Motion” is no exception to this rule.

But first things first:
Hailing from Munich, Germany, Friedrich Trede and Stephan Braun are the DJ and producer duo Rhode & Brown. Growing up in two neighbouring villages near Munich both of them had been music enthusiasts since their early childhood. Friedrich played drums in punk bands at school and recorded rap songs in his bedroom, while Stephan, as childhood friend of Harold Faltermeyer's son, had the chance to experiment in the impressive studio of the legendary Donna Summer producer in his early teens.

By the late 2000s older friends started supplying them with DJ mixtapes and helped them sneak into clubs they weren’t allowed to visit, yet – cultivating their love for electronic music and club culture. And, of course, the Internet was their go-to source for finding the latest blog house tunes back then, too.

It wasn’t until October 2009 that their paths would cross for the very first (but almost last) time when introduced by a mutual friend: Back then Stephan was selling his old CDJ-player and Friedrich, who wanted to hone his DJ skills, ended up buying it: „When I got home and unpacked the player I realized that it was the wrong model. I thought Stephan was trying to rip me off - so I called him in a rage and demanded my money back.“ Friedrich laughs. To cut a long story short, the two met again the same evening, money and CD-players were exchanged, but luckily so was their passion for house and disco music. It was at that very moment that Rhode & Brown was born.

A lot has happened since the two played their first gigs together and made baby steps in music production. In the past 10 years they established themselves as one of the most reliable house producers around with rock solid releases on Toy Tonics, Shall Not Fade, Public Possession or their own Slam City Jams imprint. As well as becoming a household name in the DJ world, sharing the booth with the likes of Palms Trax, Dam Swindle, Jamie Tiller or Octo Octa - spreading their infectious "Dancing Deejays" vibes around the globe.

Following the great reception of last years „Aku Aku“ EP, June 2021 will see the release of Rhode & Brown’s debut album on Permanent Vacation. A record that showcases their open minded approach to making music and a passion for the nuances between genres - „We found inspiration for this album in all corners of our record collection. That means we are as much influenced by disco or 80s synth-pop as by house and techno of the last decades or the latest viral trap hit on Spotify“, the guys say.

On "Everything In Motion" you'll hear piano house / Italo disco hybrids alongside dreamy Balearic soundscapes and '90s-infused acid breakbeats flawlessly accompanying '80s synth pop anthems. Always infused with that signature Rhode & Brown magic. The album also finds them collaborating with some of the finest vocalists of the moment: Peaking Lights' own Indra Dunis is lending her voice to the title track for this special laid back California vibe, while Berlin's hottest export DJ City evokes a neon light romance affair on "Memory Palace", with a longing poem that makes you wander the rainy streets at night with your walkman on.

At a time when suddenly everything seems to be standing still, Rhode & Brown undeterred moving forward... true to their LP’s title.

Based in Berlin via rural Israel, RAS are comprised of of multi-instrumentalists and producers Dekel Adin, Eden Leshem, and Guy Gefen. They came together as RAS in 2018; a deep appreciation of international sounds that cross common ley lines has resulted in a melting pot of influences. Armed with vintage drum machines, guitars, synths, bongos and a Tascam Portastudio 424 tape machine, they quietly released this eponymous debut album in early 2019.

RAS’ creative palette is relatively minimal, opting to work with a toolkit of analogue instruments and improvisational recording styles. Mixing surrealism, in-jokes and nonsensical word patterns, their lyrics are sung in Hebrew. The vocals are there to support the music, acting as another instrument in the overall sound.

Dekel, Eden and Guy managed to create an intricate balance between lofi soul and brighter mediterranean leaning club-jams, ending up with a record we might mistake as a lost treasure of the early 90’s.??A record that perhaps has an unconscious connection to the past, but more importantly to an onward looking story of friendship and a musical journey which has spanned many continents throughout the last ten years.

Marcus Schmickler's music is designed for multi-channel sound projections and references German electronic music tradition, spectral music, experimentalism as well as 1990s club music. His artistic practice explores avant-garde trajectories in electronic music composition, formal systems, sonification and psychoacoustics. EMEGO 296 features two new major works from this audacious sound explorer.

Sky Dice / Mapping the Studio premiered at Donaueschinger Tage fur Neue Musik 10.20.2018 having being commissioned by SWR and realized at the Experimentalstudio (EXP) in Freiburg. This is a work for ARP 2500, Publison DHM89B, Publison Infernal Machine and Computer. Taking cues from Bruce Nauman's Mapping the Studio I (Fat Chance John Cage) (2001) the piece draws a fragmented acoustic map of the SWR facility itself; the studio serves as a source-model for the sonic display of historical signal flow graphs. Various acoustic and psychoacoustic effects come into play including the Larsen effect, as well as Style Transfer and Topological Sonification. The result is a daring and dizzying display of disorientating audio. Sound moves in most unusual ways, rising and falling simultaneously, appearing and disappearing like apparitions, nothing here behaves in expected ways. To paraphrase Albert Einstein's now famous quote regarding quantum mechanics, this is spooky audio at a distance.

Fortuna Ribbon is a selection of sonic material that emerged from a research based on how DPOAEs (Distortion Product Otoacoustic Emission) can be designed in the context of musical frameworks, augmenting the compositional pallets in regard to spatial hearing. In this manifestation, the materials are presented without context. The resulting emissions from the ear that are excited in varying ways from the 6 examples on display here. Playback in undisturbed acoustic environments is recommended at >82 dB/A.

Schmickler's ongoing investigation of sound matter conjures impossible audio that delight's in the extremity of form and resulting effects on the listener. Schmickler's audio invocations explore the capabilities of contemporary technology resulting in dizzying new worlds of sound.

Thanks to the Experimentalstudio crew, Detlef Heusinger, Björn Gottstein, Julian Rohrhuber and Peter Rehberg.

Unknown recording outside Ethiopia which documents Mergia Hailu & The Walias legendary early period. Beautifully-rendered instrumentals of classic Ethiopian standards, "Tezeta"is the follow-up reissue of the hugely popular seminal Ethiopian instrumentals LP "Tche Belew" (ATFA012). It was a Cassette-only release in 1975 on the band's in-house label, to fund their record store. From their genesis as members of the Venus club in-house band in the early 70s, Hailu Mergia and the Walias Band were at the forefront of the musical revolution during an era where modern instruments and foreign styles superseded the traditional fare to become the staple sound of Ethiopia. No one would argue that the Walias were the trailblazing powerhouse of modern Ethiopian music. They were the first band to form independently without affiliation to a theatre house, a club or a hotel; unprecedented and risky as they had to raise all funding for expenses by themselves including buying equipment. They were the first to release full instrumental albums, considered to be commercially unviable at the time. They opened their own recording studio, with band members Melake Gebre and Mahmoud Aman doubling as technical buffs during sessions. They were also the first independent band to tour abroad. In short, they were the pioneers every band tried to emulate; some more successfully than others. Odds are, any Ethiopian over the age of 35 who had access to TV or radio by the early 90s, will instantly recognize the sound of Walias. What is not a given is, how many would actually identify the band itself. Barely a day went by without hearing the Walias either in the background on radio or as an accompaniment to various programs on TV. This Tezeta album, the band's second recording, released in 1975, is one of those that have been impossible to find for nearly three decades. Sourced by Awesome Tapes From Africa and expertly remastered by Jessica Thompson, its unique and funky renditions of standards and popular songs of the day are so quintessentially Walias, flavorful and evocative. Hailu's melodic organ, unashamedly front and center in every track, makes even the complex pieces accessible. Profoundly engaging; it's an immersive trip down memory lane for those of us getting reacquainted with it, while also an enthralling and gratifying experience for fresh ears.

Aparde's new album, Alliance sees the German musician retreat from his recent experimentations with avant-gard pop music back into the world of deep, and oftentimes dark, electronica. For his previous album, Hands Rest, Aparde ventured outside Berlin's club scene through the use of his voice, which gave his music a softer and more intimate edge. Alliance is no less intimate, except this time the musician's vulnerability seeps through the cracks rather than taking center stage. With Alliance, Aparde brings listeners deep into his soul, a soul that is at times conflicted and agitated and at times low-key and solemn. And as he does so, the listener's own mood is muted and lifted in a journey of quest, dance and healing.

Bounding on from the Door to the Cosmos, the label'sexpansive triple vinyl compilation, OnTheCorner has paired up new artists in this series of cosmically twinned EPs. Twinning EPs on a single piece of wax reduces the impact on the environment and wallet friendly. Each brace of cosmically twinned OnTheCorner artists interstellar balearic for the deepspace bound. Each 12" will be split taking over a whole side of black wax. Party wax loaded with Stardust. Get your fix of tomorrow's sound, tonight! Side A is UFFE's 'Not All the Stars EP' - an underground emissary channeling dark bass weight through a prism of jazz-house - dub-tech hitters. A singular talent leading the charge into new frontiers with OnTheCorner. Not All The Stars EP is aprelude to his first LP on the label and follows on from City's Dead and that featured on Door to the Cosmos in 2020. Petwo Evans' 'Bootstrap EP' on the flip side is made of soundsystem-primed, innovative club tracks. Welsh Futurism, celestial electrics and objects of space-junk percussion. CERN loops, cyber kinetic grooves, machine pulses and chugging house kicks converse in the orbit of 'Gyroscope'. Petwo Evansfeeds the tracks compulsion with heady layers awash with dreamy vocal stabs, synths and hazy harmonics.

Brand new Barcelona imprint Balearic Ensemble hit the ground running with their premier plastic disc drop, BE001. We’re over (and under, and around) the moon to present the Painting Of The Day EP, the first i n a series of extended plays l ined up from the baddest crew of balearic samurais for your aural i ndulgence. Leading the charge i s the one and only Max Essa, a man some may know as botanist-in-chief at the sublime Jardin Jansen l abel, others as the shadow behind a string of l ush productions sounded out by the l ikes of the Guv’nor Andrew Weatherall or a one David Mancuso. Painting Of The Day i s the l atest i n Max’s deeply inventive output, with Joe Morris, Lukkas and Ibicenco duo Reisdentes Balearicos serving up three wondrously lush revamps for the heads . First up i s ‘ Matinee’, which takes that l aid-back 80s sound and washes i t through reverb racks and cascading arpeggiatic tones. Soft, subtle and brilliant, the result i s an emotional Essa performance, akin to a soft caress of the waves, or a brush stroke on a canvas i n the afternoon sun. ‘Tempo Babadoh’ i s another massive balearic number, promenading and pirouetting i ts way across a vista of club congas, wah guitar and deluxe synth sounds. Sliding nylon strings evoke memories of a l ate-night Mandy Smith anthem as agogo bells i nterweave among the flora and fauna of Max Essa’s balearic vision. A l ofty, virtuosic affair that’s sure to be a staple when the good times come. On the flip we have Joe Morris’s ‘ Paraiso’ version of Tempo Badaboh. It’s a(n) NY hymn, a dusty psalm, a stellar reimagining of the original which brings an 80s Chicago feel with all the savoir faire and finesse that the Clandestino man has come to be revered for. Sizzling b l ines, crickets at dusk and time-tested balearic motifs presented i n a new, slightly angular l ight. Over on B2 (?) we get Lukkas’ Club Mix of Matinee, a dangerous dance weapon with a dose of l ow frequencies bubbling through the sp

Heist welcomes rising star of the French House scene Marina Trench to the roster with a stunning release full of classic house cues across 4 warm & deeply grooving house cuts.
With only a handful of releases on DJ Deep’s Deeply Rooted (2019) and Wolf Music (2020), the young Parisian producer is only just getting started. And as far as starts go: This release on Heist will definitely open some eyes & ears across the house scene.
With her elegant and soulful sound both firmly rooted in classic deep house as it is contemporary, Marina showcases a mature sound that’s rarely seen with emerging producers. With a smart choice of samples, beautiful original vocals and smooth pads,
Marina layers her tracks effortlessly into warm compositions that work just as well in your living room as in any sweaty club.
The aptly titled opening track “Sunrise” is a smooth affair with pads oozing in and out and a faintly recognizable and definitely catchy choice of samples. An open electronic bass gives the track a serious tone, but it’s the melancholic chords that make you doze off reminiscing the days of endless festivals in the sun.
“Carry on” is built around classic house stabs with cleverly layered arpeggios and textures giving the track it’s depth. The main attraction here is the trumpet solo by German wunderkind Christian Altehülshorst. As far as chance meetings go, this is a nice one. Christian (who we met through our mutual friend Lorenz Rhode) was our impromptu trumpet player during a show at La Machine back in 2019, where Marina played alongside us. They got talking and before we knew it, we had this track in our inbox. It’s jazzy deephouse at its finest.
On the B-side, we’ve got “Over there”, where Marina layers here own vocals on an infectious house groove and the closing track “Wake up” featuring the emotive vocals of French Algerian artist Sabrina Bellaouel. The latter track evolves around a LFO’d pad and a minimalist groove, giving the vocals all the space to shine in a track that could easily be the one in your set that sets the room on fire.
As far as label debuts go, we could not have hoped for a better one. We’re sure we’ll get to see a lot more of Marina in the near future and hope she serves as a shining example for other emerging producers.
Enjoy the music,
Maarten & Lars

‘Bad Time’ is the new EP from Peeping Drexels. The London based 5-piece, who have been together since they were sixteen, have to date released a series of singles on the Permanent Creeps and Fierce Panda labels. This is their first release on BY Records. They've previously received support from the likes of Steve Lamacq, DIY, So Young among others. They've also performed live with artists such as Shame, Goat Girl and Public Practice.

First single, High Heels, sees Peeping Drexels eulogise about white pills and night thrills - anxious overtones abound until the crescendo of guttural angst takes over. "High Heels is a dimly lit journey through the narrow corridors and backrooms of a twisted underground club, all whilst under the influence of an unknown substance. The song is the first taste of Peeping Drexels rebirth; experimental new sounds, broader instrumentation, yet pop music to the bone. A never ending loop of bad-trip fuelled excess, and there is no way to escape."

Prior to lockdown, Peeping Drexels played a Sold Out Parallel Lines headline show at London’s Bermondsey Social Club and ended it with a sold out main support slot for Fat White Family at EartH (Evolutionary Arts Hackney).

The project takes influences from a broad musical spectrum, from the dance vibes of Gary Numan and Mr. Fingers to the intensity of Tyler The Creators' synth-heavy Cherry Bomb and the maximalist work of Kanye West.