Поиск:dan i

On her second album, Sawt El Doumouh (The Sound of Tears), Beirut-based Sandy Chamoun summons flickers of light from sadness. Influences from the Arabic tradition of Tarab – one of the first styles Chamoun learnt to sing – and polyphonic Cantu are reinterpreted and reimagined through her voice and electronics, synths from her SANAM and Ghadr bandmate Anthony Sayhoun, and live percussion from Ali Hout.
Marked by its times, the record isn’t what Chamoun had planned. “I wrote the lyrics between October 2023 and September 2025,” she explains. “The plan was to write about nature, since the album’s concept was inspired by Cantu, a tenor Sardinian ritual that celebrates humanity’s victory over nature. I intended to visit several places and regions in Lebanon and write a track for each, but after the genocide and the war in Lebanon, everything changed.”
“I chose the title because many mornings during this period I woke up crying silently. I remember a dark story from school: a teacher yelled at a small boy while he was crying and told him to cry without making any sound. I feel we are still living in that condition in the region — forced to die or suffer without making any noise.”
Sawt El Doumouh is a gorgeous refusal to be silent. It opens with a booming drum. Over keening autotune Chamoun’s pure voice cuts through, burying the despair to illuminate rays of hope. On “Ward W Shok” a shuffling swing gives way to a righteous organ interlude. The title track sees a choir of Chamoun’s vocals lull and lap. Drums arrive and indignation stirs, what’s mournful begins to stride.
Chamoun’s tracks are as beautiful as they are defiant. Why write songs in the face of horror? Perhaps because music can hold onto something better. By turning to song, Chamoun catches the hopeful glints and sparks that persist and strive outside the terror. In SANAM and Ghadr she often borrows lyrics from Arabic writers through the centuries, listening to what their words say in the present while reminding us the world can and has been different to how it is now. Solo she writes her own words, and the way her songs alternately soar and sigh evokes hopeful pluralities and suggestions of other, kinder realities. Even hearing someone cry is a connection to humanity.
It’s a possibility conveyed in the album’s most jubilant moments. “Shahed” is an incandescent dance of percussion and levitating synths. “I wrote it after I saw a photo of a small boy on a horse on the beach in Gaza,” Chamoun recalls. “I imagined a fantasy where the boy lives in the water and watches the terrifying reality on the shore, trying to bring water to put out the fire. Shahed is the witness who lives far from the shore, enjoying the water and trying to help. You can hear this duality: the percussion is desert-like, while the vocals and synths evoke the feeling of water.”
Although it comes from darkness, in Chamoun’s music we can hear faith in something beyond it.

Exactly four years and one day after ''All That Has Never Been True'' Ultha releases their fifth full-length studio album entitled ''A LIGHT SO DIM''.
It features 10 original new songs at a combined length of 74 minutes, with guest appearances by Pieter Uyttenhoven & Annelies van Dinter (TAKH), Pardis Latifi (DAEVAR), Danni Kann and the ''Chor Der Damen Ohne Namen'', a 40-women choir from Cologne.
Recorded, engineered and mastered at GOBLIN SOUND STUDIOS (Cologne) by ANDY ROSCZYK, who also contributed guitars and keys to various tracks. Artwork was done by TOBIAS HAHN, featuring photography by MAX HECKMANN.
After the conclusion of the trilogy consisting of Converging Sins, The Inextricable Wandering & All That Has Never Been True, the question was: where do you go when you've lost everything? You either accept defeat and die - or you start fighting. This is an album about hope in the darkest of times. It's a call to arms for the inner self, to find a rope of light in a world of mist. ''A Light So Dim'' is another concept album, with a narrative spinning from beginning to end. The unnamed narrator wakes up and tries to make sense of a world gone absolutely mad, where truth is nothing more than an empty shell of its once great self.
''IT'S THE STRUGGLE FOR AMBITION IN AN OCEAN OF DEFEAT. LIKE A FOREST FOR A GARDEN IN A WORLD YOU'LL NEVER SEE''.
This is for all of you!
Viva reason, viva love.

The new EP is released on limited edition 'Scissorhands Ice Blue' coloured vinyl with a hand-numbered gold riso print sleeve art with obi strip. Sarah/Shaun wooed hearts and wowed critics with debut EP It's True What They Say? in 2024 plus follow-up EP Someone's Ghost in 2025. They have been featured across the media including BBC Radio 6Music, BBC Radio Scotland, The List and The Skinny. They've played gigs supporting French legends Air, Glaswegian 80s pop legends The Bluebells, Glasgow's huge Glasvegas, a slew of venues across Glasgow and Edinburgh, not to mention the festivals: Kelburn Garden Party, Fringe By The Sea, Kendall Calling, Dunbar Music Festival and Hidden Door Festival. The duo are set to release a full length album in late 2026.


b A2 Heart Started Beating [Backwards] (4:10)
[c] B1 Desperation Looks Ill [From The Other Side] (4:26)


[b] A2 Heart Started Beating [Backwards] (4:10)
[c] B1 Desperation Looks Ill [From The Other Side] (4:26)

Summer is around the corner and what a perfect timing to introduce you to Admo’s latest musical project - Charlottenzbeul Science Club. After three years since his last solo EP, many live acts around the globe and releases on Limousine Dream, Haws and Ordinateuf, the mad bassist is back at it again with his first release on his new label - Two-Headed Fish Records - which he co-runs with his wife. Definitely an EP that stays in the family.

It’s another four-tracker - you know the kind of vinyl that keeps on giving. A celebration of his time in the vibrant German capital, Berlin (West is the best). A1 opens the ball : bassy, catchy and this infectious chromatic melodic line. The recipe for a summer hit. Now onto A2 (and we’re not talking about his German language skills here): a regular laidback approach where acid sounds mesh together with this high-energy baseline. A classic in the making. If you’ve seen him live, you must’ve recognised B1 as it used to be his closing. A dreamy touch, where storytelling is the key word. You will have your head bopping from the first minute - mellow moment guaranteed. And B2 wraps it up - it takes you by the hand, you hop onto the next U-bahn and straight to the dance floor. The analogic bass keeps on bringing the track higher, progressively transforming into this groover that gets your feet stomping. It’s a proper farewell and a perfect conclusion to this beautifully crafted record.

Magasine is back with a new release on his own label. "Thank You My Sun" has four upbeat tracks that fit somewhere between house, tech house, and minimal.

The opener, "Joy," is a total crowd-pleaser. It's captivating with a soulful choir phrase, which sets the mood for the whole piece.

Up next is "Artistico," a standout track with an emphatic bassline and powerful percussion.

On the B-side, "Klimduin" takes a chill ten minutes to deliver some minimalist magic.

The EP ends with "Mistral", a dance-worthy track with its rolling drum arrangement and floating synth figures.

Embracing a vinyl-first strategy, "Thank You My Sun" drops exclusively on wax ahead of its digital counterpart.

>>> comes in 4c Sleeves

As a start for our label, we gathered tracks from old and new friends of the crew that reflect the vibe of a Crème-style afterparty. “Various Crèmes” is all about the love for the culture, the people who live it, and endless vibing on this world’s dance floors. Much Love, CC

released in celebration of y-3’s 10th anniversary in 2013, this compilation included joe claussell’s masterpiece of psychedelic deep house, which is finally being issued on 12-inch vinyl.

joe claussell’s “storm,” still played today by djs such as dixon, remains one of his most distinctive works. among his productions, it can be regarded as his finest achievement—his most trippy and psychedelic track, with exceptional impact on the dance floor.

the newwave project remix by his longtime ally kuniyuki preserves the atmosphere of the original while adding organic sounds such as marimba, drawing the track into deeper territory and resulting in a spiritual deep house reinterpretation.

the artwork was created by yoshirotten, one of japan’s leading artists.

Mit Africanism Vol. 5 kehrt das legendäre Afro-House-Kollektiv rund um Bob Sinclar zurück und präsentiert ein kraftvolles, globales Club-Statement voller Rhythmus, Identität und musikalischer Verbindung. Das Album vereint herausragende Produzenten und Artists wie DJ Gregory, Moonlight Benjamin, Boddhi Satva, Arkadyan, Jesús Fernández, Bonga u. v. a. in zwölf Tracks, die moderne House-Produktionen mit afrikanischer Energie, traditionellen Instrumenten und organischen Grooves verschmelzen lassen. Von der voodoo-getränkten Intensität von "Zanmi Kanmarad" über die angolanische Tiefenwärme von "Mulemba Xangola" bis hin zum treibenden Club-Momentum von "Block Party (Baron Remix)" oder "Salsa House" liefert Africanism Vol. 5 ein Panorama aktueller Afro-House-Kultur. Die musikalische Bandbreite reicht von haitianischer Soul-Elektronik über pan-afrikanische Percussion bis zu modernen House-Arrangements mit französischer Produktionshandschrift. Ein hochkarätiges Producer-Album, das die DNA des Africanism-Sounds konsequent fortschreibt: international, zeitgemäß, tanzbar und voller musikalischer Identität.

Mr. YT returns!

The cult deep house alias of Yuji Takenouchi was last seen on Brand New Day in 2017, which compiled a series of soft scenes and deepest soulful house for the ambient techno predator R&S and its Apollo, Generations and Global Cuts sub-labels across the mid-to-late 90s. Quietly and confidently some of the most beautiful house music ever made.

So it's a thrill to announce the Universo EP today on Short Span, and to say that he’s still making incredible new dance music in his studio. This is the first Mr. YT record of brand new material in twenty eight years.

The lushness springs forth as delightfully as ever. The inspirations of Detroit chords floating and interacting with a certain kind of Japanese plasticity and futurism. Crystal clear blue skies, sweet perfume and space race optimism, touched with a gentle wistfulness. The four tracks are each as beautiful and intricately deep musically as they are colourful and buoyed by energy. Ready to delight you.

Universo has some new purpose and drive up front, designed and deployed as his most propulsive dance music as Mr. YT. The tempo is taken up, and tracks frequently break out into virtuosic melody that dances across the pieces. Yuji’s talent for composition that hits as hard as it effortlessly glides hasn’t lost its edge in the quarter century plus break. The kick of “Acuario” and “Escorpio” are finely balanced with the influences of jazz and something a little more padded and cosmic. You could mix these into something by Los Hermanos or Ian O’Brien.

The EP bubbles down to a more yearning, sunsetting ambient house on the B side. The instantly recognisable language of classic Mr. YT, a warm and tender place.

Mr. YT has been absent a while, but Yuji’s busy. He’s established a long career as a musician and sound designer within the Japanese videogaming industry, having his hand in games including FromSoftware’s Dark Souls series surely adds something widescreen and sharply emotionally focused to the direction of his dance music. His Missing Project alias also got some shine from the stellar Music From Memory Virtual Dreams II compilation in 2024, which once again pinned down his enduring importance within the ambient techno movement of Japan. He’s also regularly working with Tokyo’s FORM@ Records and regularly self-publishing interesting work and studio versions. And his Missingsoul alias is still some of the most beautiful deep jazz-house committed to wax on Ron Trent’s Future Vision label. Check it all out!

Not all 'All Stars' style releases live up to their name, but this multi-artist extravaganza from Demuir's Purveyor Underground Ltd label most certainly does. The Canadian artist has snapped up tracks from some genuinely impressive deep house talents, with predictably fine results. For proof, check the deliciously dreamy, hazy and rolling opener from Atlanta star Byron The Aquarius, the jazzy bass, locked-in beats and lightly psychedelic layered aural textures of Fred P's 'Sunny Rain Drops (Cosmic House Edit)' and the softened DJ Sneak-style sample-rich peak-time bump of Demuir's own 'Alone In Chicago'. Elsewhere, M Squared reaches for elongated electric piano chords, eyes-closed samples and jazzy house grooves on 'Dance', before Justine Joe delivers an exquisite exercise in jazz-house jauntiness ('AFaOA (As Far As Our Attitude)').

DFR is back with a rather mysterious alias first appearance. Signal Priest delivers four dance-floor workouts that intersect between techno, trance and electro with admirable sense. TIP

Holden returns to SK_eleven with “Origin,” the final chapter in the SK_X series. With this EP, Holden continues to invert techno’s norms in ways few others can. He places melody directly at the forefront, giving us four tracks that work just as well for the peak time dancefloor as they do for repeat listening at home.

Opener “Crux” tunnels on a singular, winding motif that eventually unfolds into a bloom of texture and agile melody. “Hemisphere” brings a futuristic, otherworldly approach to classic dub techno techniques, blending a funk-driven bassline with dusty, alien chords. On the B-side of the record, “Sustained Light” tells a story of hope and redemption with its patient, atmospheric hook, only to be consumed by the underlying rhythm. “Origin” closes out the record: a forceful, shimmering testament to the power of melody and emotion in techno and Holden’s vision for the modern dancefloor.

Hör mal, es gibt jede Menge DJ-Duos in Brooklyn. Die meisten sind ganz okay. Fundido gehören zu denen, die schon seit 10 Jahren richtig gute Arbeit leisten. Was als euphorische, wilde Partys nach den Auftritten im vorderen Raum des ,Baby's All Right" begann, findet mittlerweile in immer größeren Locations statt, weiter außerhalb, wo Stammgäste und neue Gesichter Seite an Seite stehen. Es ist ein Paradies für Musikliebhaber und der schlimmste Albtraum eines verantwortungsbewussten Erwachsenen. Nachdem sie jahrelang beliebte jährliche Compilations kuratiert haben, machen Latane Hughes und Billy Scher nun mit Hilfe des Produzenten Miles Felix ihre eigene Musik. ,Get A Grip" wirkt fast wie maßgeschneidert für DFA: Four-on-the-Floor-Drums, ein Synth, der deine Hemmungen wegfrisst, und ein Gesang von Emma Dufaux, der den Sack zumacht. Es ist wirklich gut. Die 12" bietet dir vier Möglichkeiten, den Track zu hören: den Original Mix, einen Bliss Mix (weniger ,Maw") und Remixe von den aufstrebenden Stars Make A Dance und Asa Tate. Diese Jungs haben ein Jahrzehnt damit verbracht, herauszufinden, was die Leute dazu bringt, sich zu verlieren und immer wiederzukommen. Jetzt machen sie die passenden Tracks dazu.

Sucre Discos proudly presents its very first vinyl release. Straight from Valencia and
crafted with love, the label kicks things offwith a powerful debut from Otrera, the
Argentinian talent whose infectious and timeless grooves have been setting dancefloors
in motion.

This EP is packed with personality — music designed to move bodies and capture the
essence of the club.

To complete the package, two of the most exciting names in today’s house and minimal
scene, Sueezo and Aka Juanjo, deliver top-class remixes, adding their own unique touch
and turning this record into a versatile and essential piece for any selector’s bag.

legwork Barcelona launches its inaugural release, thoughtfully titled in Catalan: ‘PEUS I ÀNIMA’, dedicated to the global spirit of dance music.
All 4 cuts come from a live set recorded in 2025 at a legwork party. They were then postproduced and re-jammed in 2026 to create this 12" built strictly for the floor. This creative process is intended to continue in future EPs.

Across the tracks, the signal mutates while always keeping that raw energy alive. The whole concept comes from a deeply personal mix of self-doubt, determination, friendship, and a pure passion for music and dancing.

Solid, no-nonsense material.

Mastered by Johanz Westerman
Artwork & design by PEBE Studio

New chapter on the internationally famous labels "Ocean Trax" and "Confidential Records"

“Shake That Brake” an energetic track that blends classic House elements with a modern club sound.

“Late Night” by The Rituals is a vibrant soul/funk/disco track infused with retro flair and modern polish.

Driven by groovy basslines, tight rhythmic patterns, and shimmering disco elements, the song delivers a warm, feel-good energy.

Funky guitar licks and dynamic arrangements blend seamlessly with soulful influences, creating a lively and infectious atmosphere made for the dancefloor.

“Let Me Show Ya” by Memi P & Andrea Tomei is a groovy soul/funk track packed with rhythm and attitude.

Built around a tight bassline and punchy drum patterns, the song delivers an infectious groove that instantly grabs attention.

Funk-driven instrumental touches and smooth vocal elements blend seamlessly, creating a vibrant, feel-good atmosphere rooted in classic soul energy with a contemporary edge.

“You Know How To Love Me” for this track Gianni Bini and Memi P. joins forces to create a new soul-funk anthem perfect for dancefloors all across the world.

With the help from Fatimah Provillon’s rich and expressive vocals this track has a timeless yet modern sound, a perfect fit for nu-disco, funk and soulful dance playlists.

“Feel The Rhythm” by Memi P is a driving house track built around a solid groove and infectious energy.

Steady four-on-the-floor drums, pulsating basslines, and vibrant synth elements create a dynamic club atmosphere.

The track balances rhythmic intensity with catchy vocal touches, delivering a powerful and uplifting vibe designed to move the dancefloor.

Another standout chapter in the Sacred Medicine catalogue, this latest release sees Ron Trent at the helm once again. This time featuring master percussionist Angel Figueroa (Herbie Hancock “This is the Drum” ) and multi versed guitarist Pablo Color.

The track unfolds through layered rhythms and melodies that feel light yet deeply pulsating, carrying both elegance and intensity. Its rich, evolving arrangement balances a strong percussive drive with a sense of space and musicality, revealing new details with every listen.

On the flipside, a more acoustic “Suite” version offers an alternate perspective, highlighting the composition’s organic textures and depth. A record that speaks to both dancers and attentive listeners alike, and another meaningful addition to the ever-consistent Sacred Medicine catalogue.

Polish sonic alchemist Martyna Basta returns with her third album Winged in Collapse, out on 7K, the exploratory imprint of acclaimed dance/electronic label !K7 Records. A haunting exploration of duality where lullaby meets lament. Blending ambient, electronic, chamber folk and electroacoustic textures with an indie pop sensibility. The classically trained guitarist crafts intimate sound worlds from self-recorded instrumental samples, field recordings, and shape-shifting vocals.

For Metro Beirut’s latest release, Cem Mo steps forward with his debut vinyl EP, a record that bridges the roots of Chicago and Detroit house with his own deep and textured approach to groove.

Born in Ankara and having taken piano lessons at an early age, Cem drifted from classical into jazz, re-teaching himself harmony and improvisation before finding his way into production. After moving to Amsterdam in 2016, the city’s community and music scene expanded his horizon, shaping a sound that treats producing like improvising, with curiosity for grain, color, and repetition, where subtle shifts make all the difference. Along the way, Cem has released on Handy Records and Rhythm Section, while his project Nowhere People has appeared on Artisjok Records.

This EP brings together a tight circle of artists who deepen its character. Saxophonist Moritz Schuster, known for his work across electronic music and past work with Cem and Malik Kassim, formerly known as Retromigration, delivers a striking, free-flowing performance charged with raw intensity. On “The Hard Way”, Franco Corica joins Cem for a deep, soulful, jazz-leaning moment that feels both reflective and quietly defiant. Finally, longtime friend Malik pulls up with a dancefloor remix that preserves Cem’s melodic sensibility while adding his own loose, resulting in a circular dialogue between two artists who’ve grown side by side.

Artwork: Shahd Issa

Dj Moar with a new double banger !
A side is a crazy latin party hip-hop from New York to burn your dance floor !!
B side is a Disco Reggae Lovers with a spice of disco Edits and Dub vibe.

No filler, no detours, just floor-focused disco from Berlin's Delfonic, who is always on point. 'Welcome Black' wastes no time snapping into action with driving drums, elastic bass and bright string stabs that demand full body movement. 'Dancing Facts' keeps it lean and punch with vocals and tight percussion, doing exactly what's required. Flip it over and 'Got To Know Your Body' rolls out classic disco funk, warm chords and a flash of soulful heat cutting through the groove. 'FM4 Me' goes deeper, chugging rhythm and filtered synth lines primed for locked-in, late-night sessions. Functional, effective and quality as ever from Delfonic.

Daniel Akbar is a Constant Black regular and for good reason: his blend of house, minimal, tech and garage is a perfect fit. He continues his hot streak with this latest missive, starting with 'The Night', which marries Jaydee-style darkness with New York house bounce. 'The Walls' has a rugged, dirty minimal bump to it and a sci-fi synth edge. 'Trippin' is another sleazy and low slung house vibe, 'Care For You' brings a bit of garage shuffle and throwback bass filth, then 'Afraid' pulls back to a more seductive late night tease with hella catchy grooves and pure heads down energy.

On Y-3004, Solitary Dancer wade into the depths of their sonic palette for Y-3's Fall/Winter 2026 Presentation, an occasion marked by the sportswear label's turn into the world of motorsport, unveiling a partnership with Mercedes-AMG Petronas F1 Team. Dark, moody, and measured, the score reflects on the early era of automotive industrialization. Inspired by the factories which captured the sounds of nascent processes operating at their own rhythm, the vast physical potential of the Palais d'Iena allowed the space to further explore such repetition. The composition proved a masterful exercise in tension & restraint, ascending from hypnotic, low-end pulsations to brightly shimmering, metallic delays and a decidedly techno finale.

''Jovonn continues with the label series BND Projects with volume 6, possibly the best to date. Here we have rising talent Babs, legendary NYC DJ/producer Mike Delgado and Amsterdam talent Dennis Quin. To round off the EP another NYC DJ/Producer legend Lenny Fontana delivers the goods, making it another solid Body N' Deep release.''

If there is one thing that WAX RDM loves to do, it is split, they love splitting bills, middle splits, banana splits and most of all a good old split EP, and they made sure to deliver on their first one. Not only is he responsible for saving the Netherlands from becoming an aquatic civilisation, the land creature known as Deltaplan also claimed the whole A side for his boombastic electrofied vinyl only rendition of Sexual Seduction, which could get any dance floor drenched in dripping sweat. The Hague city's APK Boys have split the split in 2 on side B. If Flipper was a fun loving dolphin who always dreamt of moving to The Hague City, this is what he would sound like, hard hitting, just a tad frustrated and ready to snap at any moment. Yes Yes finishes of the split with a sure-shot Electro heater which will take your mind into a dreamlike state, thinking of ways to make Flippers dreams come true. And if you think things couldn't get any better, APK provided us with a 3rd digital only track for good measure. Stay dry and keep swimming.

Larionov lands on Tiger Weeds with 'No Way Back'. A direct, tension driven electro EP shaped by raw sequences, melancholic tones and steady forward motion. Throughout the release, Larionov balances stripped-back introspection with functional dancefloor energy. On remix duties, The Exaltics drags 'Celestial Ocean' into darker territory, applying his signature cinematic pressure to create a heavy, peak time version. No gimmicks. No fillers. No way back.

Originally released in the height of the underground disco revival, The Sounds Of Revolution EP has since become a sought-after modern classic. After years out of circulation — and with original copies now trading hands for €80-100 on the second-hand market — this long-requested EP finally returns to vinyl.

Italian producer Giovanni Damico (aka G-Machine / Ron Juan) delivers four timeless boogie cuts that perfectly bridge vintage Italo, cosmic disco and modern club energy. From the euphoric synth hooks of the title track to the robotic funk of “Italians In A Line”, this EP captures everything that made Damico a staple in DJ bags across Europe.

Carefully reissued for a new generation of selectors, this release is equal parts heritage and dancefloor weapon — essential for fans of Italo, nu-disco, boogie and anyone building a serious disco collection. Expected shipping: End of May/begin of June 26.

After a few quiet months, Griffé returns in 2026 with a powerful new release from Milès Borghese.

Previously featured on renowned labels such as 9finity (Secretsundaze), Squid Recordings (Liquid Earth), and Neptune Discs, Milès delivers a versatile EP that reflects his sound and dancefloor sensibility.

It’s Just EP moves between driven, high-energy cuts (Checkpoint) and deeper, more textured territories. Dubby atmospheres, cold chords, and hypnotic grooves shape the more introspective side of the record, leaning toward dub techno with a deep, minimal, and mental edge. A balanced and refined EP built for both peak-time impact and late-night immersion.

Das vierte Album des Frank Popp Ensemble auf Unique Records. Geschrieben. aufgenommen und produziert 2024 in Spanien. Wie beim Vorgänger sind diverse Gastsänger auf den il brandneuen Stücken zu hören.
Gerry Love, einst Leadsänger der legendären Teenage Fanclub, der laut Popp fast alle Lieblingsstücke der Glasgower Kult-Band geschrieben und gesungen hat. verleiht hier seine hinreißende Stimme einer orchestralisch-souligen Version von „Save", ein eher unbekanntes aber geniales Stück, welches Love 2004 für die Schotten schrieb. Gerard Love trug bereits mit einem Cover von Frank Popp's "The World Is Waiting" zur Under Covers' Compilation bei und hat nun auf Waves ein weiteres Mal wundervolle Arbeit geleistet.
Ein weiterer Held aus Popp's Plattensammlung ist Nicke Andersson. Früher Schlagzeuger bei den Death&Rollern Entombed, dann bis heute Sänger der unvergleichlichen Hellacopters und Mastermind hinter weiteren top Bands wie The Solution, Imperial State Electric, Lucifer, etc., ist auf „Caught In AWeb" zu hören. Ein Northern Soul Stomper in klassischer Magic Touch* Manie.
Emma Noble, eine aufstrebende Soul-Sängerin aus London singt auf dem girl-groupigen Soul-Anthem Unstoppable*. Die zweite Single-Auskopplung vom Album hat das Zeug zum nächsten UK-Floorfiller und wurde bereits Ende 2024 in Craig Charles Soul Show auf BBC gespielt und angepriesen.
Ein absoluter Ausnahme-Künstler ist J Mahon, der auf 5 Stücken des Albums zu hören ist und erheblich zum Album beigetragen hat. Seine zuckersüße Stimme funktioniert sowohl auf seinen Stücken, als auch bei _Going Going Gone". welches die erste Single-Auskopplung ist und durch die eingängigen Bläser-Hooks und J's androgyne Soul-Vocals an gewisse junge Motown-Künstler in den frühen 70s erinnern.
Audrey Ollesen aus Köln, eine alte Bekannte aus der rheinischen Mod-Szene. kam durch Zufall hinzu. nachdem Popp durch private Aufnahmen auf ihre Gesangs-Skills aufmerksam wurde. Auf .C|om|mon Stranger* ist Audrey zum ersten Mal auf einem Tonträger zu hören.
Auf "Waves" vereint Frank Popp Northern Soul. Psychedelia, 90s Indierock und orchestralischen Soundtrack-Feel zu einem homogenen, überzeugenden Werk, was vielversprechend wirkt und sich verdammt gut anfühlt in einer nicht so rosigen Zeit. Wir sind alle gespannt...

Orange Vinyl 2LP

Farbige Neuauflage des dritten Albums "Revengeseekerz" (2025) der äusserst produktiven und genreübergreifenden Musikerin Jane Remover featuring Danny Brown ("Psychoboost"). Die unbespielte Seite D enthält den Aufdruck REV. Die in New Jersey aufgewachsene und in Chicago lebende Künstlerin vermengt Hyperpop, Dubstep, Noise, Hip-Hop und Alternative zu einem exzessiven Amalgam, das nicht nur die Kritiker begeistert. "Die experimentelle Künstlerin macht im Vergleich zu ihrem vorherigen Album eine komplette Kehrtwende und entfesselt ein Inferno aus rohen Gedanken, das alles – Rap, Pop, Stimme, ihre künstlerische Persönlichkeit – bis zum Zerreissen treibt." - Pitchfork

Berlin-based label Tokomak Records, run by Sirko Müller and Don Williams since 1999, returns from a creative hiatus. With the new "Rhythmic Pressure EP," Sirko Müller revisits the signature style of the label's early years, delivering four groovy techno tools designed for pure, excessive club use.
The release is rounded off by an interpretation from Stojche, who seasons the classic Tokomak funk with a dash of Detroit spirit and a Macedonian touch. A powerful comeback that blends raw energy with functional precision ... built strictly for the dancefloor..

Sometimes the title of an album tells you everything you need to know. Laurence Pike’s Possible Utopias for Jazz Quintet is like that: The music within represents a search for freedom, potentiality—liberatory strategies that transcend the ego and the solitary, atomized figure.

But in this case, the album title is also a red herring, because there is no jazz quintet here—just Pike, his drums, and his machines, not so much an ersatz ensemble as a purely notional one, a thought experiment equipped with drumsticks, circuitry, and the desire to go beyond hardwired limits.

And the results, strictly speaking, aren’t really jazz, though they incorporate the vocabulary of jazz, along with that of ambient, electronica, and post-rock. They are some other thing, cognizant of genre but never beholden to it. Again, we’re talking about a search for freedom here.

The Sydney-based musician has a long history of coloring outside the lines, not just in his solo recordings—including four albums for the Leaf label between 2018 and 2024—but also in the trio Pivot (later PVT); Szun Waves (alongside saxophonist Jack Wyllie and Border Community’s Luke Abbott); Triosk, which recorded an album with Jan Jelinek in 2003; and even post-punk titans Liars, whom he joined in late 2018.

Of his first album for Balmat, Pike says, “My loose concept was: What does music sound like when the expectations of late capitalism are removed from it? How might a jazz musician from an idealised culture of the future, or even another world, utilise musical language when the conventions of style and marketing are no longer a factor in music making?”

That inquiry, he says, connects to his “guiding principle: that the purpose of music is to access something bigger than the individual, and reveal a sense of possibility and freedom in the world to the listener. To create an understanding that the future can be something other than what we imagined or expect, even unconsciously.”

Heady ideas, but plug into his stream-of-metaconsciousness flow and you may start to intuit what motivates him. There is a deeply lyrical expression in these pieces—in the ruminative piano of opener “Guardians of Memory,” for example—but also a sense of exploded perspective, of ideas approached from more angles than any one mind could dream up. Of a collectivized consciousness, of mycelial networks branching across tone and rhythm and timbre, of ideas articulated in distributed fashion, nodal points dancing across drum heads.

Pike’s imaginary quintet is hardly without precedent; it’s a continuation of concepts floated across Jan Jelinek’s Loop-Finding-Jazz-Records, Burnt Friedman’s many guises, and much of the recombinant improv of the International Anthem roster, not to mention the far corners of ECM’s catalog in the late 1970s and 1980s, which Pike says have been integral to his development since he was a teenager. Possible Utopias for Jazz Quintet is a point in a continuum, a voice in a conversation, a question with no obvious answer: How can the search for otherness in music manifest something true about ourselves?

For RCR003, we looked to someone carrying the West Coast lineage forward with our first full solo EP from upcoming producer Adam Rose.

“Gravitation of the Past” honors the past while setting its sights on the future.

A quiet drag from somewhere behind, like the past has unfinished business.

A moment suspended Time Ahead & Standby caught between where you’ve been and where you’re headed. Mostly static, then a brief moment where everything clicks. Then the voice shows up.

Familiar enough to trust. Dangerous enough not to.

Out by the still waters of Atitlán, watching the surface hold everything and nothing at once, it becomes clear some things aren’t meant to be solved. Just seen.
You can look, just don’t linger.

What’s left is lighter funked out, a little crooked, still moving.

Analogue Audio Archive, Issue One (AAA001VA) moves between focused listening and the dancefloor, exploring the correlation between machine-made sound and human feeling. Featuring Linear System, Hugo Rolan, Translate, and Ben Behrendt.

There is a particular kind of strangeness that arrives on long drives across Europe. Flat light, service stations and fields stretching endlessly past the window. It might look mundane at first glance, but becomes faintly surreal when the tiredness of touring blurs the edges of everything.

That feeling became the quiet engine behind Driving Through Belgium, the debut solo album from Anton Pearson, best known as one of the guitarists in respected post-punk outfit Squid. The title grew from a track that felt like the record’s centrepiece, which itself came from the recurring image of extensive periods on the road across the continent. It is a record shaped in the margins of touring, and finessed in the in-between hours.

Across six pieces, Pearson leans into atmosphere, texture and space. It is ambient in spirit, adjacent to contemporary classical in feeling, but composed less with notes in mind than with sound itself. The compositions rarely began with harmony or melody, with Pearson instead responding to his environment and sounds in real time, placing trust in his instinct.

Although initial inspiration came from the road, the album was recorded in a studio he shares in Brighton, and marks his first fully solo project made in that setting. It gave him access to not only new tools and techniques, but a hitherto un-experienced freedom. Much of the process began experimentally, feeding instruments into unfamiliar chains, pitching loops into unexpected registers and playing with previously unused synthesizers simply to see what they might reveal. Many of the sounds were created out of pure curiosity, wanting to understand a piece of equipment or technology, and then following wherever it led.

The album was built with this experimentation at its core, as Pearson would layer then extract, processing stacks of sound until things blur and confuse. Guitars dissolve into drones, a Pianet Clavinet dances against muddier textures whilst a Korg PS-1000 occasionally cuts through with its glittering top end. On ‘Driving Past the Muscular Cows in Belgium’, a flat, still drone is pushed through valve amps until it growls and tightens with tension, before receding again. Even the trumpet, which Pearson freely admits he is not technically proficient at, is embraced in its naivety, its squeaks left intact rather than corrected. The twin ‘Tintinnabulation’ pieces frame the record with looping, pitched bell like tones, accidental discoveries that became structural anchors. Meanwhile, ‘Teeth to Cut the Grass’ deliberately introduces abrasion, some of the harshest textures on the record, a refusal to become passive background music.


That embrace of imperfection is central. In contrast to the hyper-analytical precision of his band, Pearson was keen to honour first takes. If something felt good, it would stay. The end result is an album that favours looseness, instinct and the energy of creation itself. If Squid thrives on propulsion and tension, Anton Pearson finds his energy in suspension on Driving Through Belgium. It is curious rather than declarative, creating a space where experimentation feels playful again.

Detroit meets the West Coast! DJ Maaco (Detroit in Effect) and Alden Tyrell commanding you to get on the dance floor. Resistance is futile against the Grays...