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Verrazzano continues with the second issue in our summer EP series! This time Type-303 is really ”Lost In Paradise” with this four-track EP to suit all sophisticated tastes.

The first track hitting your nerves is ”Acid Disco Time”. Have you ever wondered how it feels to go to a disco with a slight ”acidy” taste in your mouth and realize that something is familiar, but at the same time, somehow… out of place? You hear a Seinfeld bass slapping a classic groove, then a bubbling energy starts rising under the surface and now your armpits sweat in your blazer! Add some glitter dust shimmering in smoke, and the whole thing goes off to a spacey gallop! Is this now so-called ”Cosmic-Business” dance music?

The story continues with ”Lost In Paradise”, and takes us to the deep end of turquoise-colored waters. If you found a seashell from the beach and listened to its stories carefully, could you handle the tempting whispers of mermaids, and resist the melodies from those happy days of ancient Minoan Paradise? To get a taste of such delights, this track delivers a glimpse!

How do our ancestors teach us lessons long after their earthly existence? By roaming the Earth in cosmic fashion, of course!

”Spirit Dance”, with its ethereal flute and otherworldly harmonies puts the listener in a place where one is the question mark and the answer too… Deep? It should be.

When the spirits have done their hypnotic dance and the dizziness has vanished, it is time to wander on a field and look at some beautiful ”Wild Horses”. Basking in the evening dawn, you appreciate that some energies are not fully tamed, but are glorious as wild beings and should be kept as such. It’s the same with music, nurture the wild sides of sounds and energies!

Hypnotised is the first encyclopedia project to cover the global trance movement during its most prolific years. Following compilations directed to the early Dutch, British and German trance movements, this fourth installment shines a light on the influential Belgian scene. Published in limited 3x12’’ vinyl, 3xCD and digital formats, ‘’Hypnotised: A Journey Through Belgian Trance Music (1992-2003)’’ includes 27 exquisite tracks from classic imprints like Airscape, CJ Bolland, M.I.K.E. and Jericho.

Octave One continues to visit some classic Never On Sunday tracks with a second installment of their Messages From The Mothership series. This latest 12" finds the pair release two different Mothership mixes of 'The Bearer' and 'Contemplate'.

The pioneering Detroit brothers have shown a different side to their sound with the Never On Sunday project, both back when it was devised in the early nineties, and more recently when they have looked back over some of the project's key tracks and added a contemporary spin to them. Already this year the Burden Brothers have offered up new takes on 'Price We Pay' and 'A Better Tomorrow' as well as dropping brand new cut 'Mirror Image' and now their fine form continues on this latest release on their own 430 West label.

The A-side features a new Mothership Remix of 'Contemplate' from 2022 that unfolds over an epic 11 minutes of enthralling deep techno. The synths bring classic Detroit soul and the impassioned vocals layer in emotion to the sleek, compelling drums. The Instruments Version strips out the vocals and places more focus on the sublime rhythm and drums.

On the B-side, ' The Bearer' from the 2023 album Never On Sunday gets a fresh Mothership Dub. It is another masterful and almost 12-minute journey that rides on compelling drums and is lit up with a majestic vocal that soars up high while the warm, dubby undercurrents keep things moving in dynamic fashion and smeared cosmic synths bring a great sense of scale. A Mothership Instrumentals version closes out the package.
These are for more fresh perspectives on timeless house and techno fusions from the ever-innovative Octave One.

Horo proudly presents the long-awaited fourth studio album, Forces of Consciousness, by Ancestral Voices.

Following Liams first venture, 'Night of Visions,' a diary of a physical and life-changing journey to South America, he took a trip into seismic, dark, and heavy frequencies with his second LP, 'Divination,' which plunges into the notion of ritual. The third LP delved into the cosmic, devising custom tuning systems for the meditative 'Navagraha'.

Liam continues this conceptual approach that threads his work together with Forces of Consciousness - an exploratory dive into metaphysics, how consciousness creates reality, and how sound exists to bind and sustain our thoughtforms in harmony.

"I am fascinated by the intricate workings and unexplained phenomena beyond the physical. This has become a journey as I seek to understand the interconnectedness of all things. The threads that bind us to this experience.

Everything is consciousness; all things in existence are inherently conscious, including living and non-living entities. Consciousness is not merely a product of our brains and bodies but a fundamental universal aspect.

Consciousness creates reality; our consciousness shapes our perception of the world. Our thoughts and beliefs play a significant role in shaping the reality we experience.

While intangible thoughts cannot be measured physically, they shape our reality tremendously. Our thoughts significantly impact the world around us.

We are waveforms, and everything around us is sound. Sound plays a vital role in maintaining balance, whether the sound of a chirping bird, the whistles of dunes, or the resonance of the Earth.

As a collective, we make up chords that continuously merge and try to find a harmonious balance that sustains our consciousness. In essence, thought forms coexist to create harmonic structures, a lattice of electrical current that manifests as the lives we live every day."

The patterns change with the observer.
Matter is a limitation of consciousness.
That which was first was the immeasurable.
The harmonies remain.

DJ Subaru has already made their name exciting dancers with offbeat anthems and obscurities as part of their luminous Pleasuremaxxx parties, alongside similarly inclined soirees in Leeds, London, Berlin and beyond. Making their accomplished production debut on CWPT with 'Lots of Love', DJ Subaru instinctively mines the expressive, outsider strains of disco, Italo and pop pleasures in their record bag, revealing an EP that throbs with the pleasures, pain and potential of a life in strobes and smoke.

Vocalist and muse Tiss Vampiric emerges from London’s shadowy underground to lend their voice to the brooding, disco-Gothic track, ‘My Love’. Stalking a moody paradise amongst DJ Subaru’s EBM-oriented synthesizers, their baroque lyrics conjure an atmosphere that bridges the energies of subversive pioneers such as Soft Cell and Ministry, a sensual maze where denial only leads to more devotion, as well as more dancing.

Keeping the lights dim but brightening the corners, the prolific cosmic disco pioneer Prins Thomas reinvigorates his legendary ‘Discomiks’ approach for a euphoric remix of ‘My Love’. Incorporating DJ Subaru and Tiss Vampiric into a dancefloor canon that also includes Lana Del Rey, Pet Shop Boys and the Chemical Brothers, this classic arrangement has been road-tested to build euphoria, joyfully reflecting menace from mirrorballs.

The latter portion within 'Lots of Love' leaves us entirely in DJ Subaru’s musical visions. The only voice on ‘I <3 You’ is soft and robotic, intoning the track’s simple title over a lush, caramelized groove that’s pure circuits and sentiment. In contrast, the moody pads of ‘Just Visiting’ build to a crescendo of breaks and basslines that capture more urgent early hours energy, while ‘She’ provides a beautifully naive melody and a slightly balearic touch for a wide-eyed kiss goodbye.

‘Empires into Sand’ is the first album of new material from Normil Hawaiians in 40 years. The group first refined their sound during the early 80s, hitting on a pastoral experimentalism that drew on ambient drone, motorik impulse and post-punk pep.
‘Empires into Sand’ came together in the familiar manner of their original three albums, with improvisation and nuance informing the blueprint of the tracks. It was with the official release of this last record ‘Return of the Ranters’ (originally recorded in 1984/85, but then unconsciously shelved) in 2015 by Upset The Rhythm that led to the group reconnecting with the intention of playing music together again. Normil Hawaiians played a launch show for that ‘lost album’ and followed that up with more concerts, including an appearance at Supernormal, a residency at the Edinburgh Festival, gigs at Cafe OTO. They were even chosen by Richard Dawson to perform with him in London.
Throughout this time, Normil Hawaiians revisited their original songs for live performance. However for a group always so interested in evolving their sound, it came as no surprise that they shirked at the idea of a faithful retread. The band pushed their songs into new inventive dimensions, still progressive at core, but now imbued with a cosmic uncanny. A cinematic approach that was always quietly present has come to the fore. The quaint weirdness of folk song, the humanity of communal practice and the group’s ecological mindedness have all found a place in Normil Hawaiians’ current sound world.
When Normil Hawaiians write and record music they prefer to gather in a remote location and live together for a while, such is their communal ethos. Being far-flung across the UK, the Family Hawaii (numbering seven key members) decided to encamp to Tayinloan, a small village on the west coast of the Kintyre peninsula in Scotland. They set up their own studio in an isolated, windswept house overlooking the sea and started the tape rolling. Noel Blanden from the band explains the process neatly: “we set up and began playing, slowly and patiently, allowing the music to take its own shape based on where we were staying and our ongoing friendship. We recorded for days, capturing everything. A lot of new and rich ideas began to emerge”.
Normil Hawaiians took their time to develop these threads at their own pace, allowing songs to mutate and settle over months. Simon Marchant deftly produced and recorded the album whilst also performing in the band, this marked the first time the band had total control of their own sound. The last few years has seen the band reconvene in Herne Bay, Faversham, London and Leith to record new parts, constantly responding to the changing form of these quietly spectral songs of defiance.
‘Empires into Sand’ incorporates samples from old rehearsals and live music into the new finished pieces, this is in continuum with their previous records. Snippets of sound from the static of short wave radio and satellite transmissions also embellish the work. In fact the whole album is stitched together with interludes, creating an acutely immersive 45 minutes. ‘Exiles’ opens the album amid swirling atmospheres, synth flights and recordings of Vilnis Egle (father of Zinta Egle from the band) retelling his experience of fleeing his home in Latvia during Soviet occupation in 1942. George Bikandy also features on this track talking about his flight from Syria in 2014. ‘Ghosts of Ballochroy’ is a winding river of a song featuring a lively discourse in Scots courtesy of Rodney Relax. There’s a commitment to truth telling present across this hopeful album populated with angels, incoming tides, long shadows and the rose-washed sun. “From our broken windscreen, we feel the breeze” soars Guy Smith triumphantly over the driving beat of ‘Waterfalls : Bedford 330’. ‘Big City Sky’ flutters and sparkles with rapid synth runs, tape-looped drums and Jimmy Miller’s commanding vocal. With ‘In The Stone’ Zinta’s melody is deliberately jagged and blunt, exaggerated by octave-layered vocals and interjections from Guy.
This is thought-provoking, boundary-bothering music. Honest in intent, a solidarity of vision. The album’s title is derived from a poem by band member Mark Tyler, who sadly passed away during the recording process and the transience of life is felt heavily throughout. Noel best coins the group’s wish for the album: “we wanted to create an album that acknowledges our history and also reflects who we are today. We remained true to ourselves and we wanted to make something beautiful without removing the edges.” ‘Empires into Sand’ certainly does that, it’s an echo from the past, an echo from the future.

Akio Niitsu's first album, "I/O(i?o)" released in 1978, was produced in a homemade studio that had been converted from a storeroom in his home, and he spent three years doing everything from composition to engineering by himself, using overdubbed guitar recordings. 's first analog re-release has been decided.

As a guitar multi-recording album, the idea was realized six years earlier than the album "E2-E4" released in 1984 by Manuel Göttsching, the central figure of "Ash La Tempel", but it was too early. A hidden experimental/ambient gem!

The paradoxical sound that makes you feel as if you are lost deep in a labyrinthine forest, combined with Tadanori Yokoo's artwork, is a piece that allows you to enjoy Akio Niitsu's worldview with your ears and eyes.

DJ Support: Gilles Peterson, Sean Johnston, Jaye Ward, Max Essa and Francois K

Limited to 300 copies

Having been long-time admirers of one another from afar, Hell Yeah and Michele Mininni finally come together for Pop Archetypes. It is a multifaceted debut album that collides broken beats, worldly rhythms, jazz, eastern melodies, live drums and much more into one thrilling 15-track opus that arrives on May 31st.

Italian artist Mininni has always had a leftfield take on electronic music and imbued it with rhythms, melodies and instruments from around the globe. He has released it on cult labels like R&S, Optimo Trax, Internasjonal and Curle Recordings but has saved his magnificent debut album for Hell Yeah. It is much more than a collection of sounds he has already explored and instead finds him heading off into all new territory without losing his signature sense of inventive and beguiling rhythm and melody. It is a multicultural journey that takes in heterogeneous styles and diverse influences but distills them all into one cohesive album with its own unique storyline.

Says Mininni of the record, 'I wanted each track to be like pieces of a unique, multifaceted picture, like walking through train cars or progressing through the levels of a video game, all filtered through my own vision and concentrated into 36 minutes. I wanted a pop album rooted in the extraordinary richness of popular music and projected into the future, a continuum where pieces communicate with each other and are received by the ears in symbiotic balance.'

Despite that concept, the album is a spontaneous listen full of surprises, left turns and original ideas that all hold together in thrilling fashion. It kicks off with the tumbling jazz drums and swirling synths of 'Spinning Around Cotton Candy', takes in mellifluous melodic layers and broken beats on 'Golden Room' and 'Slipped Air' casts you adrift amongst gorgeous piano keys and refracted vocals on the suspensory 'Vertigo'. There are jungle interludes with Eastern string melodies like 'Bangkok Tempo', lavish fusions of organic and synthetic sounds on 'Kundalini' and more charming Far Eastern rhythms on 'Muting Cat'. 'Congoflash' brings electrifying cosmic rays to busy hand drum patterns, 'The Magic Of Synesthesia' combines dark amen breaks and bright and uplifting flutes while 'Carousel Of Tears' douses you in watery melodies and celestial pads that awaken the soul.

Pop Archetypes is an adventurous work packed with meticulous and infinite details but all with an overarching narrative that makes it far more than the sum of its parts.

"I was in a dream, but now I can see that change is the only law." With a credo adapted from science fiction author Octavia E. Butler, an album title from a collection of metaphysical poetry, and an expansion in consciousness brought on by personal crisis, guitarist and songwriter Shana Cleveland learns to embrace a changing world with unconditional love on News of the Universe, the new full-length from California rock band La Luz. News of the Universe is a record born of calamity, a work of dark, beautiful psychedelia reflecting Cleveland's experience of having her world blown apart by a breast cancer diagnosis just two years after the birth of her son. It's also a portrait of a band in flux, marking the first appearance for drummer Audrey Johnson and the final ones from longtime members bassist Lena Simon and keyboardist Alice Sandahl, whose contributions add a bittersweet edge to a record that is both elegy for an old world and cosmic road map to a strange new one. But is there any band in the world more suited to capturing the chaos of change in all its messy beauty than La Luz? Formed by Cleveland in 2012, La Luz is beloved for their ability to balance bedlam and bliss, each new record another fine-tuning of the band's mix of swaggering riffs with angelic vocals borrowed from doo-wop and folk; a band so reliably great that it makes the huge step forward in confidence and sheer musicality that is News of the Universe all the more formidable. Cleveland, also a writer and painter, has developed into a truly original songwriter with her own canon of haunted psychedelia. Yet if Cleveland has spent years writing songs about ghosts, what lurks in the shadows of News of the Universe is nothing less than death itself. "There are moments on this album that sound to me like the last frantic confession before an asteroid destroys the earth," says Cleveland. The powerful sense of openness that permeates News of the Universe is at least partially due to the fact that it is a record made entirely by women-from the performing, writing, and producing all the way through to the recording, engineering, and mastering. Working with producer Maryam Qudos (Spacemoth), the all-female environment allowed Cleveland to feel safe tapping into difficult places and expressing hard emotions women are socialized to suppress. Unashamedly vulnerable, unabashedly feminine, and undeniably triumphant, News of the Universe is another knockout record from a band so reliably great that it has perhaps led people to overlook how pioneering La Luz really are: women of color in indie music forging their own path by following their own artistic star into galaxies beyond current musical trends, always led by an earnest belief in the cosmic power of love and a great riff. Never is that more true than on News of the Universe, which might be La Luz's most brutal record to date but also their most blissful.

030/313 – Berlin/Detroit, the fundamental techno union. Now Carhartt WIP, whose roots can be traced to Detroit, Michigan, join forces with Tresor for a collaboration that celebrates the enduring spirit of two music metropolises. Referencing the early 90s compilations like “Tresor II – A Techno Alliance”, they present a 12” mini compilation with exclusive material from both cities.
The compilation opens with “I.D.L.E.”, a lost Model 500 track, of essential funk that touches the techno soul of The Motorcity, with trippy melodies and cosmic drilling traversing electrified Mojo freeways. It’s followed by another true Detroiter: Ectomorph’s “Searching (Live At Globus)”, a first extract from their live set at Globus in 2021, which BMG and Erika played on borrowed equipment after Erika’s case was lost on a flight. The A-Side stays in Detroit and finishes with “Your Body”, an exclusive track by AMX, also known as The AM, one of Detroit’s freshest funk techno sensations. She carries on the mentorship mindset by having learned from two of the greatest: D.I.E. and Scan 7. “Your Body” is a classic techno feel swinger, where subtle chords meet drum machine funk in the spirit of early Detroit techno.
DJ Stingray 313 opens the B-Side with a bang. Precisely hacked techno, full of dark funk and that special industrial jack, that the man in the mask has made his own. A total “Dynamic Instability”. Magic & furious. The thrill continues with “Metal Goat”, by JakoJako, one of Berlin’s brightest synth sensations. She provides an introspective grower that slowly evolves into a fast-paced techno grinder, laden with micro shifts and magic twists. The final tune comes from Erik Jabari, a newcomer from the 030 zone, emerging from the Hard Wax peers with haunting modular synth techno–a feverish minimalistic trip of motorized kicks. DJ Pete performed as spiritual guidance on this one. It’s floor proven. An overall cachet of “030313” - the small compilation with a huge techno heart.

Members of The Chats, second LP in anticipation of their debut Euro Tour, FFO Cosmic Psychos, The Saints, Stiff Richards. Australia never misses. European release of The Unknowns second LP, released on Bargain Bin Records in Australia. "There have already been some monster LPs released in 2023, and the sophomore album from The Unknowns just might be the best of the lot. The Brisbane-based then-trio released one of the greatest punk albums of the roaring twenties (so far) with Nothing Will Ever Stop back in late 2020. Now a foursome following the addition of The Chats' Eamon Sandwich on guitar, The Unknowns have returned with an even better follow-up. East Coast Low manages to take most of the musical genres I hold dear and mash them together in the most delightful way. Basically the sound is classic punk rock with a ton of energy and catchy tunes (what else would you expect from Australia?). Yet at the same time, this album aligns beautifully with modern-day garage punk, power pop, and straight-up rock n' roll. East Coast Low packs ten tracks of punchy sing-along punk rock into 23 and a half minutes of pure fun. Songs like "Dianne," "Rid of You," "Thinking About You," and "I Don't Know" prove once again that there's a certain kind of itch that only old school punk rock n' roll can scratch. These guys are doing nothing new. But man, they do it so freaking well! If we're talking about the cream of the contemporary Aussie punk crop, The Unknowns have earned a place in the conversation." Josh/ Faster and Loude.

Certainly one of the most obscure and perhaps one of the most fascinating work of the English jazz revolution. Master of ceremonies is cellist Paul Buckmaster, known for his work with the Third Ear Band and for his (later) collaborations with Miles Davis, David Bowie and Elton John. Chitinous is his the only album as leader and it was recorded between 31 March and 13 April 1970, by an orchestra of no less than 51 players, with violins, violas and cellos. In this enormous line-up we find the cream of English musicians involved, starting with trumpeter Ian Carr and ending with drummer John Marshall. The leader is on cello, his main instrument, but also on keyboards, which he shares with the excellent Pete Robinson. The music is organized in suites, with very broad suggestions that draw from classical and contemporary music and then move back into jazz territory.

As the "Interstellar Cosmic Blues" half of this EP, we consider these songs to be some of the best that we've produced. Songs that could all be "singles" all on their own. And they better be because "The Riffalicious Stoner Dudes" brought some savage riffage of their own! Put it all together with amazing artwork by Mirkow Gastow and release it on Heavy Psych Sounds, the BEST record label on the planet... and you've got all the makings of a great record! A modern classic right out of the box. Dig it!

Royal Blue Vinyl, limited to 350 copies. As the "Interstellar Cosmic Blues" half of this EP, we consider these songs to be some of the best that we've produced. Songs that could all be "singles" all on their own. And they better be because "The Riffalicious Stoner Dudes" brought some savage riffage of their own! Put it all together with amazing artwork by Mirkow Gastow and release it on Heavy Psych Sounds, the BEST record label on the planet... and you've got all the makings of a great record! A modern classic right out of the box. Dig it!

Melodischer Death Metal mit Frauengesang! Düstere Hymnen der Rebellion Ancient Settlers haben sich in der europäischen Melodic-Death-Metal-Szene dank ihrer unermüdlichen Live-Aktivitäten schnell einen guten Ruf erspielt und wollen nun mit ihrem zweiten Studioalbum die Messlatte höher legen. Angeführt von den dämonischen Vocals der Frontfrau Argen Death beherrscht die venezolanisch-spanische Band das Thema Melodic Death mit absoluter Sicherheit durch stürmische Heavy-Riffs, fette Grooves
und eingängige Hooks (genau wie die Schwedischen Paten es uns allen beigebracht haben). "Oblivion's Legacy" ist ein konzeptionelles Werk, das in die Tiefen der menschlichen Existenz vordringt und das Vermächtnis erforscht, das wir als Individuen und als Spezies hinterlassen. Die Texte befassen sich mit den Auswirkungen unseres Handelns, den Kämpfen, denen wir uns stellen müssen, und dem endgültigen Schicksal, das uns alle erwartet. Vor dem Hintergrund kosmischer Wunder und existenzieller Introspektion dient jeder Song als Kapitel in der sich entfaltenden Erzählung der Reise der Menschheit durch Zeit und Raum.

the debut release of naples based house music producer fabrizio fattore.

he released first single on world peace(run by joe clausell&gigi testa),it’s nice cosmic
jazzy fusion deep house.

since then we have been paying attention to his music.

our release is revival of classic detroit techno and house.

a1 “deep blue” is simply killer detroit techno which reminds us early 90’s stuff.

b1 “passengers to mars” is his trademark cosmic deep house.

b2 “moon temple” is jazzy new age down tempo.if you like some slow stuff of kuniyuki,
you will love it.

music sounds classic but we’re feeling classic is new.

hope you like!

Combining elements of post-rock, trip-hop, and industrial music, HAAL have quickly become cult favourites in the UK live scene. Their psychotropic blend of samples, DIY pedals, and monolithic instrumentation, has seen the band play and tour alongside the likes of Kyoto Kyoto, WEB, Deliluh, Treeboy & Arc, Katy J Pearson, and Gurriers, as well as appearing at festivals such as ArcTanGent, Dot To Dot and more. Coming off the heels of their recent singles “Janus” and “Judy” (and subsequent remixes by Water From My Eyes and Crimewave), the new EP “Back To Shilmarine” arrives as a blistering snapshot of the band’s protean dynamism.

The band celebrate their late-90s / early-00s influences in a caustic yet melodic blend of tracks that nod as much to the output of labels such as Dischord, Touch & Go, and Nothing Records, as they do their contemporaries in the UK scene such as SCALER, Famous, deathcrash, and LICE. The EP sees them bring all these touchstones together to create a unique and uninhibited maelstrom of sound that spans everything from intricate math-inflected guitar lines and pensive vocals to propulsive drumming, totemic riffing, and warped synths.

Arguably some of HAAL’s heaviest material to date, “Platform 1, 18:19” offers the first look into this new material melding motorik rhythms and hypnotic riffs with sudden explosions of noise and power. However, as ever with HAAL, there is more than meets the eye – the track also features samples completely abstracted from their sources, for instance, the drone that begins the song is taken from a video of frontman Alfie Hay and his friends beating Bop It.

Elsewhere on the EP, the lyrics explore themes of cosmic existentialism, absurdism, meaning, transhumanism, inner reflection, science, history, and general philosophy. “All the lyrics are musings or verses that I wrote at very different times in my life” says Hay. “I then had to fit them around the music, despite being written at wildly different periods.” The record was once again recorded with long-time collaborator Alfie Tyson Brown (Katy J Pearson, LICE, Lazarus Kane) at The Louisiana in Bristol. The band have a tight knit collaborative circle around them, this is particularly notable around the band’s imagery

Masterpiece debut album from Acid Synthesis! 8 tracks of fine Acid-Trance taking us back to the golden days of the 90's, think early Harthouse, Resistance D etc TIP!

Québec's own CANTIQUE LÉPREUX are back with their third full-length album "Le bannissement". It is a tale of self-initiation, a rejection of society, and a glorification of nature - manifested in their signature style of swirling tremolo-guitar-riffs, tortured screams, and elaborate melodicism. Over the recent years they have established themselves as an essential act of the Métal Noir Québécois scene. They channel the evocative power of Black Metal, carrying vast forests, desolate landscapes, impassable mountains, and cosmic torment. The band members are also associated with Mêlée des Aurores, Chasse-Galerie, Acédia, Manière Noire, Chaos Catharsis, Forteresse, Délétère and Au-delà des ruines.

"Le bannissement" tells the abduction of a young girl and the sickness that is forced into her. Tainted, and rejected by those who should have protected her, she flees to wild and unexplored land, where she shatters and mends herself continuously. In these countless battles, she severs her bond to reality, subverts the sickness, and overthrows those who had seized her innermost Dream. Through banishment, liberation.

The album presents a raging and hypnotic narrative. Fast-paced songs drag the listener in a wild hunt, rushing towards self-annihilation. It was interpreted with the band's live line-up and equipment to preserve the fierceness of the mindset it was composed. This raging maelstrom, built on alluring melodies, shows guitarists Blanc Feu and Ascèse's fascination for music history and musicology. The album's emotional power stems not only from black metal's common genre tropes but also from the austere grandeur of early music.

Repress!

‘Hardcore Jollies’ was Funkadelic’s ninth studio album and their debut on Warner Bros Records. Released in October 1976 and dedicated to “the guitar players of the world”, it showed Funkadelic was the heaviest black rock band since Jimi Hendrix’s Band Of Gypsies (even featuring Buddy Miles on one track). With lead guitarists Michael Hampton and Eddie Hazel dazzling, the personification of funk Bootsy Collins on bass, Bernie Worrell’s keyboard wizardry and many more, the album was helmed by the genius of George Clinton. Reaching no.12 on the US R&B chart, the album spawned singles ‘Comin’ Round The Mountain’ (US R&B No.54) and ‘Smokey’ (US R&B No.96) and a live remake of 1973’s ‘Cosmic Slop’ from the album of the same name. Recorded during rehearsals for 1976’s P-Funk Earth Tour, this version features a vocal introduction dropped from the 1973 studio cut. Over 45 years since its original release, ‘Hardcore Jollies’ is among Funkadelic and George Clinton’s best-ever albums and remains a masterful example of their creative genius. 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 coloured vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

"Nothing and no one can extinguish this flame within you," sings Emilie Simon from the opening title of Polaris, her first true album in ten years. An apparent long eclipse that the French singer, musician, and producer has nevertheless used to explore new territories, open uncharted paths, and reinvent her musical vocabulary and narrative threads. Like Ariane in a dreamlike world, she stretches these threads along her journey, inviting us to blindly follow.

After composing music for the film "The Jesus Roll" with John Turturro, and a musical journey between Earth and Mars through a series of singles, in 2023, Emilie Simon chose to revisit her debut album, both in the studio and on stage, to definitively close a chapter begun twenty years earlier. She also published "Phoenix," a gothic tale with a "vampiric" theme, sung and spoken in alexandrines. The central character, Lily Mercier, is the same one found at the heart of the Polaris adventure. Clearly, Lily is a projection of Emilie, on a quest for the North Star that symbolizes the never-extinguished desire to find her way. The dazzlement too, when one is a musician always eager to ignite again for the infinite mysteries of sound and to translate its shivers into songs.

This album, sung in both French and English, succeeds in combining the clarity of melodies with the demands of production. It immediately captivates (the irresistible burn of the Sun) and enchants over repeated listens, like a lasting iridescence of a thousand sonic fragments. Recorded in New York (where Emilie lived for a long time), Los Angeles, Montreal, Rome, and Paris (where she returned to settle), Polaris has its own cartography. Its universe is the standard scale, its pulsation inspired by cosmic rhythms, and its unique poetry both disturbs and captivates. A sign that nothing and no one can extinguish this flame within her.

Ukrainian vinyl label ARTREFORM significantly raises the stakes as its important anniversary (a soon-to-be-released 50th record) is gradually approaching. ARR048 is a double record, including three original tracks by Romanian producer Funky Trip and four Barac, Petit Batou, Lorgu, and Lukea remixes. ARTREFORM's founder, Kyiv DJ and sound producer JOSS, obviously trusts and bets on Funky Trip's talents, and this bet looks set to play out big time. Nicolae Catalin Cimpoier (Funky Trip's actual name) is a notable representative of the new
wave of the Romanian electronic scene that catapulted many stars to global fame. Thanks to a series of successful releases on Rawax Music and Stamp Records Paris, this Bucharest musician perfected his recognizable sound of crystal-clear minimal house, embellished with warm emotions and exquisite, shimmering melodies. Now it's high time Funky Trip transitioned to vinyl!

The second part of ARTREFORM's latest double vinyl release captures a new Romanian electronic scene star, Funky Trip, presenting a track called "Magic Woman." Just like femme fatale encounters often tend to, this occasion leaves one too many questions unanswered. Funky Trip's signature minimal house maintains tension through a looped leitmotif while the rhythm section and spacious ambient pads gradually trick the listener in. "Magic Woman" has the appeal of an ideal "second track" in the mix, the one intriguing enough yet leaving space for further narrative development. Funky Trip's delivery is delightfully contrasted by a beautiful remix by Lorgu that brings to the table an atmospheric, groovy house with many small nuances. The next track, "Les Voix," is another collaboration with Mia Zedan and a perfect specimen of ARTREFORM's sound pedigree: a powerful bass line coupled with an energetic and inventive tech house beat. However, its full depth of immersion takes effect via a remix by Lucas Morello, known as Lukea. His sci-fi-infused vibes of cosmic alienation and observation elevate this remix to the adornment of this Romanian-French-Ukrainian fruitful
creative collaboration.

Early support: Barac, NTFO, Lukea, Sam Farsio.

REISSUED ON GLACIAL BLUE VINYL! Papercuts' You Can Have What You Want is the third phase in Jason Quever's ongoing pop investigations. The relatively earthbound happy/sad pop of Mockingbird and Can't Go Back has been launched into the vault of the skies. Here, Quever delves further into epic dream-pop using mostly vintage organs, pulsing bass, and Kraut-via-Ringo-inspired drum rhythms. Intact from those earlier efforts is Quever's sense of arrangement and drama, as well as his soaring vocals, draped in reverb gauze. The words reveal a fascination with mortality and things cosmic, while sonically the voice acts as another instrument. This obsessively all-analog effort (no computer processing here whatsoever!) cuts across several eras of dreamy sound: '80s/'90s Creation and 4AD Records, The Zombies, '60s French pop, even Can's Future Days--and then there's the inevitable connection to former tourmates Beach House and Grizzly Bear. Indeed, Beach House's Alex Scally helped with some of the arrangements, though You Can Have What You Want is its own strain of addictive pop. For many, it will be the blissful/melancholy jam of the spring and summer. Quever was raised on a commune in Humboldt County, orphaned, and moved up and down the West Coast before calling San Francisco home and starting Papercuts, initially as a four-track recording project. When not performing with his own band, he can often be found recording others in his studio and filling in when needed as a multi-instrumentalist in friends' groups. "It takes a few seconds of Papercuts' second album, Can't Go Back, to think that maybe you've stumbled upon something special, a delicate mood piece made to slice through the din and chaos of modern life." --Pitckfork (8.3 rating

Revision of new beats on the horizon
Every 20 years or so, certain musical movements come full circle. Young musicians are inspired by genres dating back two decades, channelling them through their modern sensibility. The legendary J Dilla’s Donuts album was released in 2006 and instantly marked a starting point for the work of musicians worldwide, laying the foundations especially for the beat scene in Los Angeles. A whole young generation of musicians brought up on the new, instrumental and abstract hip-hop has carried jazz into a new era. The four London-based musicians who make up Uniri have gone one step further by abandoning the idea of a jazz band and "bedroom production" in favour of collective composing, creating a new look at the new-beat aesthetics, framing it as a road novel set in an unspecified time and space.

Uniri translates as ‘one unified dream’ and is the key driving motto of the project conceived by Chiminyo (Cykada, Maisha), the band's founder and head honcho. The project materialised in his private studio, where he invited fellow jazz musicians Amane Tsuganami (Jorja Smith, Maisha), Al Macsween (Nubya Garcia, Gary Bartz, Kefaya) and Luke Wynter (Nubyan Twist, Golden Mean) to spontaneously compose together. Hence, despite this being the band's first album, it wouldn't be right to call them rookies. The result of Uniri's collaborative work is the psychedelic, rhythmic album Infinite Reflections, packed with cosmic and warm synths, which neatly balances hip-hop beat and jazz composition. It's safe to say this music is even more appealing when played live, although it's equally suited to the club dancefloor.

UK Jazz has become a permanent fixture in the London landscape, but also across Europe and the US. Today, the musicians who shape the new wave of jazz are drawing on more and more genres, reducing solo improvisation for the benefit of composition and increasingly drawing on influences from the beat scene. Among such formations are the British NOK Cultural Ensemble, the Polish Błoto, the Belgian ECHT!, and the Dutch Comité Hypnotisé. Uniri is part of this emerging yet already international trend, creating an entirely fresh aesthetic that echoes artists such as Flying Lotus, Samiyam, Dorian Concept, Ras G and Nosaj Things oriented around the Californian 'new beats generation' scene.

The title Infinite Reflections alludes to a phenomenon observable on the open sea or during intercontinental flights. Gazing at the horizon blurs the boundary between the ocean and the sky, forming an infinite palette of blue shades. This inspiration sparked an elusive musical narrative, navigating between a sea voyage and an astral journey, destination unknown.

Neither Timothy J. Fairplay, nor Norwell are strangers to the Dalmata Daniel family: both of them are trustworthy contributors to DD compilation albums of earlier years, plus Norwell has released his 'ODD' EP and 'Joint Spaceflights' EP back in 2017 and 2019 on the label. So this time, it's a return for Norwell, and a debut for Mr. Fairplay: their DDS09 split EP is here to present 4 tracks full of outer space lights, eerie vibes, mesmerizing beats and cosmic energies.

Timothy J. Fairplay's side A starts with the explicit kicks and ominous basslines of 'Caliber 9'. Slowly and steadily, the laser blasts and relentless drums all add up to define a world of space cadets on the run, where any odd-looking figure can turn out to be a malignant, speedy alien. 'TV Tower' takes us to another planet with an even higher rotation velocity. Fast percussion elements and squished lower frequencies take center stage in this intergalactic episode, but the whistle-like melodies and descending, bubbling robot signals make the journey complete.

Flip to side B, and enter the contemplating, otherworldly atmospheres of Norwell. 'Midnight Rituals' gives you the chills with its breath-like swooshes, grievous sirens and deadly asteroid belts. Yet, there is no need to worry: after an intense ride with your spaceship, eventually you end up in the same spot, where you started: in the stable and steady mid-tempo beats of an expertly-programmed drummachine. The orbital mission comes to an end with 'Natives', a dense and heroic hymn with emotive structures and well-crafted harmonics. The track starts with the bittersweet, lamenting synths of a solo voice, pouring their heart out in the spotlight, all alone on the stage. All of a sudden, a hard-hitting, rhythmic groove commences its last rush of dedicated cadences. It is full of breaks, it is full of 303s, completed with airy echoes and dreamy, light gestures. 'Natives' keeps on building its structure with elegant paces, providing a massive, yet delicate experience of Norwell's defined aesthetics. The track lets the last strokes of its gloomy synths roll out, along with the final round of looping drums, thus putting an end to DDS09.

Mr. G and Duncan now return to 49North with a brand new 4 track EP.

The first cut, Cosmic One is a peak time futuristic roller that lures you in gently and leads you through its infectious sonic journey.

Cosmic Two comes straight in with its solid electro-funk 808 rhythm, a nod to early Detroit electro but with its feet firmly set in the 21st Century, it builds and builds and builds.

Cosmic Three revisits the synth work of Cosmic One and switches things up a few gears. From the get-go it’s heads down, a driving funk fuelled groove.

Cosmic Four rewinds us to a beat-less reprise of Cosmic One but very much its own unique space. Like sliding into a warm bath of dubbed out beat-less analogue bliss

Enjoy the ride ......

Two talents with careers spanning varying eras, yet artists positioned at the heart of Italy’s current house landscape, Alex Neri and Mennie are adding to their rich solo discographies with a series of selected works in partnership with one another. Tuscany’s Neri, co-owner of the iconic nightlife institution Tenax and label boss at Wildflower Records, stands as one of the legendary Italian names from the past 30 years, holding residencies at the likes of Pikes in Ibiza while releasing a long list of classic records since the early 90s under numerous aliases, including Kamasutra alongside Marco Baroni. A familiar name to FUSE fans, having released material via sister imprints LOCUS and INFUSE, Mennie has seen his career flourish of late, regularly touring Europe’s key venues while also holding a residency at the legendary Tenax. Here, the two build on their recent joint studio projects with a debut on FUSE for the third edition of the label’s collaborative X Series, unveiling a quartet of impactful house cuts in heavy rotation for label head honcho Siragusa.

Taking a deep dive amongst swirling synths and cosmic interludes, ‘Reality’ opens proceedings with a trippy and punchy lead cut as the duo introduce slick groove-laden drum arrangements to get things moving, while ‘Find Me’ keeps the pressure on with bumping low-ends, shuffling hats and a menacing yet captivating bass groove sure to keep dancers moving in lockstep. On the b-side, ‘Rockets’ brings luminous melodies amongst breaks-influenced percussion for a playful and dynamic production, before ‘Watch Me’ rounds things out with another all-action affair as acid-dipped and kinetically charged closer made for big moments.

For Fans Of... El Michels Affair, Adnan Younge, Roy Ayers, Karnem Riggins, The Roots, Khruangbin. Producer "Grimez"” has been making music for 20 years deep, Grimez has ghost produced tracks for 50 cent, Hi-Tek, Kool Keith, Stick man (DEAD PREZ), Killah Priest, Sadat X, MOOD & Talib Kweli, and Mighty Diamonds to name a few. Gritty & raw analogue instrumentals. Very limited black vinyl LP. Genre: Hip Hop. Doctor Bionic is back on the airwaves. The newest album from Cincnnati based executive producer Jason Grimez is an instrumental collection of classic soul, jazz, and hip-hop sounds. The first instalment of a three-part series, Terrestrial Radio offers 37 minutes of carefully curated jams. Tune in to catch the vibe on 1/26/2024. Jason Grimez is an engineer, executive producer, and the owner of Chiefdom Records. Growing up in the 90s, he fell in love with hip hop at an early age. He started scratching on a pair of 1200s and sampling records with an MPC 3000 in high school Years of sampling, mixing, producing, and sharing his own music led him to where he is today. His independent label Chiefdom Records has released close to 30 albums in the last seven years. His studio persona Doctor Bionic was one of the first to see a release on the new implant. The project features a rotating cast of incredibly talented session musicians. Jason is responsible for writing, recording, producing, mixing, and releasing the records. Grimez sets the scene on track one of Terrestrial Radio, aptly titled “Time Continuum.” The listener is greeted with the scrubbing sound of a radio dial We pause for a few seconds when the signal is strong enough to catch an ad-read from an old cereal commercial, or to gather an update from a sports announcer. Grimez takes the listener to a new era each time he spins the dial. Our search comes to an end on the channel where we’ll cruise through the next six songs, hand-picked by the Doctor himself. Terrestrial Radio features some of Cincnnati's best session musicians. “Keep Your Kids in School” highlights a killer rhythm section. Brian Batchelar-Glader recorded the organ over an effortlessly funky foundation formulated by Manan Havéans (drums) and Aaron Jacobs (bass). With an equally punchy bass line, funky guitar jabs , and thoughtful trumpet arrangements (Michael Mawnidoglou), “Wire Fraud” s the perfect soundtrack for your next bank heist. The remainder of the record offers everything from shuffling gospel grooves to head-nodding drum breaks. As Doctor Bionic, Jason Grimez has carved out a niche for a community of musicians to thrive in and build upon. Grab a copy of Terrestrial Radio on 1/26/2024 and stay tuned for the second instalment in the series.

SKRAECKOEDLAN - four bearded Swedes who's forged their unique sound of progressive stoner rock in the cold northern forests. Previous album Earth was a massive domestic success as it hit the hard rock charts in Sweden. We expect SKRAECKOEDLAN to continue growing as new fans discover Vermilion Sky, out after five years of silence. Five years. Is that a long time to wait? Generally speaking, yes. Probably. Well, maybe. Time is after all relative, so there surely isn't a fail-safe answer.

SKRAECKOEDLAN - four bearded Swedes who's forged their unique sound of progressive stoner rock in the cold northern forests. Previous album Earth was a massive domestic success as it hit the hard rock charts in Sweden. We expect SKRAECKOEDLAN to continue growing as new fans discover Vermilion Sky, out after five years of silence. Five years. Is that a long time to wait? Generally speaking, yes. Probably. Well, maybe. Time is after all relative, so there surely isn't a fail-safe answer.

SKRAECKOEDLAN - four bearded Swedes who's forged their unique sound of progressive stoner rock in the cold northern forests. Previous album Earth was a massive domestic success as it hit the hard rock charts in Sweden. We expect SKRAECKOEDLAN to continue growing as new fans discover Vermilion Sky, out after five years of silence. Five years. Is that a long time to wait? Generally speaking, yes. Probably. Well, maybe. Time is after all relative, so there surely isn't a fail-safe answer.

LA-based DJ duo Guruku is back with their second release. The title track ‘Mesmerized’ has a throwback feel to the likes of The Gap Band, Prince, and D-Train. With a loose format, Rojai’s vocal builds the dubbed-out drums and heavy synth line that rises to an electrifying release with dirty hypnotic pads smothering a delicious bassline. Italy’s Giovanni Damico lays down a heavy bass textured to perfection with tasty vocoders throughout. Daniel T. (Cosmic Kids/DFA) takes rhythmic cues from B’more's Unruly Records while keeping close to his West Coast roots with a G-funk synth line riding high. What It Takes starts with a melodic, percussive Moog line that breaks into a full production of Rhodes, live bass, and early 80s drums. Rojai delivers a heartfelt love letter letting the one know they can stand the test of time. Rayko vs Wvp mix keeps the boogie alive with a cascading bass line for the dancefloor.


RIYL: Star Creature, Dam Funk, Ray Mang, and The Gap Band.

Repress!

Presenting a collection of deep spatial gems mined from the ever impressive TK Disco vaults for your playback listening pleasure!

The TK Disco music empire has blessed our ears and minds with an endless stream of music since it's late 1960's inception. Countless soul and funk sides were produced, cut and released by label founder Henry Stone and his associates, in turn changing the face of contemporary black music in the USA and across the world forever. It is true that the TK story originated on America's 'Space Coast', the modern frontier of lunar exploration and galactic travel, the home of NASA and countless missions beyond the stars nestled on the East Coast of the United States.

'Moon Ride' - The compilation you hold in your hands, is merely one strand of the incredible music that was beamed out of Hialeah, FL over the decades. The focus on this collection is the idea of the 'cosmic' from the Disco era. These are records that emit a spacey vibe, either from their lyrical content or equally from their sonic qualities, imbibing synths and electronics to create otherworldly grooves. These records were big hits on underground music scenes such as Daniele Baldelli's cosmic movement in the 70's and 80's in Lake Garda, they were vehicles of escapism and hedonism on the discerning dancefloors of NYC in the hands of progressive DJs like David Mancuso and Nicky Siano and they were also essential building blocks in the creation of House and Techno music in the Midwestern cities of Chicago and Detroit, inspiring legendary artists such as Mr Fingers and Jeff Mills and countless others. An essential collection of music for listening, dancing, loving and travelling!

TK Disco's influence is still felt today and this carefully curated selection of tracks showcases some absolute classics, overlooked nuggets and rarities from the label's huge output. Mastered with love by Optimum Mastering, Bristol UK. Brought to you by TK Disco / Henry Stone Music & Above Board Distribution 2021.

Africamore: The Afro-Funk Side of Italy (1973-1978)

Continuing Four Flies' dedication to delving into lesser-explored periods of Italian music, Africamore takes us on a captivating journey into the intersection of Afro-funk and the Italian soundscape during the six years between 1973 and 1978 - a time when disco was looming on the horizon and the nightclub market was rapidly expanding.

Before reaching Italian shores, the infectious sound originating from African and Afro-Caribbean roots traversed both the Mediterranean and the Atlantic, landing on New York dancefloors, where DJ Dave Mancuso discovered "Soul Makossa" by Manu Dibango. In 1973, from Mancuso's Loft parties, the song's hypnotic groove spread to the rest of the globe, including in Italy, where it sparked a wave of imitations and variations.


Tribal influences thus found their way into Italian soul-funk and early-disco productions released between 1973 and 1978 – from psychedelic-tinged tunes like Jean Paul & Angelique's "Africa Sound" to the Afrobeat-inspired club banger "Kumbayero" by composer/producer Albert Verrecchia (aka Weyman Corporation); and from groundbreaking Afro-cosmic songs like Chrisma's "Amore", co-written by Vangelis and featuring the rhythms of Ghanaian-British Afro-rock band Osibisa, to mind-blowing floor-fillers like Beryl Cunningham's "Why O", a re-write of Nat King Cole's "Calypso Blues" arranged by Paolo Ormi, with percussion breaks that sound pretty much like what would later become known as techno.


Combining feel-good vibes with driving rhythms, world-style percussion, and even synths, all these productions pushed the boundaries of dance music at a time when disco had not yet taken over. In doing so, they sowed many of the seeds of the later Italian cosmic scene and its unique mixture of African elements, disco-funk and electronic music.

This was a brief but nuanced period in Italian music history, one that deserves to be rediscovered, with love.

Africamore is due out on March 22nd and will be available as a gatefold 2LP and digipak CD. Both formats come with stunning artwork by Kathrin Remest and liner notes by Pierpaolo De Sanctis and Elena Miraglia.

Here's for the real thing! A late 60s Japanese compilation investigating the so-called "group sound" movement. Includes early recordings by a series of musicians later to perform with legendary bands such as the Flower Travellin' Band, Speed Glue & Shinki, Les Rallizes Denudes and Foodbrain. Must have !

Deer Jade – Jukurpa

Tired of grey skies and long faces? We’ve got a serious dose of musical vitamin D for you! Deer Jade is hailing from the picturesque Lake of Geneva, an area about which the late Jean Paul Belmondo had to say a thing or two. Her infectious smile and uplifting energy behind the decks already made her a household name in clubs and festivals around the globe. This solo debut is an expression of her strong self confidence and in-syncness with the world surrounding her. “Jukurpa” might be just one of the most flamboyant house tunes you’ll come across this year, readymade for swaying to on an early summer morning dancefloor. “Cosmic Dream” is of a more introspective nature, putting gentle psychedelic synth movements to good use. There’s a lot of heart in Deer Jade’s music. We’re happy to give it a home.

David Hasert & Niconé – Wasting My Time With You

Tired of grey skies and long faces? We’ve got a serious dose of musical vitamin D for you! ?This Cologne – Berlin joint venture is shedding rays of sun galore with this lost in reverie deep house jam. Built around a catchy as hell soul vocal and occasional piano outbursts “Wasting My Time With You” will certainly be one of our favorite tunes to waste our time to in 2024.

Deer Jade – Jukurpa

Hast Du genug von grauem Himmel und langen Gesichtern? Wir haben eine ordentliche Dosis musikalisches Vitamin D für Dich! Deer Jade stammt vom pittoresken Genfer See, einer Gegend, über die der unvergessliche Jean Paul Belmondo so einiges zu sagen hatte. Ihr ansteckendes Lächeln und ihre mitreissende Energie hinter den Decks haben sie bereits zum gerne gesehenen Gast in Clubs und auf Festivals rund um den Globus gemacht. Dieses Solo-Debüt ist Ausdruck ihres starken Selbstbewusstseins und ihrer Verbundenheit mit der Welt, die sie umgibt. “Jukurpa” ist vielleicht einer der extravagantesten House-Tunes, die man in diesem Jahr zu hören bekommt, wie geschaffen zum Mitschunkeln an einem frühen Sommermorgen. “Cosmic Dream” ist von eher introspektiver Natur und holt uns mit sanften psychedelischen Synthesizer-Bewegungen ab. In der Musik von Deer Jade steckt eine Menge Herzblut. Wir freuen uns, dass sie es bei uns verschüttet.

David Hasert & Niconé – Wasting My Time With You

Hast Du genug von grauem Himmel und langen Gesichtern? Wir haben eine ordentliche Dosis musikalisches Vitamin D für Dich! Das Köln-Berliner Joint Venture versprüht mit diesem verträumten Deep-House-Jam jede Menge Sonnenstrahlen. ?”Wasting My Time With You” ist mit seinen ?catchy Soul-? Vocals und gelegentlichen Klavier?-?Kaskaden sicherlich einer unserer Lieblingssongs, mit dem wir im Jahr 2024 unsere Zeit verschwenden werden.

Starting his career with appearances on BBC Radio 1 and signing with Elton Johns label as a teenager, Maldwyn Pope's presence in music has been rich and productive from an early age eventually leading to working with people like Cliff Richards, Art Garfunkel and Bonnie Taylor. However, his presence in Italo-Disco has been quite scarce, but completely on point. "Altered State" is a masterpiece amongst enthusiasts and collectors of dancefloor sleaze and downtempo wellness. Heavy rock influence meets Rimini with this one off experiment from the seasoned multi instrumentalist. Original instrumental remix done by none other than Alessandro Novaga, the entity responsible behind one of Ron Hardy's favorite DJ tools (Faces Drums). B-side features an 11 minute excursion into a completely new altered state of dubby delayed trance, for special cosmic holes only. Re-issued with new full artwork.

Here comes the Booom!!! Edits label with another sublime selection of deep house burners. This third volume is from the artist who goes by the name of Earls Booom!!! Edits takes the form of four cuts titled 'NEP.' Th opener is awash with smoky pads and sombre chords over a mid-tempo and dusty groove, but things pick up on the second cut with its gorgeous r&b vocals swirling over warm and humid bass and drums as cosmic synth lines rise out of the mix. On the flip, there is a congo-heavy rhythm topped with a deft little r&b hook nice more and the closer brings more pumping grooves but still with a big heart. These are steamy backroom sounds of the highest order.

Suchi’s bouncy, airy productions are so organically deft that they almost belie the complexity that exists within. Prior to her !K7 debut the Oslo-born, London-bred, Delhiinfluenced DJ and producer found herself in a period of creative stagnation, while attempting to rediscover her own voice through production. After going back to the drawing board again and again she resolved to let go of overthinking, eschew the process, and let experimentation lead the way, revisiting some simmering sketches and work in new ways.

Ghungroo EP is the result of this reset, and rediscovers Suchi’s sense of playfulness through different production styles. It’s pressed on eco-friendly vinyl, PVR free and 100% recycled. “Ghungroo” is a homage to Suchi’s early years, and named for the small metallic bells strung around the ankles of classical Indian dancers. The track is equal parts cosmic, bassy and wavy, with a downwards bassline that plumbs the depths of low frequencies. The memory of early music passions emerges as the same melodic loop undresses and redresses in different guises - between breezy pads, glowing chimes and euphoric bells.

“Blåmerke” means bruise in Suchi’s native Norweigan tongue, and it leads heavily with double-time polyrhythmic drums, ravey rhythms and percussive bubbles popping. Triplets of synth stabs are artfully deployed with reverb and warped, stretched pads, bringing a whimsical twist to a track that is otherwise a tough-edged stomper. “Bottlepop” loosens up the tempo for a funky house framework, foregrounded by a big melodic synth riff. The track’s hookiness is enhanced by its old-school school feel, with distorted whistles and evocative pads. “Blåmerke” is then given a rework by Sam Goku who was chosen for his euphoric, dusty-sounding club tracks that hit hard; in his care the remix provides exactly that, via throbbing, shimmering, deep trippiness

Following 2022' acclaimed 'Topical Dancer' album with Charlotte Adigéry, here comes 'Letter To Yu', the debut solo album by Bolis Pupul : produced by fellow Belgians Soulwax & released on DEEWEE/Because Music. Exploring many themes including loss, grief, ancestry, culture, belonging/not belonging and identity. It's no coincidence that Bolis Pupul's music sounds the way it does. Born in Belgium to a Chinese mother and Belgian father and raised in the super-cool creative city of Ghent, Bolis' music is a joyous cross-cultural assemblage. Mixing widescreen electronica with the warm-hearted and wonky naivete of Belgian New Beat, Bolis' singular sonics are at once playful, emotive, unrelenting and tender. The real key to unlocking Bolis' musical secret, however, is that conversation he has between his Eastern and Western roots. The creation of the album is built around Bolis' trip to Hong Kong earlier this year, made to reconnect with his late mother's roots.