Buscar:el fin

Apollo / R&S are delighted to welcome back The Primitive Painter, aka the duo of Roman Flügel and Jörn Elling Wuttke for a timely reissue of their 1994 lost classic self-titled album of sonorous IDM.

Growing up in Frankfurt, in the 80s and 90s the duo met at an indie rock club in their home town of Darmstadt, bonding over their shared obsession with the first wave of acid, Chicago house and early Detroit techno as well as their patronage of now iconic Frankfurt club nights like The Omen or Dorian Gray or the infamous Delirium Record shop run by scene stalwarts Ata (Robert Johnson) and Heiko MSO (Playhouse).

Taking inspiration from the likes of The Black Dog and Transmat as well as seminal compilations such as Planet E’s Intergalactic Beats and Warp’s Artificial intelligence compilation the duo honed their inventive take on the Detroit techno blueprint under the monicker Acid Jesus, debuting on their freshly minted Klang Elektronik label. The label was started in conjunction with Ata and Heiko after Fluegel & Wuttke (regular patrons of the Delirium store) pressed a demo on them, muttering the immortal line; “Please listen to the tape, we are big Mr. Fingers fans.”

Through the mid ’90s the project flourished giving rise to a classic album and a brace of singles that number amongst the best of the era’s techno, winning them a influential fans most notably Sven Väth, David Holmes and Andrew Weatherall who invited them to play live at one of the legendary Sabresonic parties in London.

Alongside the success of the Acid Jesus project, the duo found great inspiration in outside of the club, including an ambient happening when the KLF came to play Frankfurt; “There were live sheep eating grass on stage while they played at Mark Spoon’s club XS”, as well as cinematic influence from the likes of Jim Jarmush and Wim Wenders. It was however the euphonic IDM grandeur of Apollo Recordings self titled compilation of 1993 that really got their creative juices flowing: “It was a ten track compilation with artists like David Morley, Model 500, Aphex Twin which still sounds so good today,” Jörn enthuses. “ It was really the trigger to go away from the Detroit sound and more towards the big melodies of B12 etc.”

Deciding to make their tribute to this style of music the duo turned out 10 tracks of gauzy, melodious electronica in a white hot fever, one after another over the ensuing months. Settling on a name for the new project they picked ‘The Primitive Painters’ taking inspiration from the band Felt. “We are both children of the C86 movement,” explains Jörn. “this attitude of noisy art school influenced rock like Primal Scream, MBV, The Jesus & Mary Chain really inspired us to take a DIY approach to our music.”

They sent the resulting demo cassette to Renaat at R&S / Apollo. “We really had no expectations,” Jörn explains. “So we were shocked and delighted when we received a fax saying that he wanted to release it”.

The resulting release was bungled by an R&S mix up that attributed the album to the duo’s own Klang Elektronik label which confused both fans and distributors alike, denying the release the critical boost and attention that it so richly deserved. Accordingly the release slipped out without much fanfare, with a chastened Fluegel & Wuttke returning to their Acid Jesus activities which would eventually lead to their blockbusting success as Alter Ego.

Over the ensuing years the reputation of The Primitive Painter album has only grown, with second hand copies (only 500 vinyl were pressed) changing hands for exorbitant amounts on Discogs, leading us to this opportune moment of a richly deserved ‘first’ release on the label for which the project was started, Apollo / R&S.

“This really brings us full circle,” says Jörn. “Apollo / R&S meant and means so much to us as artists and so it was bittersweet to not have the official release - to put that right all these years later feels really good.”

This new vinyl release comes in re-created original gatefold artwork and includes all original 10 tracks (Stoned Soul Picnic was previously on the CD only).

Tappa Zukie is not only one of Jamaica’s greatest DJ’s, is also a much respected producer and arranger. Looking back through his master tapes we have found a lost release that due to being a worldwide recording artist and the pressures that this carries, it has stayed on his musical shelf and been passed over... until now.

When rhythm was King way back in the 1970’s, the predominant feature of the final mix down would in most cases be the drums and bass. Bringing drums and bass to the fore, the other instruments that create the tunes mood would take a back seat in the mix. With such fine musicians in the horn sections as Vin Gordon, Deadly ‘Headley’ Bennett and the unstoppable Tommy McCook, it sometimes felt, their services if nothing else were slightly underused.

So one way of rectifying this situation was one that Tappa himself instigated, putting a release together by picking some of his favourite productions that carried classic horn lines alongside those tightly recorded rhythms. Pushing those horn lines up in the mix and so making a feature of some of those touches that although added some colour to the original cut, laid back in the mix to the more Sound System friendly drum and bass cut.

When looking at the music with this approach, some of the other influences that were also in Tappa’s mind can be noticed more. Maybe it’s a Jazzier / Bluesy feel shining through. A strange thing happens that almost takes the song down the avenue of a soundtrack album. An unreleased film score to accompany an unreleased film.

So sit back and enjoy a lost release that time and place did not find time to see the light of day. As the opening track testifies and in the immortal words of Mr Tappa Zukie himself.. “Your Musical Daddy is back... Horns Up !!!!”

Finland’s Nightwish have always stood for virtuoso perfection. They are able to evoke fantastic dream worlds, fade out time and space, and touch you deep inside with their symphonic majestic compositions. Since their formation in July 1996, they have risen long ago to become the most successful Symphonic Metal band.’Endless Forms Most Beautiful’ is their critically-acclaimed 2015 (8th) studio album.

Bria Salmenas Solo-Debütalbum "Big Dog" erzählt eine Geschichte der Transformation - eine zutiefst persönliche Erkundung der Widerstandsfähigkeit und eine Erklärung der künstlerischen Unabhängigkeit, die durch Zusammenarbeit geschmiedet wurde. Lange Zeit als Frontfrau der kanadischen Post-Punk-Band FRIGS und als Sängerin in Orville Pecks Live-Band gefeiert, erreicht Salmena mit "Big Dog" den vorläufigen Höhepunkt ihrer künstlerischen Entwicklung. Getragen von ihrer souveränen Stimme, die abwechselnd zart, rau und trotzig ist, durchquert das Album das Terrain der Verletzlichkeit und Verbundenheit und markiert die Ankunft einer Künstlerin, die mutig zu sich selbst findet. "Big Dog" ist ein Album mit großen Gefühlen und großen Ambitionen. Musikalisch vereint es Elemente von hypnotischem Krautrock und schimmerndem Shoegaze, opulentem Gothic und pulsierendem Darkwave mit einer Mischung aus elektronischen Texturen zu einem ausgefeilten und oft unheimlichen Sound. Inmitten dieser weitläufigen Klanglandschaft stehen Salmenas kraftvolle lyrische Bilder und ihr großartiger Gesang im Mittelpunkt. Für Salmena ist es unmöglich, die persönliche Reise, die "Big Dog" darstellt, von der Zusammenarbeit zu trennen, die zu seiner Entstehung führte. Salmena arbeitete mit dem Produzenten und Multiinstrumentalisten Duncan Hay Jennings zusammen, der sowohl bei FRIGS als auch in der Band von Orville Peck spielte. Vor "Big Dog" gaben die beiden auf Brias zwei "Cuntry Covers" EPs klassischen und modernen Americana-Songs eine Gothic-Dream-Pop-Behandlung. Jennings, der nicht nur Salmenas engster kreativer Mitarbeiter, sondern auch ihr engster Freund ist, schrieb "Big Dog" mit Salmena über mehrere Jahre hinweg, in denen Salmena in LA und Jennings in Toronto lebte. Graham Walsh (Holy F**k, METZ, Debby Friday, Alvvays) half den beiden, ihre aufkeimende Mischung aus Rock und elektronischer Musik weiter zu verfeinern, während Meg Remy (vom von der Kritik gefeierten experimentellen Pop-Projekt U.S. Girls) sich vor allem auf Salmenas Gesang konzentrierte. Remy half dabei, die unvergesslichen Darbietungen, die im Mittelpunkt von "Big Dog" stehen, durch eine Reihe von kathartischen Treffen herauszukitzeln und drängte Salmena dazu, noch tiefer in die Bedeutung ihrer Texte einzudringen und wirklich über verschiedene Möglichkeiten des Einsatzes ihrer Stimme nachzudenken. Als "Big Dog" zusammenkam, wurde deutlich, dass Salmenas Songwriting eine rohe und intime Wendung genommen hatte, die weit über die Arbeit von ihr und Jennings auf ihren vorherigen EPs hinausging. Der Sound von "Big Dog" schwebt zwischen zwei Welten, düstere Punk-Ehrlichkeit, die immer unter einer glänzenden Atmosphäre brodelt, die man nicht ignorieren kann. Es gibt Anklänge an den Alternative Rock - man denkt an Holes "Live Through This", The Distillers, Mazzy Star - und mit Lee Ranaldo von Sonic Youth steuert eine echte Alternative-Rock-Ikone die Gitarre zu "See'er" bei. Aber es gibt auch eine Geschmeidigkeit, die ebenso sehr an den Coldwave der 80er Jahre erinnert wie an ekstatische Formen der Tanzmusik. Salmenas satte Stimme ist allgegenwärtig, ein konstantes warmes Glühen in einem Geflecht aus mechanischen Klängen. In seinem Kern ist "Big Dog" mehr als nur eine Platte über die Entdeckung, wer man ist, indem man schmerzhafte Erfahrungen verarbeitet. Es ist eine Platte über die Entdeckung, dass man nie wirklich allein ist.

"Daft Punk brought me here, he brought me Daft Punk"

Just knowing that this slice of hyper-rare disco dynamite was crafted by Thomas Bangalter's dad should be enough for you to buy this on sight, if only to understand a little bit more about Thomas and Daft Punk's background. But this is so much more than a Daft Punk family curio.

Born Bangalter in 1947, Daniel Vangarde is a French songwriter and producer. In 1975, Vangarde founded his label, Zagora Records, who we have worked closely with on this lovingly curated reissue. For years, Vangarde wrote and produced songs that remained underground, under several pseudonyms and for various artists. Dubbed "the secret father of French disco" this here groove-fulled firecracker - using his Who’s Who moniker - is for disco-funk, library music and cosmic beat lovers.

The intense, evocative opener "Palace Palace" positively throbs with raw energy and sounds, honestly, like something off Daft Punk's Discovery. The title refers to the fashionable Parisian club Le Palace, essentially the Parisian Studio 54. "I’d been to a nightclub in New York, a big ring where people were roller skating with a whistle. The atmosphere was great. The music was all disco. I made this song when I came back. A vocoder transformed my voice. Back then, it wasn’t used much." The track rides a killer groove and is deceptively complex, with layers of fantastic percussion and ace synth work going on all over it. Listed to on repeat, it's brilliance is simply undeniable.

The louche, slo-mo heater "Hypno Dance" is, in Be With's opinion, *the* deadly dancefloor track. A svelte slice of ace space disco again geared towards the roller skating dance mania of the day. So deep, so disco, so instrumental. An unreal track and, as the title hints at, totally hypnotic. The side closes with the somewhat throwaway "Popeden" - it's a jaunty number that you're probably best skipping, in all honesty. Have we ever steered you wrong?

The B-Side opens with the frankly enormous "Roll Jacky Roll" is another thrilling, high class roller-rink jam with beautiful melodies that's adored the world over. The wonky, abstract "Ad Libitum 80" is a super dope, swirling, staccato electro-funk bounce which sounds light years ahead of its time. This might be the real lowkey sleeper gem on this record. CHECK! This remarkable LP rounds out with the huge "Dancin' Machine". It's got sleek drums that emit an absolutely ace swagger and elements of Italo synth funk feels. A relaxed, slow rhythm throughout ensures you can't help but get your funk on when this crashes soundsystems. We'll leave the final word on this to Daniel: "It amuses me to think that my son Thomas was influenced by "Dancin’ Machine" for "Around The World", he says. Both songs being based on an hypnotic repetitive refrain. Both songs being, of course, timeless pieces of Euro genius.

Who's Who really is a fantastic late-70s-early 80s roller disco-funk essential. The audio has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland.

When it came to the sleeve for this we were presented with an unusual problem: we usually have to rely on an original sleeve as the starting point for the restoration, but instead we were able to scan the original 35mm transparency of the front cover photo. The problem is that with a modern scanner the results were far sharper than when they made the original sleeve. We’ve played around with the exposure and the colour grading but we’re sorry to say that our version of the front cover still ended up looking too good! Don’t hate us.

Auf ihrem ersten Album mit Alt-Pop-Hymnen - "When I'm Alone" (2022) - hatte girlpuppy (geborene Becca Harvey) oft das Gefühl, im Schatten ihrer Mitstreiter zu stehen. "Sweetness" entstand auf der anderen Seite einer Beziehung, in der sie sich oft an den Rand gedrängt fühlte. Für die 25-jährige Singer-Songwriterin aus Atlanta war "Sweetness" das richtige Projekt, um ihre kreative Herangehensweise zu überdenken und ausschließlich mit ihren eigenen lyrischen und melodischen Ideen zu arbeiten. Das Ergebnis dieses Prozesses ist ein dunkleres, textlich weitläufigeres Album als sein Vorgänger, voller herzzerreißender Songs über das Zurückdrängen von Selbstvorwürfen und Zweifeln. Von den kraftvollen Klängen über die natürlich fließenden Melodien bis hin zu den emotional großzügigen Texten strahlt jedes Element von "Sweetness" Zuversicht aus und zeigt, dass Harvey die rohe Kreativität genießt und ihren Neigungen vertraut. Das Album spielt sich in dem Moment ab, auf den alle Künstler warten: wenn ihre "Stimme" so klar wird, dass sie einfach den Mund aufmachen und anfangen können zu sprechen. Befreit von der nagenden Unsicherheit, dass sie keine Songwriterin sein kann, ohne ein Instrument zu spielen - sie nennt Matt Berninger von The National als Inspiration - begann Harvey für "Sweetness" mit der Aufnahme von Acapella-Stimmnotizen in voller Länge. Um einen Hintergrund für den Gesang zu finden, griff Harvey auf ihre vielfältigen, lebenslangen musikalischen Bezugspunkte zurück, von der Country- und Top-40-Popmusik, mit der sie in der Kleinstadt Georgia aufgewachsen ist, bis hin zu ihren späteren Lieblingsliedern, die ihre Vorstellung davon, was Songwriting erreichen kann, erweitert haben: Elliott Smith, Lana Del Rey, Yo La Tengo und mehr. Mit Hilfe des in Asheville ansässigen Produzenten und Co-Autors Alex Farrar und den weiteren Co-Autoren Tom Sinclair und Holden Fincher hat Harvey den Sweet Spot zwischen Shoegaze, Dream-Pop und Pop-Rock-Hymnen der Jahrtausendwende ausfindig gemacht. Harvey mischt das Verspielte mit dem Zerstörerischen und schwimmt in "Sweetness" auf kathartischen Wellen von Emotionen und Monster-Hooks - eine Dynamik, die sie garantiert an die Spitze der furchtlosesten aufstrebenden Indie-Pop-Singer-Songwriterinnen von heute katapultieren wird.

A crisp, spellbinding intro sets the mood for the first song on 'Maintenant Jamais', Population II's third album. With the guidance of producer Dominic Vanchesteing (Marie Davidson, Chocolat, Peter Peter), the turbulence of the band’s previous releases is structured and refined. The result is a sophisticated rock album that surprises with its languorous grooves, as heard on "Le thé est prêt", while staying true to the raw power for which the band is renowned, as demonstrated on vigorous tracks such as "La Trippance" and "Rédemption naturelle".

The album follows with "Prévisions", a song that ripples with finesse before abruptly transitioning into the instrumental number "Macavélique rock". While "Haut-fond" and "Cardinaux" are true feats of elegant prog rock, "Mariano (Jamais je ne t'oublierai)" and "homme étoilé" prove that Population II is also endowed with a profound melodic sensibility capable of creating catchy and explosive hooks.

On this new album, the trio fine-tunes the distinctive style they’ve been developing for several years, thanks in part to a fusion of shared influences – from Soft Machine to MC5 to L'Infonie – but also to a rare complicity that can only blossom between such close friends. This creative chemistry is what makes the band's complex songwriting seem so fluid and supple. Population II breaks through their previous sonic frontiers while remaining true to their roots. Therein lies the achievement of 'Maintenant Jamais'.

A crisp, spellbinding intro sets the mood for the first song on 'Maintenant Jamais', Population II's third album. With the guidance of producer Dominic Vanchesteing (Marie Davidson, Chocolat, Peter Peter), the turbulence of the band’s previous releases is structured and refined. The result is a sophisticated rock album that surprises with its languorous grooves, as heard on "Le thé est prêt", while staying true to the raw power for which the band is renowned, as demonstrated on vigorous tracks such as "La Trippance" and "Rédemption naturelle".

The album follows with "Prévisions", a song that ripples with finesse before abruptly transitioning into the instrumental number "Macavélique rock". While "Haut-fond" and "Cardinaux" are true feats of elegant prog rock, "Mariano (Jamais je ne t'oublierai)" and "homme étoilé" prove that Population II is also endowed with a profound melodic sensibility capable of creating catchy and explosive hooks.

On this new album, the trio fine-tunes the distinctive style they’ve been developing for several years, thanks in part to a fusion of shared influences – from Soft Machine to MC5 to L'Infonie – but also to a rare complicity that can only blossom between such close friends. This creative chemistry is what makes the band's complex songwriting seem so fluid and supple. Population II breaks through their previous sonic frontiers while remaining true to their roots. Therein lies the achievement of 'Maintenant Jamais'.

This double vinyl captures two legendary concerts, one in Paris in February 1960, the other at an unknown location in 1961. Side A features tracks like “This Night Mountain” and “Ceciliana,” showcasing dazzling rhythmic mastery, supported by Tommy and Stanley Turrentine. Side C enchants with “Who Will Buy?” elevated by Abbey Lincoln’s mesmerizing vocals. Finally, Side D peaks with “Stop Motion,” a masterpiece of bold percussion. A must-have for jazz enthusiasts.

VINYL COMES IN A HIGH-QUALITY SCREEN-PRINTED COVER!
LIMITED TO 200 COPIES!

Coinciding the cinema release of ‘Der Wald in mir’, the soundtrack by Gregor Schwellenbach is being released in an exclusive edition in high-quality screen-printed covers by director and artist Sebastian Fritzsch. Microtonal strings in dialogue with electronic sounds, noise music, drones and ambient, complemented by improvisations by experimental string wizards Emily Wittbrodt and Matthias Kaiser. These different worlds of sound are linked by melodic motifs that come together in the final end credits song. This closing track was created in collaboration with indie artist Jungstötter, 'a singer, whose intense aura I associate with the sensitivity and emotional depth of the main character Jan, just as I hear the strength and unflinching devotion of the character Alice in co-singer Isabelle Pabst.’ (Gregor Schwellenbach)
Pünktlich zum Kinostart von „Der Wald in mir“ erscheint der Soundtrack von Gregor Schwellenbach in einer exklusiven Schallplattenedition in hochwertigen Siebdruck-Covern von Regisseur und Künstler Sebastian Fritzsch. "Um Jans Innenwelt gerecht zu werden, wollten wir uns einer enormen musikalischen Vielfalt bedienen: Mikrotonale Streicher im Dialog mit elektronischen Klängen, Geräuschmusik, Drones und Ambient, ergänzt durch Improvisationen von Emily Wittbrodt und Matthias Kaiser, bis hin zu New Wave und zur Indiepop-Ballade. Diese verschiedenen Klangwelten werden durch melodische Motive verbunden, die im finalen Abspannsong zusammenfinden. Dieser Schlusstitel entstand in Zusammenarbeit mit Jungstötter, einem Künstler, dessen intensive Aura ich mit der Sensibilität und emotionaler Tiefe der Hauptfigur Jan verbinde, so wie ich in Co-Sängerin Isabelle Pabst die Stärke und unbeirrte Zugewandtheit der Figur Alice höre." (Gregor Schwellenbach)

SC returns with a full length LP showcasing his vast armoury of musical ability in a controlled, contemplative reflection of his inner self, laid bare in breaks-driven form for the enjoyment of Spatial fans new and old - continuing the ongoing celebration and evolution of classic atmospheric drum & bass.

A1 - Fear of the Deep

Curious, high twinkling bells cautiously introduce Fear of the Deep, reminiscent of classic sci-fi movies building atmosphere and intrigue, before the hi-hat heavy, snappy break previously used in Spatial classic Essence (also by ASC) makes a welcome return. The 2-step - occasionally broken - beat pattern drives the track along with a darkly, investigative energy, while a typically deep bassline rumbles beneath, setting the scene perfectly.

A2 - Concentric Circles

A change of pace for ASC here with Concentric Circles, exploring a jazzier spectrum of influences not often broached in his production adventures, with broken scattershot beats toying and playing around a wealth of reverberating brass samples to create a minimal yet quietly imposing undertone. Double bass props up the composition wonderfully, completing an exquisitely quirky entry to the LP.

B1 - Say It

Opening with rousing strings and quietly ominous effects, ASC utilises a unique fusion of melancholic atmospherics, jazzy basslines and a classic old-school breakbeat to form Say It. Dense, purposeful kicks stomp across the mix as the strings and synthwork wash in the foreground, developing a sombre, contemplative tone to the track throughout, before a wonderful outro ending with those delightful strings.

B2 - Virtual World

Filtered Hot Pants breaks gently ease their way to the forefront of a beautifully constructed intro to Virtual World, trademark crispness and intricacy etched onto the beats effortlessly, as we've come to expect from ASC. Delicately nuanced vocal samples combine with an intense concoction of synths and micro-melodies, dancing over the sharp breaks and a suitably earthy undertone bassline.

C1 - Eons

The classic, intense atmospherics continue with Eons, a spacey piece introduced by a memorable melody, tinged with purpose and allure. This melody continues through sci-fi computer FX reminiscent of early 720, and persistent backdrop synths as we are treated to a gentle flurry of perfectly edited amens leaping and falling over subtle, juddering basslines creating that elusive blend of both headphone and dancefloor appeal.

C2 - Timeslides

ASC flexes the timeless Hot Pants break again - crisply edited with a sharpness in the mix which is simply to die for - in Timeslides, a track which continues the brooding, introspective tone of the LP. Utilising a varied array of samples and effects which will transport you straight back to that unmistakable era of 90's atmospheric heaven with several nods to forefathers of this wonderful sound - just how we like it at Spatial.

D1 - Lightspeed

Take a moment to appreciate the bells tolling, glimmering and colliding during an enchanting intro, freely crafting layered melodies without a care as ASC presents us with an immensely memorable piece in Lightspeed. Long, elongated vocals drift and swirl through the airy soundscape, all punctuated by finely tuned and arranged Circles breaks, energetically deployed for the discerning breakbeat aficionado.

D2 - Nightvision

Intensity is dialled up to 11 in Nightvision, a deeply atmospheric track which showcases a perfect, symbiotic combination of melancholy, drama and raw energy. The lively breaks take center stage over a heavy, consistent 808 bassline with enveloping masses of atmospherics circling, gripping your attention, joined by dreamy vocal samples deployed subtly in an ever-changing tone to close the LP in style.

Words by Chris Hayes (Spatial / Red Mist)

Bis ins Jahr 1973 reicht die Historie von Mass zurück, als Günther V. Radny (das V. steht für Viktor) mit Sänger Josef Hartl, Gitarrist Walter Speck und dem Schweizer Drummer Charles Frey (heute als Akron bekannter Autor) die Formation Black Mass startete. Nachdem Speck wegen psychischer Probleme mit tödlichen Folgen ausfiel, ersetzte ihn der Saarbrücker Gitarrist Gerd Schneider, der zuvor mit ScorpionsSchlagzeuger Hermann Erbel alias Herman Rarebell bei RS Rindfleisch gespielt hatte. Schneider musste allerdings nach einem Jahr wegen massiver Drogenproblemen wieder gehen und wurde durch den englischen Gitarristen Mick Thackeray (The Merseys), der in der Schweiz mit den Slaves und Countdowns, und in München mit Abi Ofarim spielte, ersetzt. Zur gleichen Zeit ersetzte Johannes Eder, von der englischen Band I Drive kommend, Drummer Frey, der sich laut Radny auf den Büchertripp begeben hatte. Zudem wurde der Bandname auf Mass verkürzt.

In dieser Besetzung nahm MASS im April 1975 im Studio 7o in München mit Dave Siddle am Mischpult, der unter anderen mit den Beatles, Jimy Hendrix, Jeff Beck, Animals und Deep Purple arbeitete ein Album auf. Aufgrund der Drogenprobleme von Sänger Josef Hartl wurde dieses Album nie veröffentlicht. Leider sind diese Bänder bis heute verschollen. Doch damit nicht genug der unruhigen Zeiten: Ein Jahr später mussten Hartl (Drogenprobleme, verstorben 1998) und Thackeray (Übermäßiger Alkoholkonsum), gehen.

Mit dem aus Berlin gekommenen Detlef „Dave“ Schreiber als neuem Gitarristen war die Formation als Trio 1976 erst einmal stabilisiert. 1977 entstand das Album Back To The Musicâl, welches bei United Artists Records (Hawkwind, ELO, Don McLean) erschien. In Folge wurden Mass als teils boogieorientierte Hardrockgruppe, anschließend als Heavy Metal Band bekannt und genießen heute ähnlich wie Accept, Scorpions, Trance oder Fargo Pionierstatus. Nach einer zeitweisen Umbenennung in Monsters kehrte Bandboss Günther V Radny kürzlich mit Mass zurück und lieferte eine gefeierte Reunion-CD. Die Band wurde auch kürzlich von Golden Core/ZYX geehrt, da je ein Track von Mass und Monsters auf der Compilation Sound & ActionGerman Hardrock & Heavy Metal Rarities Vol. 1 zu finden ist. Im Zuge dieses Kontaktes kam es zu der längst überfälligen Idee, das Debütalbum von Mass erstmals auf CD (und erneut auf Vinyl) zu bieten. Dieses Gesamtpaket gibt es jetzt als Bundle und ist somit ein absolutes Sammlerstück.

As a founding member of Dublin experimental folk group Lankum, Ian Lynch explores submerged leylines of music and song. Forging a musical path that is all at once dark, mysterious and foreboding, but ultimately transcendental. His new solo project One Leg One Eye sees him taking a fresh approach to musical arrangement culminating in a sound that is more rooted in the raw aesthetics of second wave black metal than contemporary folk. The project was born across 2021, a period in which Lynch was able to enjoy the freedom of experimenting and exploring different paths of sound design without expectation or pressure. Seeking out interesting settings to record music and gather field recordings, there are several environments, external and interior, whose respective essence have seeped into the spirit of the music and come to represent Lynch’s artistic approach and development with this singular debut album, …And Take The Black Worm With Me. Rediscovered spaces in Dublin and the familiar enclave of his bedroom are intrinsic to the distinct and sometimes harrowing atmosphere conjured throughout the album’s five enveloping compositions. One particular location, an abandoned factory where his father worked when Ian was a child, provided a space of great inspiration and intrigue during this time. Lynch frequently visited the large abandoned warehouse and sang with his shruti box, contented in his solitude. ‘I’d Rather Be Tending My Sheep’, grew into existence from those initial sessions, eventually finding a home as an emotive centrepiece to the album. Reflecting on the overall recording of …And Take The Black Worm With Me, Lynch says, “Everything I was doing with these songs was all kind of new to me; experimenting with different sounds, textures and palettes and seeing what I could come up with by piecing it all together. I spent about a year making the album. I loved the whole process because it was basically just me in my bedroom recording everything. The experience of recording like this and having my own time to do it was amazing. I could focus on recording a specific element and happily spend all day working on that one part, doing it as many times as I wanted. At the end of the day if it didn’t feel right, I could just try it again the next day. When you’re on your own you can spend as much time as you want on particular parts until you feel that it’s absolutely perfect. I found that to be a really liberating experience. It was probably my favourite experience recording music.” The collection of songs (and their chronology) featured on …And Take The Black Worm With Me tell a story unique to Lynch’s experiences with anxiety and recognising his shadow self. Whilst the album became an outlet of personal expression for Lynch, the overarching themes and subsequent journey to confront one’s internal dichotomy of light and dark before accepting this inherent duality is universally shared. The eerie and often unsettling world contained within the album’s texturally dense opener ‘Glistening, She Emerges’, driven by the captivating drone of distorted uilleann pipes, immediately immerses the listener in this transportive work. It descends with a great heaviness, yet woven throughout the arrangement is a fascinating and indescribable entity that draws you further into this otherworldly dimension. This mood continues as the tracklist progresses and transitions into Lynch’s haunting realisation of ‘Bold and Undaunted Youth’ which further demonstrates a cinematic influence to Lynch’s compositional style. Sonically, Lynch effectively builds an impressively vast terrain with brilliantly murky lo-fi recording techniques and an unshakable curiosity to move beyond conventional structures and play with the timbre of the instruments available to him. From recording hurdy-gurdy or concertina to tape and experimenting with loops and effects pedals to stitching field recordings together, there’s an intimacy established between Lynch and his audience established through the simultaneously eerie and beautiful tones courting through …And Take The Black Worm With Me. This culminates in ‘Only the Diceys’, the extraordinary closing track in which we reach a place of resolution mapped into the album’s narrative structure. Mixed by longtime collaborator John ‘Spud’ Murphy in his Dublin-based Guerrilla Sounds Studio and mastered by Harvey Birrell …And Take The Black Worm With Me features contributions from Ruth Clinton (Landless) on church organ and vocals by Laurie Shanaman (Ails, Ludicra). Of Shanaman’s participation, in particular, which further illustrates the lo-fi and DIY ethos to the recording, Lynch says, “Laurie is my favourite black metal vocalist of all time and so I reached out to her hoping to have her involved in some way. She did, and she features on the opening track by providing some incredible screams. She recorded them into her phone and sent them over to me; what appears on the album is literally a phone recording of her screaming in her kitchen!” …And Take The Black Worm With Me continues Ian Lynch’s groundbreaking work with Lankum; recontextualising traditional forms and generating new spheres of music in his wake, confirming his status as one of the most interesting and innovative artists working in Ireland today.

Bei Stepptanz denkt der Musikfreund natürlich zunächst an Gene Kelly und Fred Astaire. Auch wenn nicht mehr so populär wie in der ersten Hälfte des 20. Jahrhunderts, findet der Tapdance nach wie vor in den Shows am Broadway statt. Die perkussive Ausdrucksform mit den schnellen rhythmischen Beinbewegungen ist die Spezialität des Wiener Musiker Thomas Marek, der zu den gefragten Tapdancern in Europa zählt. Der 52jährige Choreograf und Schlagzeuger hat diese Tradition schon vor einigen Jahren aufgegriffen und zeigt seine expressive Tanzkunst in vielen Theatershows. Gemeinsam mit dem Pianisten Patrick Bebelaar und dem Bassisten Jan Roder hat Marek jetzt Tapdance, Perkussion und Schlagzeug im Rahmen einer LP-Aufnahme integriert, die sowohl ausgewählte Jazzstandards, als auch ausdrucksstarke Improvisationen beinhaltet. "Footprints" heißt die im Frühjahr 2024 in Wien aufgenommene Musik, die wir nun im Rahmen unserer Vinyl-Edition als LP präsentieren. Altbekannte Standards wie "Tea For Two" und "Softly As In The Morning Sunrise" sind ebenso zu hören, wie emotional geprägte Balladen von Bebelaar und rhythmisch vielschichtige Improvisationen von Thomas Marek. Entstanden ist mit "Footprints" ein musikalisches Kaleidoskop mit Elementen von Swing bis Free, das von drei erstklassigen Musikern eingespielte wurde. Pianist Bebelaar, hat viele Jahre mit dem Trompeter Herbert Joos und dem französischen Tubisten Michel Godard zusammengearbeitet und ist zudem ein ausdrucksstarker Komponist. Bassist Jan Roder ist fester Bestandteil der Jazzszene Berlin und Bandleader Thomas Marek ist sowohl als Drummer, wie als Tapdancer auf dieser LP zu hören.

Although still very much a secret, Oakland, California's Justin Pinkerton has perfected and expanded his Futuropaco project to a stunning degree over the past seven years. The one-man band is deeply rooted in Pinkerton's masterful drumming, which builds on the legacy of 1960's and 1970's legends such as Tony Allen and Jaki Liebezeit. But he's an accomplished multi-instrumentalist as well, and the Futuropaco sound is a colourful fusion that sees him throw fuzz guitars, flutes, vintage synthesizers and Anatolian string instruments into the mix - seemingly without much effort. The second and final volume of the "Fortezza Di Vetro" series feels like a conclusion, the sound of an artist reaching his creative zenith. It's an experimental album, yet immediately seductive in its energy - channeling the vibey art-rock of Tortoise, Black Sabbath riffage and vintage Italian film music in equal measures. It's such a refined and esoteric blend, yet hits so directly. It's simply impossible not to crank the volume knob once this slab of vinyl is on the turntable, followed by immediate head nodding. Buy the ticket, take the ride. Justin Pinkerton is a vastly talented rhythmsmith, best known as a member of Californian stoners Golden Void. On this project he plays all the other instruments too so he can do what he blooming well feels. And it's not as if the drum solos go on for twenty minutes like those of John Bonham and his pale imitators. Nope. Into tracks that are both jam-packed and concise, Pinkerton has squeezed his love of vintage Italian library music, classic krautrock and heavy psych rock. At one point it suggests Grails have been performing super-speed cover versions of fusion-era Miles Davis with Adrian Younge on production. -The Quietus Futuropaco returns in a big way with Fortezza di Vetro, a buzzing, groove-heavy album that expands on what came before while staying true to the project's origins. Dizzying, fuzzed-out psych with just the right amount of melancholy for good measure. Justin Pinkerton and Futuropaco have done it again. Fantastico! -Complex Distractions

2025 cassette edition, originally released in 2023 on 2CD/digital.

Recordings + booklet of the unveiling of »Katharina AW«, a relational artwork by Joris Martens. The unveiling event took place at St. Catharine’s Church in Hoogstraten - a city in the northeast of Belgium - on two Saturdays in May 2021.

While beholding the artwork, a woven tapestry, you listen to organ music by Miaux. Outside the church, you hear the carillon gurgle with music by Lieven Martens and town carillonneur Luc Dockx, prolonging the event into the public space.

Joris Martens created »Katharina AW« for the city hall of Hoogstraten. The tapestry now serves as an informal conversation starter in the conference room. Joris Martens is a multi-disciplinary artist and works in the field where applied arts and fine arts meet.

Miaux played her own compositions on the church organ. The songs appeared on the albums Black Space White Cloud, Hideaway, Dive and Gigi - released by Ultra Eczema, Lal Lal Lal, and Alien Passengers - and were originally written for electronic keyboard. Mia demonstrates that the church organ, which is normally used as an underscore for sadness or compelling thoughts, is a fitting instrument of connection. Through its resonance, we communicate our sounds.

Lieven Martens invented sketches for the carillon—by loading bird sounds into the computer program Melodyne, varying them and converting them to musical notes. As a nod to the religion crazy Olivier Messiaen, who considered the birds to be God’s chosen singers and songstresses. The trifles were translated on the carillon by town carillonneur Luc Dockx. The playing comes into and out of focus. In this way, Lieven creates a dreamscape and breaks with the dreary carillon as an instrument of power.

Luc Dockx studied church music at the Lemmens Institute in Leuven and the carillon at the Royal Carillon School in Mechelen. He is the city carillonneur of Hoogstraten since 2002. Dockx is an active practitioner of the art of improvisation on the carillon.

Celebrating 40th anniversary of Yves Deruyter's musical career with this 10 x 12" Vinyl Box Set. Including tracks from F.U.S.E. vs LFO, Tronikhouse, Robert Armani, L.S.G., Edge Of Motion, Plastikman, The Prodigy, Ecstasy Club, and the master himselfYves Deruyter.



Yves Deruyter - 40 Years at the Pinnacle of the Night

Forty years. A rollercoaster of a musical career, meandering through five decades, leaving timeless marks on the collective dancefloor memory. Yves Deruyter is the exception that proves the rule. An icon behind the decks, celebrated far beyond national borders for his legendary sets, impeccable musical choices, and the anthems released under his name. The result of collective effort, where Yves, with his vision and unique touch, consistently left his mark-transforming good tracks into inescapable bombs that still resonate through time.

If you've spent forty years living to the pulse of music, the night is in your DNA. Yves Deruyter, a DJ to the core-the real deal. The man who bent the night to his will, dragging weekend vibes into the workweek like a warrior, a true master behind the turntables who made his people dance. His beats: the oxygen that generations lived on.

Yves sharpened his musical weapons in the early '90s within the iconic afterparty scene of Barocci and The Globe-places that became sanctuaries in Belgium's endless night. Here, die-hard dancefloor warriors, cutting-edge music lovers, and night owls from the four corners of the globe gathered. They willingly followed Yves' masterful mixing and his razor-sharp set construction. Clubs with a more conventional timeframe were the next step, with the iconic Cherrymoon as his home base for years-alongside endless guest DJ spots and global gigs. From there, the underground pulsed through Yves' hands and crates, reaching ever-larger crowds-without ever compromising for commercial or crossover sounds. Yves stayed true to his choices, lifting his audience to euphoric heights like a craftsman, armed with his hits, hidden gems, and freshly unearthed nuggets.

From the pounding energy of Rave City to the flippy, epic flashes of Calling Earth-tracks that not only captured the spirit of the times but conquered dancefloors worldwide. This isn't just music; it's a time capsule-a connection between generations and a reminder of the energy from a golden era.

With musical partners like Roel Butzen, Frederico Santini, M.I.K.E. Push, and more recently, Insider, Yves forged a sound that etched its place into rave and dance history. From The Rebel to The House of House, parts of Yves' musical taste have become immortal pillars of dance music heritage. In the early rave days, he topped Belgium's DJ rankings year after year, elevating every club he played to the highest echelons of popularity. The same held true for the records where his name appeared like a badge of honor.

From The Globe to the globe itself-it seemed almost written in the stars. Yves, thestar DJ, became one of the instigators of the electronic music storm that put Belgium on the global map-a storm that never subsided. Festivals like Love Parade, Mayday, I Love Techno, Nature One, and Tomorrowland saw Yves as a trusted force, effortlessly commanding crowds and turning dancefloors inside out. Forty years later, that storm still ignites partygoers, vibrates through dancefloors, and keeps entire generations moving.

Even today, Yves still holds a steady residency with Yves Deruyter and Friends at Club Moustache, where his concept always sells out. Here, both fresh talent and seasoned DJs deliver a killer blend of modern electronic dance music and timeless classics, creating an atmosphere that hooks the crowd every single time.

Because partying doesn't need an excuse. But forty years? That deserves the spotlight-not as a mere milestone, but as a showcase of timelessness. Music mutates, reinvents itself for new generations, yet retains the same impact as that very first time. Yves proves that forty is just a number, and relevance isn't about trends-it's about vision, energy, and an unmistakable touch. His sets? Indestructible. His sound? A heartbeat echoing through time.

And Yves? He doesn't live in the past. Today, Yves distills those four decades into a compilation capturing the essence of his career. Belgian beats, interpreted and refined into a sound that powered raves around the world. Ten vinyls featuring not just a fiercely curated selection that contextualizes the magic of his early days, but also new versions of three unbeatable anthems-potent hits designed to turn dancefloors upside down in wonder, without losing a shred of their soul. Yves remains a beacon in the night, a searchlight for that one perfect beat-always relevant, always chasing that magical moment.

Yves Deruyter-a name spoken in the same breath as the greats of the scene. A ten-vinyl compilation is more than a celebration; it's a well-earned trophy. As unique, indestructible, and uncompromising as the man himself.

13 years in the making, Mr Bongo proudly presents a new compilation of beloved Brazilian disco and boogie finds from the legendary London disco connoisseurs, Horse Meat Disco. A labour of love, it showcases a tantalising cross-section of disco, funk, boogie, samba and MPB, from past to present. Unearthing tracks from the seemingly endless gold mine of Brazilian gems, the compilation features legends such as Jorge Ben, Gretchen, Marcos Valle and Robson Jorge & Lincoln Olivetti, alongside unsung heroes including Zé Carlos and Carlos Bivar.

Over 20 years ago, the Horse Meat Disco crew (James Hillard, Severino Panzetta, Jim Stanton and Luke Howard) began their weekly residency at Eagle London back in 2003. That same year, Luke made his first visit to Brazil, beginning a musical love affair that is still going strong.

“I had always wanted to go to Brazil since I was a kid, and when I finally had the opportunity to go with Princess Julia, I was just blown away. I’ve visited Rio every year since 2003, and in that time, I’ve learned Portuguese and tried to discover as much as I can about Brazilian music and popular culture. I learned to dance samba with the Paraiso School of Samba in London and paraded three times at Rio Carnival. Brazilian music was a brand-new world for me to explore and get excited about—a whole universe of genius musicians, singers, and styles.”

9 years later, Mr Bongo invited Luke down to their Brighton HQ for a listening session of some of his favourite Brazilian boogie and disco 7" finds. A compilation was green-lit, but multiple licensing delays and the release of other HMD compilations meant that it lay dormant for years.

Fast forward to 2024, and with the help of esteemed, Rio-based record collector Tee Cardaci, along with suggestions from HMD’s James Hillard, the dream of an HMD Brazilian compilation finally materialised. It’s a carefully curated collection that includes the electronic-boogie/italo-disco-esque 1984 groover 'Venha (Remix)' by the singer Źe Carlos, two cuts by Luiza Maura taken from her sought-after Deixa Girar 7", and Gretchen's sultry 'Ela Tem Raça, Charme, Talento E Gostosura' written by Jorge Ben.

At its core, this compilation captures the excitement and sense of discovery that won over Horse Meat Disco’s heart more than 20 years ago. A vibrant mix of feel-good flavours, it homes in on a sun-soaked strand of disco and boogie that has been enriched with the spirit of a nation where music serves as a central pillar of life.

Bristol label-turned-blog Innate launches a new sub-label, Innate Editions, which it says is dedicated to timeless UK techno, IDM, electro and ambient music, and it will all come on heavyweight vinyl. The first release revives Connective Zone's Palm Palm, a millennium-era cult classic and Ben UFO favourite that first came out on Mark Broom and Dave Hill's Unexplored Beats in 2001. Now, this long-out-of-print, expensive and hard to find gem has been remastered by Jamie Anderson and so sounds superb with many lavish electronic layers, richly emotive melodies and dynamic drums that lean on UK techno, IDM, and deep electro. Sounds as good now as it ever did.

DJ Feedback

Dan Curtin (Metamorphic):
"This sounds fantastic. I don't think I ever got it back when it came out but I'm glad I do now, it's really nice. Every track is the standout track!"

Dj Harri (Sub Club):
"Lovely stuff here, will be playing and supporting."

Laurent Garnier (COD3QR):
"Awesome 4 tracker, thanks a million times for this. Beautiful way to start a new label."

Midland:
"Thanks for sending this over. Really in to it, Function especially."

Mr Scruff (Ninja Tune):
"Thanks for this! Didn’t know this release. Function is great. Quite like Returned too."

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

Finger Lickin Good by Dennis Coffey, released 27 September 2024.

Founded by Robbie Redway and psychedelic researchers Mathieu Seynaeve and WaiFung Tsang, UK-based 'United Freedom Collective' has grown into a network of artists including Jordan Stephens, Falle Nioke, Eliza Shaddad, Labdi, William Rees and Facesoul. Originally conceived around psychedelic therapy sessions, online yoga and breathwork channels, the musical scope has expanded on each of the four EPs released on Maribou State's 'Dama Dama' label, and here continues with their debut on Multi Culti. This time Robbie takes the lead on production and sole vocal duties on all five tracks, presenting a range of influences and style. Lead single 'Between Memories' blends tropes of ecstatic dance with uplifting vocal piano house, somehow making flutes fit in with Detroit strings to epic, hands-in-the-air effect.' Title track ‘Bright Patterns’ bridges the gap between Jungle, Jai Paul, and Jamiroquai, a fusion of funky filtered disco-house and electroclash with side-chained pop vocal hooks. ’El Yo’ smooths things out, a dope, laid back groove with a measured reflection on psychedelic healing and the perils of spiritual bypassing. ‘Higher Drums’ warms things back up for the dancefloor with trumpet, afro-latin percussion, and flute flourishes. Finally, ‘Moonshine’ is a soaring, Amapiano-inflected post-desert-house ballad. Influenced, in their words, 'by birds, trees, Buddhism, yoga, headless way meditations, Jungian analysis, Zen Taoism, Chinese plant medicines, indigeneity, Amazonian and psychedelic cultures, icaros and world healing traditions,' the music is eclectic, ranging from afro-inspired jazz to Chinese folk, psych-rock to dub and dance music, an ambitious and inclusive range, collabs that extend well beyond the borders of western musical traditions. Their sound was described by Clash Magazine as an 'aural mosaic that glitters with colour and potential,' and while the sheen of the production and precision of the arrangements might seem a departure from Multi Culti's left-field endeavours, the psychedelic idealism and global connectivity make it a natural fit with the open-ended ethos of the label. Having already had radio support from KEXP, BBC6 Music (Laverne, Ravenscroft, Charles, Nemone, Letts), Jazz FM and Worldwide FM (Gilles Peterson), with a live show that sold out Dalston Curve Garde and The Waiting Room as well as supporting Maribou State for their recent comeback show at Islington Assembly Hall in London the collective's future is looking exceptionally bright.

QUEENDOM is an album that marks a new era for the project while staying true to the essence of Minuit Machine. Produced under the SYNTH RELIGION label, this opus immerses us in Amandine's introspective realm, oscillating between darkness and light, between doubt and self-conquest. While retaining the emotional DNA of previous productions, QUEENDOM stands out with a more pop-oriented touch, featuring tracks where Amandine sings in French for the first time.

The first single, "HOLD ME," is a powerful pop anthem addressed to the queer community, celebrating the freedom to be oneself and breaking free from societal and patriarchal norms. This track is a true empowerment statement, with striking electro beats supporting a strong message of emancipation and pride.

"Créatures," a collaboration between RAUMM and Minuit Machine, is a modern fairy tale—a timeless love story that could take place in any era. This salvific love, rarely seen today, embodies a poignant depth and beauty.

Continuing the journey, "Cent Fois"—a French-written track—takes us into a techno-pop universe with nostalgic yet hopeful undertones. This song perfectly reflects Minuit Machine's evolution toward a more radiant approach while staying faithful to its dark heritage.

"Party People," on the other hand, is a return to roots with dark wave/italo sounds. This hypnotic and haunting track questions identity in an increasingly robotic society, where individuals are forced to conform to imposed norms. This exploration of the individual versus the collective lies at the core of Minuit Machine's DNA.

"Mes Souvenirs," created in collaboration with Rebeka Warrior, dives intimately into the memories of Amandine and Rebeka. Together, they reveal fragments of their past—precious and vibrant memories that resonate through powerful and melancholic electro sounds.

Finally, the eponymous track "Queendom" invites us to plunge into the depths of Amandine's world—a universe that is both tormented and icy, yet resilient. Supported by a slow and captivating rhythm, this track is designed to grip and haunt the listener, like an incantation.

QUEENDOM is a bold and hybrid work where each track reflects a pursuit of sincerity and artistic reinvention while maintaining the ability to express emotions through rhythms that are both danceable and introspective. The album showcases Minuit Machine's artistic maturity, establishing itself as a must-listen in the darkwave and electronic pop scene.

Amandine entrusted the artistic direction of this album to Manon Dupeyrat, a brilliant young artist who crafted a bespoke universe perfectly aligned with the produced tracks. The album cover, both intimate and anachronistic, invites listeners into Amandine's private world through her bedroom, revealing what she wishes to share.

Steeped in classic dancefloor rhythms and sounds, ARTIFACTUAL RHYTHM presents a re-interpretation of club and DJ music through the lens of a live band with a jazz edge. Tapping into sounds of the 90s and 2000’s while keeping his foot very firmly in the now and beyond, Flood’s new body of work is both for the dancefloor and the listener.

Dubbed 'nu-jazz', 'jazztronica' and 'jazz house music', at its core Alex’s sound takes influence from house, UK garage, drum n’ bass, and broken beat. 'Artifactual' can be defined as 'made by human hands', and that’s exactly what Alex explores with this record; taking sounds and styles that are inherently electronic and giving them new life through the rawness of a live band underpinned by jazz and improvisational explorations. Music made by human hands.

Recorded live in a studio in Naarm / Melbourne and engineered, mixed, and co-produced by Lewis Moody (Energy Exchange Records), the album features a list of some of the finest players 'Down Under' including Erica Tucceri (flute), Finn Rees (keyboards), Dylan Paul (bass), as well as guest vocal features from the lyrical legend Cazeaux O.S.L.O on LIFE IS A RHYTHM, Kara Manasala on UK garage cut DON’T WAIT 4 ME, and New York soul queen Vivian Sessoms heating up some classic house energy on CAN’T GET ENOUGH.

Alexander Flood is one of Australia’s commanding beat-masters, possessing a unique and finessed arsenal of groove, power, and expertise on the drums. Leading his own band from the drum chair, Alex’s music pushes a fresh rhythmic and dynamic realm of live dance music leaning on nu-jazz, deep-house, broken beat, DnB, funk, and experimental sounds. The band has recently featured at Wellington Jazz Festival, Melbourne International Jazz Festival, SXSW Sydney, WOMADelaide, JazzMontez Frankfurt and various clubs across Europe and Australia.

Winning Australia’s Best Up and Coming Drummer Competition in 2016 was just the beginning of Flood’s accelerating trajectory in music. After graduating top of his University jazz degree in 2017, Alex signed with US label Stretch Music to release his debut album HEARTBEAT, followed by his sophomore release The Space Between in 2022. Later that year Alex toured Europe with heavyweight 6x GRAMMY nominee Christian Scott aTunde Adjuah’s band. While in Berlin Flood recorded his third album 'Oscillate' with an all-star lineup including Horatio Luna and Abase, releasing via Jakarta Records in May 2023. In 2023 Alexander was also the recipient of the highly prestigious Young Achiever Award at the Ruby Awards, as well as receiving the Robert Stigwood Fellowship (Government of South Australia).

2024 sees Alex join forces with Atjazz Record Company to release new music from his forthcoming album ARTIFACTUAL RHYTHM, as well as touring his band across Australia, New Zealand, Europe and the UK.

Some notable collaborators of Alex’s include Chief Christian Scott aTunde Adjuah, Abase, Horatio Luna, Atjazz, Vivian Sessoms, Cazeaux O.S.L.O, Nelson Dialect, the ASO, WASO, QSO, as well as working with brands including Red Bull Music and Istanbul Cymbals.

SATYA is thrilled to announce the next chapter in its vinyl-only catalog: an evocative EP by São Paulo-based producer Dru. Scheduled for release on March 21, 2025, this record captures the serene yet dynamic energies of Dru's distinctive sound, blending aquatic themes with dubby textures and grooves.

Dru is a producer and DJ with a passion for minimal and microhouse. He has steadily risen through the scene, earning the support of luminaries such as Mihai Pol, Arapu, and Barac. With previous releases on his own labels, Totoyov and Microdots, Dru has honed a sound that is both personal and universal, reflecting his unique journey.

Rooted in the calming beauty of Brazil’s pristine beaches, Dru explains that the EP emerged during a reflective chapter of his life. "I was looking to produce tracks on a more dubby vibe," he shares. "The aquatic and fresh feel of the tracks reflects my connection to the sea and the tranquility I find there." This theme flows through the EP, offering listeners a refreshing escape into soothing yet intricate soundscapes.

The EP comprises two standout originals:

"Lax" captures a serene moment in Dru’s life, characterized by personal harmony and simplicity. The title itself is an 
abbreviation for "Relax," reflecting the calm state of mind during its creation.

"Afterbreak" marks a transitional period post-breakup, yet the track maintains a composed energy, symbolizing growth, 
renewal, and forward momentum. 
Dru draws on a broad spectrum of influences for this EP, from the African-reggae-inspired percussive touches to the intricate dubby aesthetics of Andrey Pushkarev’s Luck of Access label. These elements intertwine with Dru’s Brazilian roots, creating a fusion of global sounds with a personal twist. 
One of the most exciting milestones during the production process was securing remixes from Nicolas Duvoisin and Superlounge, both of whom enthusiastically joined the project early on. With contributions from these respected artists, the EP transcends boundaries, bridging dubby minimalism and deep house groove.

The vinyl-only release marks an exciting new chapter for Dru and SATYA. With its aquatic themes, dubby energy, and heartfelt storytelling, this EP promises to captivate both seasoned collectors and fresh ears alike.

Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?

You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.

On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.

The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.

Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.

So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:

I don’t wanna be made to see
I just wanna ask “what’s that?”

Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.

Lay in bed alone at night and ask aloud to the stillness,

“What were you doing at the Albuquerque Airport?
What were you doing there??”

And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.

Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.

Ignite’s A Place Called Home 25th anniversary edition on vinyl with bonus tracks out in March 2025 Svart Records is proud to reissue the Californian melodic hardcore band Ignite’s album A Place Called Home. Previously released on vinyl only on its original release date in 2000 on TVT Records, A Place Called Home will finally be available on wax again on March 21st, 2025. Formed in Orange County in 1993, Ignite's sound is hard to pin down. Their music contains elements of punk, hardcore, alternative, and even heavy metal. Their 30-year career has produced several classic albums with A Place Called Home being their commercial breakthrough album, combining the spirit and muscle of hardcore and the catchy tunes of west coast punk rock. Sixteen songs loaded with great hooks, compelling, socially conscious lyrics, and the heaviness that hard music fans love. The band’s bassist and founding member Brett Rasmussen comments the reissue: "When I found out that the guys at Svart Records were licensing A Place Called Home for a vinyl reissue I was beyond stoked. This album will finally be available again, after being out of press for so long, and this time there will be colored vinyl! I'm really looking forward to spinning this reissue and I'm happy that it will be available for our fans to enjoy again on a turntable." The authorised Svart Records 25th anniversary edition of this modern genre-defining classic contains three bonus tracks previously only available on the European CD version of the album and comes with an insert. Available on Svart exclusive black & white marble vinyl, limited transparent red vinyl, and classic black vinyl. A Place Called Home is out on March 21st, 2025.

Ignite’s A Place Called Home 25th anniversary edition on vinyl with bonus tracks out in March 2025 Svart Records is proud to reissue the Californian melodic hardcore band Ignite’s album A Place Called Home. Previously released on vinyl only on its original release date in 2000 on TVT Records, A Place Called Home will finally be available on wax again on March 21st, 2025. Formed in Orange County in 1993, Ignite's sound is hard to pin down. Their music contains elements of punk, hardcore, alternative, and even heavy metal. Their 30-year career has produced several classic albums with A Place Called Home being their commercial breakthrough album, combining the spirit and muscle of hardcore and the catchy tunes of west coast punk rock. Sixteen songs loaded with great hooks, compelling, socially conscious lyrics, and the heaviness that hard music fans love. The band’s bassist and founding member Brett Rasmussen comments the reissue: "When I found out that the guys at Svart Records were licensing A Place Called Home for a vinyl reissue I was beyond stoked. This album will finally be available again, after being out of press for so long, and this time there will be colored vinyl! I'm really looking forward to spinning this reissue and I'm happy that it will be available for our fans to enjoy again on a turntable." The authorised Svart Records 25th anniversary edition of this modern genre-defining classic contains three bonus tracks previously only available on the European CD version of the album and comes with an insert. Available on Svart exclusive black & white marble vinyl, limited transparent red vinyl, and classic black vinyl. A Place Called Home is out on March 21st, 2025.

Kinky Friedman's final record (he passed away on June 27, 2024) Poet of Motel 6 is a moving collection of ten songs about love and loss. From his tribute to Billy Joe Shaver, The Poet of Motel 6, to his paean to the late, notorious mystery woman, Miranda Grosvenor, in “Whitney Walton Has Flown Away,” Kinky plumbs the depths of love and mortality on his final album. Joined by Texas royalty like Jimmie Dale Gilmore, Rick Trevino, Amy Nelson, Rodney Crowell, and produced by fellow Rolling Thunder Revue alumni David Mansfield, this record truly lays bare the heart of this Texas bard.

On their latest album, XIXA leave the sunbaked desert behind, taking listeners on a journey through the underworld. Diving into the richness of folklore, Brian Lopez and Gabriel Sullivan, who share XIXA’s songwriting, lead vocals and lead guitars, expand on their mystic, psychedelic rock, reaching more into their Latin influences to create a musical and lyrical narrative for XOLO, an album exploring both a mythic journey and what messages it might have for today. XOLO (in both band name and album title, the x is pronounced like ch) refers to the breed of Mexican hairless dog, Xoloitzcuintli. In Mayan and Aztec cultures, these dogs were held sacred and believed to have been guides through the underworld, Mictlán. The record loosely tells the story of a young girl, Arcoiris, who is guided through all nine levels of Mictlán by her sacred protector, El Xolo. The songs represent the various encounters El Xolo and Arcoiris experience while finding their way through a land of mystery and shadow. In a way, the idea of a Xolo-themed record pre-dates the band itself.

American director and actor Eli Roth takes you on a forbidden journey across the vaults of legendary Italian soundtrack label CAM Sugar. Setting the mood for his very own red light discothéque, Tarantino’s right-hand man and Italian B-movies connoisseur has sourced and selected 20 juicy tracks, spanning from kinky disco and funk to seductive bossa nova and psych, from Italian Sexy Comedy and softcore films (1969-1981). It includes 9 previously unreleased tracks with 4 previously unreleased on vinyl and music by some of Italian film music's most cult composers, including Stelvio Cipriani, Bruno Nicolai, Riz Ortolani, Franco Campanino, Gianni Ferrio, Nico Fidenco as well as unique vocal performances by actress and Italian sexy comedy actress Gloria Guida.

2025 Repress

Veyl is proud to welcome back to the label one of the most essential and multidimensional producers today, Filmmaker. To date, the Colombian artist has delivered a plethora of revered releases from his breakout, The Love Market (2019), to his previous album on Veyl, Fictional Portrayals (2022). He consistently traverses genres from postpunk, EBM, synth wave and beyond to create a unique identity still firmly rooted in film culture. Now he returns with perhaps his most robust and powerful offering, Hollywood
Cult.

Comprised of 13 tracks, the album sees the producer elevate his sound to new levels, conjuring a world of haunting atmospheres and devious directions that take the listener through a journey of unparalleled proportions. Kicking off the album is the ritual-like
'Secrecy', which builds tension before exploding into a synth-driven race against time and introduces us to the world that lies ahead. 'Holy Wood' injects a heavy dose of body music for an infectious piece that bleeds perfectly in to the slow burning nostalgia of 'Generational Trauma'. Next, 'Western Malice' picks the pace back up with its evil energy that feels fit for the best horror scenes before 'Shocking Therapy' enters the picture with an exhilarating electro feel.


Now in the depths of the journey, 'Vessels Wine' continues the saga with a high intensity work that gives way to the stirring emotions of 'Peacekeeper Ripper' and the raw, blood lust of 'Criminal Rite'. Now entering the final phases, 'Spiritual Harvest' cleanses the palate before 'Elite Dungeons' comes crashing in with a lo-fi feel that puts you deep underground. 'Two Sets of Rules' charges back with twisted lines before 'No Fetish Without Evil' unveils post-punk strings that puts you in a trance before 'Hanging Finale' closes the release u ltimately fading out into the abyss. Repeat listens will be necessary and the whole album feels like a soundtrack to a dark new world that is perfectly fitting for any Hollywood Cult.

Dj T-Kut Team Leader of Skratcher Madrid, Skratch Elementz & Tablist Lounge Spain, publishes a new volume of Skratch Practice. After the success of the previous volumes, this time it will be called Skratch Fu-Finger Practice. Side A consists of 12 seamless loops at 100 BPM and Side B consists of 12 seamless loops at 133 BPM. This vinyl is a perfect tool for battle routines, freestyle scratching, in which you will find classic original sounds, phrases, Fx sounds and much more. This Battle Breaks & Scratch Tools vinyl promises hours of practice and is focused both for DJs who are beginning and advanced DJs. This work is published on 12" and 7" vinyl in black plus a limited edition in colour oxide blood for 12" and gold for 7". The 7" vinyl sides A and B consist of 6 loops per side at 100 BPM. Artwork: Adolfo Gerrero Mastered: Le Jad Producer: Dj T-Kut I hope you enjoy it and Happy Skratching!

Werdet Zeuge, wie SCHÄDLICH & SÖHNE ihren musikalischen Giftschrank für euch öffnen und in diesen finsteren Zeiten, eurer kleinen und traurigen Welt mit ihrem neuen Album ein paar dunkelgraue Farbkleckse hinzufügen!
Lasst alle Hoffnung fahren, dies ist keine Musik für jedermann, und ganz sicher keine leichte Unterhaltung. Dies ist für Hörer, die des Denkens fähig sind, einen gesunden Galgenhumor besitzen und Spaß in der Tragik finden.

Werdet Zeuge, wie SCHÄDLICH & SÖHNE ihren musikalischen Giftschrank für euch öffnen und in diesen finsteren Zeiten, eurer kleinen und traurigen Welt mit ihrem neuen Album ein paar dunkelgraue Farbkleckse hinzufügen!
Lasst alle Hoffnung fahren, dies ist keine Musik für jedermann, und ganz sicher keine leichte Unterhaltung. Dies ist für Hörer, die des Denkens fähig sind, einen gesunden Galgenhumor besitzen und Spaß in der Tragik finden.

The time has finally come to have Kwartz in this house again and we couldnt be more satisfied with the quality of the work he has delivered. It is clear that his new residency at the best techno club on the planet, Berghain, has helped his inspiration multiply exponentially and this is definitely reflecting in this brand new work that leaves us wanting more.

Four slices of techno with all the letters, which define exactly what the genre should be without seasonal additives, dynamic electronic dance music, without an expiration date, which could be signed thirty years ago or in the distant future.

Mario does not entertain himself with extreme speeds, nor with predictable developments, nor with pre-cooked sounds. His approach to musical creation is slow and artisenal, meditating and maturing each of the ingredients he uses without fear of being left out of the media radar.

This enitre procedure is reflected un the excellent result, The Golden Hour is a perfect example of everything said above. Strong and firm rhythms, constantly evolving arrangements, elaborate sound design and a firm dance attitude.

Enter The Zone turn rhythms towards broken bass drums, slightly presses the accelerator and introduces disturbing atmospheres combined with organic percussion details in a masterful way. A true catalyst for expert mixers.

On side B, Under Control once again breaks tradition with a broken, hypnotic and continuous rhythms, a first-rate brain driller for the clubs peak moments.

The EP ends with Animal Instinct, which does not lower the intensity one bit, adding an overwhelming rhythm with dynamic percussive details, with no room for rest, perfect for the dancers to travel to unknown dimensions.

"Float like a butterfly and sting like a bee" said the famous boxer Mohammed Ali, in reference to his legendary strike. This punchline also works wonderfully in music, listening to Roseaux's third album. A French success story, created with all modesty and honesty by the Parisian trio: Emile Omar, Alex Finkin and Clément Petit.

The three musketeers of sound cultivate their know-how, now acclaimed by critics and an ever-growing audience since their first project in 2012. It took them time to take a step back and gain perspective in order to offer us a return that is both joyful and resounding.

Roseaux takes root on the banks of soul, folk, jazz, and songs from all eras, a cascade of inexhaustible sounds, where the three composers draw their inspiration and merge their experiences.

The leaves of Roseaux soar to the breath of wonderful voices, chosen with precision by the three friends, like that of the American singer Aloe Blacc, present since the beginning of the adventure, essential enchanter of the three episodes.

Conceived as a dreamlike escapade full of emotions, on the fringes of the massive, instantaneous and often disembodied production, Roseaux is a totally artisanal group, a sort of UFO in the French musical landscape, which operates on instinct and above all on desire.

Thus, Roseaux has become an expert in bringing together, for the duration of a record, the artists who specifically form the DNA of their host: captivating voices, a plot on the piano and cello, but also encounters and reunions, in a poetic and deliberately nebulous universe.

A welcoming nebula, where the listener is invited to listen and immerse themselves without hindrance, in a luxuriant, wild, exciting sound forest. This third album is the work of 3 music lovers, capable of switching roles: writing, arrangements, production, from which emerge this time, eleven tracks with chiseled melodies including three colorful and unusual instrumentals.

A journey between melancholy and euphoria, which led Roseaux to the ends of the planet, from the Caribbean to Europe via Africa to unearth other vibrations and unique performers: the captivating Grenadian-British singer Ala.ni, the little English afropop prince from Ghana, Ghetto Boy, and the disturbing Swedish Isabel Sörling, sign here a first flamboyant collaboration with the group.

While the talented Haitian-Canadian Mélissa Laveaux, the hypnotic Scandinavian singer Olle Nyman, the sparkling French-Canadian Anna Majidson and our remarkable national Ben, already present on the second part, still manage to create a surprise by revealing new aspects of their range.

Roseaux's voices are decidedly impenetrable and its magic is renewed today by making the strength of all these scintillating elements dialogue, to be discovered in a setting of softness and voluptuousness.

Nature is full of reeds, this one is unique.

Warm welcome to the label this time comes to the duo of producers from Netherlands called pH Project. The musical union formed by Pelle and Herra that are both have been doing what they do for many years and played alongside as well many admirable artists which you can find on the archives of the internet if the curiosity will get the best of you. The maestros of the project have provided us with 3 ready to tremor up the speakers cuts with their signature groove and knowledge that they have acquired in the trenches of rave during their activity on the scene. Finalising this 12” vinyl cut is Levat, the producer who doesn’t need introduction as his persona and non-stop dedication for music speaks for itself. Taking non-standard approach of taking stems from all the originals hence the name of the work is “Thritrakk”, combining the elements of all three tracks we have this dark electro monster audio gracing the B2 side. The work of a collaboration of styles and sonically dedicated minds have resulted into this EP “Obvitrip” coming to life for us to enjoy.

Kicking 2025 off with a NEW LIFE, Kito Jempere resumes operations retro-outfit shining, all machines blazing, pulling up with a boiling four-trackpackage bound to get dance floors quivering in excitement. A stick ofdynamite flung into the mouth of today's corporate dance music blandness, 'New Life' finds the Saint Petersburg producer spitting multi-strain madnesswith reckless fun and adventurous panache. Take New Order in theirTechnique days, sprinkle with early hip-hop breaks and finish it with a funk-savvy mix of acid, happy hardcore and ghetto tech jack, and you prettymuch have the opening track and lead-single 'New Life' capsulized to a tee.
A blissed-out, choppy ride spinning recklessly into dance-y abandon, 'LoveFilter' takes us on a heavy-lidded trip across dreamy electronic folds andonto vaporous apexes, where drum-heavy jolts and sliced vocals collidewith spacious pads from outer space. As hypnotic as it reveals hard-hitting, 'Killer Line De-Part' deploys a warped kaleidoscope of trancey shades,grunge-y grit and largely '80s informed analogue wizardry, convergingtowards the most hair-raising finale with your feet in the air and a dumbsmile across the face. Rounding off the record, 'Put Love Into Your Heart(Club Mix)' is a luminous slice of trippy, feelgood electronics engineered fordance floor communion and uplifting let-go. Fill your heart with love.