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“My vision was big,” says Brighton-based singer Macve of the road to her second album. “I knew I wanted to do something more expansive than my first record.” With reach, feeling, storytelling power and a stop-you-dead voice, Macve sizes up to that mission boldly on Not The Girl. Following on from the rootsy saloon-noir conviction of her 2017 debut, Golden Eagle, Holly sets out for

deeper, often darker territory with a firm, unhurried sense of direction on her second record: on all fronts, it’s an album that looks its upscaled ambitions in the eye fearlessly.

For Macve, the combination of influences such as Nancy & Lee with time spent touring helped widen her horizons. “I wasn’t afraid of trying new things, and I wanted to explore sounds and develop my skills in production, composing and engineering. When I wrote the songs on Golden Eagle I had never toured, it was just me in my bedroom playing acoustic guitar. I then got the chance to tour the world with a band and sing with a symphony orchestra with Mercury Rev in 2017. My little world grew and I realised there was so much for me to learn about how I can use my skills as a singer and writer. I didn’t want to limit myself – I wanted to push my boundaries.”

At every turn, Macve’s powers of evocation are matched by the depth and strength in her voice. Witness the meeting of a plangent pedal-steel with her elastic vocal on the atmospheric “Be My Friend”, or the sultry verses and soaring chorus of “You Can Do Better”, which bring to mind a prairie-sized Mazzy Star. Guest guitarist Bill Ryder-Jones’ spacious contributions help enhance its sense of space. “Bill was an important part of the story of this record,” says Holly. “I love his playing – it helped create that kind of heavy, lazy, dreamy sound I’m such a fan of.”

Elsewhere, rich seams of contrast and counterpoint emerge. The Velvet Underground-ish “Sweet Marie” is epic drone-country, “Little, Lonely Heart” a symphonic waltz around the rootsy stuff of bad love, jealousy, and guilt. “Who Am I” merges a Phil Spector-ish wall of sound with a grunge-y melodic insouciance, while “Daddy’s Gone” finds Macve reflecting on the death of her father over Memphis soul-style backing, rendering complex emotions with controlled reserves of detail and drama before a roistering climax.

“My vision was big,” says Brighton-based singer Macve of the road to her second album. “I knew I wanted to do something more expansive than my first record.” With reach, feeling, storytelling power and a stop-you-dead voice, Macve sizes up to that mission boldly on Not The Girl. Following on from the rootsy saloon-noir conviction of her 2017 debut, Golden Eagle, Holly sets out for

deeper, often darker territory with a firm, unhurried sense of direction on her second record: on all fronts, it’s an album that looks its upscaled ambitions in the eye fearlessly.

For Macve, the combination of influences such as Nancy & Lee with time spent touring helped widen her horizons. “I wasn’t afraid of trying new things, and I wanted to explore sounds and develop my skills in production, composing and engineering. When I wrote the songs on Golden Eagle I had never toured, it was just me in my bedroom playing acoustic guitar. I then got the chance to tour the world with a band and sing with a symphony orchestra with Mercury Rev in 2017. My little world grew and I realised there was so much for me to learn about how I can use my skills as a singer and writer. I didn’t want to limit myself – I wanted to push my boundaries.”

At every turn, Macve’s powers of evocation are matched by the depth and strength in her voice. Witness the meeting of a plangent pedal-steel with her elastic vocal on the atmospheric “Be My Friend”, or the sultry verses and soaring chorus of “You Can Do Better”, which bring to mind a prairie-sized Mazzy Star. Guest guitarist Bill Ryder-Jones’ spacious contributions help enhance its sense of space. “Bill was an important part of the story of this record,” says Holly. “I love his playing – it helped create that kind of heavy, lazy, dreamy sound I’m such a fan of.”

Elsewhere, rich seams of contrast and counterpoint emerge. The Velvet Underground-ish “Sweet Marie” is epic drone-country, “Little, Lonely Heart” a symphonic waltz around the rootsy stuff of bad love, jealousy, and guilt. “Who Am I” merges a Phil Spector-ish wall of sound with a grunge-y melodic insouciance, while “Daddy’s Gone” finds Macve reflecting on the death of her father over Memphis soul-style backing, rendering complex emotions with controlled reserves of detail and drama before a roistering climax.

LIMITED 180GM OPAQUE ORANGE VINYL.

BUFFET LUNCH are a Scottish group who make it their mission to craft satisfyingly imperfect pop songs filled with imagery and humour.The group’s elementary parts are Perry O’Bray (Vocals/Keys/Guitar), Neil Robinson (Bass), John Muir (Lead Guitar) & Luke Moran (Drums), united by a shared love of music on the ABBA-to-Beefheart axis.

These four ricochet between Glasgow and Edinburgh, creating music that bristles with DIY spirit and upbeat wonkiness. Their tracks are vigorous excursions, meandering into clattersome terrain as often as hiking up into the breezy, melodious foothills.The desire to lead the listener along a curious tale helps tie things together, showcasing a lyrical playfulness that pins down their puzzle of sound.

Having been an active band for a few years, playing regularly north of the border with like-minds such as Irma Vep, Robert Sotelo and Kaputt, Buffet Lunch spent early 2020 working on the follow-up to their two EPs on Permanent Slump.The fruits from such labour bore out as the band’s debut album ‘ThePower of Rocks’, out may 7th on UpsetTheRhythm.

‘ThePower of Rocks’ was recorded in a Crofters cottage/studio on the banks of Upper Loch Fyne in Argyll, over four nights and five days at the beginning of March 2020, before Covid-19 made itself such an ongoing concern. Back then four people could occupy the same space and make music, lunch and dinner together. Days fell into a pattern of long sessions and long meals.The album came together as a luminous mix of Buffet Lunch’s live chestnuts, some sparky recent songs and some new material entirely written and recorded in situ. All tracks were recorded by Neil Robinson acting as the in-house engineer.

As the seriousness of the virus and talk of national lockdowns developed - there was a feeling of anticipation more than fear in the air, but being holed up in cottage in a wild corner of Scotland surrounded by snowy mountains still took on an apocalyptic feel, albeit an apocalypse where the band were safe and overdubbing vocals. After leaving the cottage, reality (as it must) set in and finishing the album became a more remote task.

Over the following months, an extended period of listening awarded the recordings a deeper realisation, as they bounced between band members computers. Perry also started writing on his Casio keyboard and collaborated on a couple of songs (‘Ten Times’ & ‘Ashley’s New Haircut’) with Jayne Dent (of electronic music project Me Lost Me), drawing on her ethereal singing voice as a counterpoint to his own more ‘spoken’ vocals on the album. These gauzy, dreamlike tracks were then sent to other members of Buffet Lunch to add their respective parts, creating evocative new dimensions to close each half ofthealbum with.

The Power of Rocks’ rattles along like a short-story collection, exploring a variety of narratives. When it comes to the music itself, Perry describes their approach as “see what happens” but admits to a preference for simple synth melodies, plenty of percussion, and prickly guitar-parts. ‘Red Apple’ opens the album with a dizzy swagger, guitars and keyboard notes swirling in forays whilst its lyric tackles notions of social bravado. ‘Orange Peel’ follows equally serpentine with its blattering tune and jagged, yet jolly melodic twists.The themes across the album are wide-ranging and personal, from irritation with out of touch politicians (‘Pebbledash’), to love letters to seaside living (‘Bladderwrack’), to even the frailty and confusion of old age (‘Said Bernie’, ‘It Helps to Know’). Title track ‘ThePower of Rocks’ is an ode to the power of nature sunk within a rolling wave of cheery jangle. “Do you believe in the power of rocks when the sun is too hot on your face?” sings Perry as the song zigzags with consequence. ‘He Wore Two Hats’ sports similarly bop-worthy riffs and addictive nods as it deals with its story of savvy man who’d bitten off more than he could chew.

Buffet Lunch’s debut album accomplishes a lot in its brief 38 minutes. It stuns and startles, intrigues and entwines, drawing the listener further into its characterful world. When asked about any intent posed with this debut record Perry confides that “we hope people can hear the joy the band had making the album and the curiosity and frustration that went into the writing. There was no process or design, but there is detail, and deliberateness in our wish to explore and create.” It’s this attentive focus alongside a keen sense of humour that really sets Buffet Lunch apart, with ideas darting wilfully to and from the poignant truths at hand.

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

"Dreamwalks" as well as the other songs on "A Dive Into the Subconscious" musically reflect the emotional level of memories and experiences of the producer. Drips Zacheer deals with central issues of his life, such as family, friends, travel and also fears and tries to reach the subconscious of his listeners through this sound game. The appropriately playful cover designs come from the Berlin artist and illustrator Rahel Süßkind.
Drips Zacheer is a real beatgeek on the midi controller. The 25-year-old musician has been producing hip-hop instrumentals for almost ten years, which are based on LoFi, Chill-Hop, BoomBap, jazz and also progressive rock and Bossanova. Until he was 19 he grew up in Chalkida, the capital of the Greek island of Evia, until he moved to Rhethymno on Crete to study audio engineering. He started out in 2011 as a producer for a befriended hip-hop crew, and in 2016 he began producing beats for himself. Since then he has established himself as one of the most relevant producers in the Greek beat scene and with his choice of sounds shows that he has a knack for vinyl samples and harmonic arrangements. His upcoming album "A Dive Into the Subconscious" makes it clear that instrumentals are not only used as a background for rappers, but have earned their own standing in the scene. Drips Zacheer produces beats to listen and linger - a little journey into your own subconscious.

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

Niscitam is the debut album by Australian musician and songwriter Blake Scott. Better known as a member of The Peep Tempel, Blake is revered for his character driven lyrics and pointed songwriting, evident across the band’s three critically acclaimed albums.
Written in the months leading up to the birth of his first child and during a period of extended sobriety, Niscitam is a recollection and reflection on dreams, memories and the pressures of everyday existence. Blake partnered with multiinstrumentalist and engineer John Lee to produce the album at Phaedra Studios in Melbourne with musicians Jacey Ashton and Nick Finch.
It remains voluminous and bold in arrangement, whilst taking a more introspective path lyrically. On one hand, the album explores the fear, anxiety, and questions of adequacy ahead of pending parenthood. On the other, it celebrates health & mobility, love & possibility and is an attempt by the artist to reconcile with his past, as well as cultivating a positive and nourishing path forward. The result is an astonishing debut album.

“The earth shall rise again...”
AMOR/LEMUR finds the Glasgow quartet AMOR in partnership with Norwegian improvising ensemble LEMUR to hopeful and ecstatic effect. Conceived before the onset of Covid 19 but finished during spring lockdown, their eponymous EP is the most loose, alive and elevated recording in AMOR’s catalog. AMOR/LEMUR takes the template of throbbing avant disco expanded upon on previous recordings for Night School and lifts it into new

territories, with new tonalities and unexpected turns on the journey. More than anything, the expanded, near- cinematic expression of human connectivity feels like a lightning new energy to grasp in the dark.

Following a revelatory concert in Glasgow in January 2020 wherein the two sets of musicians met and performed together for the first time, a recording session was arranged the following day, resulting in the most elevated permutation of AMOR’s art to date. Each track was built upon a rhythmic bedrock of percussion and drums performed by Paul Thomson and samples/synthesizer by Luke Fowler. Thomson used bamboo Javanese gamelan (most notably on For You) and scrap metal, as well as traditional percussion and drums while Fowler incorporated processed ambient field recordings recorded in enclosed acoustic spaces around Glasgow. Singer/pianist Richard Youngs contributes some of the most bright and mindful work of his career. Acoustic bass player Michael Francis Duch, whose lush playing as ever provides the elastic spine to each song, scored the string parts for LEMUR on piano at home in Norway. The addition of swelling strings and drones fills out the AMOR sound significantly, lending a sonorous tone to 8 minute, epic closer For You or an ascending melodic introduction to Stars Burst that feels like a new morning dawning on a world saved from certain death. With the circumstances of lockdown forcing the musicians to work differently, a thread of optimism and utopia grounded in the moment weaves through these tracks. Unravel reveals a spine tingling vocal from Youngs. It’s a song about the simultaneously grounding and ecstatic effect of love, feeling connected to others. It’s a simple message, “I’m finding myself in your smile, always unravels me” speaks of ego death, the dissipation of the material into a nirvana of pure energy, the power of surrender. This isn’t a quasi-religious message, this is the power of each other, a love song to connection in a temporary age of isolation. Stars Burst is a play on the inner and outer cosmos, with narrator Youngs exploring wonder to a pounding galloping rhythm and snake-charming synth. It’s an open dance, with the group locked in together for the wild ride. Fear is the centerpiece of the record, starting with drones and scraped overtones before swirling synth notes filter upwards to meet reverberating minor chords. Over 8 minutes of tight but loose playing, Youngs is the shaman instructing us to use Fear as a celebration of the moment, embrace it and jump into the unknown. The only way to overcome your fear is to feel it, use it as an energy. The use of the studio as an instrument throughout side 2 is particularly important, with the dubbing and mixing prowess of engineer Paul Savage (who mixed unattended due to lockdown restrictions) and tape manipulations performed by Jason Lescallet coming into play. For You closes out with a largely instrumental, evolving composition that uses many of the abstract and novel aspects of this permutation to aid the trance. It’s massive, an unfurling creature with unexpected tonalities and serious heft.

La Locura de Machuca is the story of one man’s bizarre odyssey into Colombia’s coastal music underground, and the wild, hypnotic sounds he helped bring up to the surface.

One night in 1975, a successful tax lawyer named Rafael Machuca had his mind blown in Barranquilla’s ‘Plaza de los Musicos’. Overnight he went from a high ranking position in the Columbian revenue authority to visionary production guru of the newly formed record label that bore his name, Discos Machuca, and for the next six years he devoted his life to releasing some of the strangest, most experimental Afro Psychedelia Cumbias ever produced. La Locura de Machuca is the story of one man’s bizarre odyssey into Colombia’s coastal music underground, and the wild, hypnotic sounds he helped bring up to the surface.

The Colombian music industry was thriving in the mid-seventies, but while homegrown bolero and vallenato tunes were doing well on the charts, it was imported African records that were setting crowds on fire at the picos – the sound-systems that fuelled neighbourhood parties – and wherever those records were played there were always a handful of groups who were inspired to plug traditional Cumbia directly into the electric currents coming from across the Atlantic.

It was these obscure bands, who fused Colombian and African rhythms with the swirling organs and psychedelic guitars of underground rock, that fired Machuca’s imagination. While the label made its money releasing popular hits by legends such as Alejandro Durán and Aníbal Velásquez, that money was poured back into a unique run of experimental releases by fringe artists such as La Banda Africana, King Somalie, Conjunto Barbacoa, and Abelardo Carbono, one of the godfathers of Champeta Criolla.

When Machuca couldn’t find groups to realise his particular vision, he simply created them himself. Drawing on a fearsome roster of musicians associated with the label, he assembled bands that lasted only as long as it took to record an album ,and unleashed the results – complete with arrestingly unusual album covers – under a series of different names such as Samba Negra or El Grupo Folclórico. This unorthodox approach led his longtime recording engineer, Eduardo Dávila, to describes Machuca’s productions as the “B-Movies of Colombian music.”

The story of Doctor Machuca and his eccentric exploits tells of one of Colombia’s most atypical and peculiar record companies; a defining pillar of Afro-Caribbean psychedelia. His productions have come to represent the roots of Champeta and set the pedigree standards for Afro and Costeño avant-garde. The seventeen tracks on La Locura de Machuca, harvested from the darkest, strangest corners of the Discos Machuca catalogue, sound like little else recorded before or since.

In 1976, seven Cabo Verdean musicians going by the name Voz Di Sanicolau gathered in a small recording studio in Rotterdam where they laid down an album of fearsome coladeira songs inspired by the music of their home island of Sao Nicolau.

The album took only a few days to record, which may explain the unexpected urgency that fires each track. Treble-soaked electric guitar lines snake back and forth through percussion-and-cavaquinho driven rhythms rooted in the sound of the islands established by the previous generation of Cabo Verdean emigres; subtle keyboards wash through the background, and the vocals, traded between Joana Do Rosario and To-Ze, alternately push the music forward and soar above it. The resulting album is both deeply felt and fiercely executed, and in its grooves one hears the sound of some of the finest Cabo Verdean musicians of their era locked in complete unity of purpose.

It should have been the beginning of something extraordinary; but the pressures of making ends meet forced the musicians back to their day jobs, and Voz Di Sanicolau vanished as quickly as they had appeared, leaving their lone album, Fundo de Mare Palinha, as sole proof of their existence. Forty-four years later the album sounds as fresh as it did the day it was recorded. It is unknown if dutch sound engineer Frans Rolland, who oversaw the recordings, knew he was helping to make history: during these sessions, Joana Do Rosario, whose majestic vocals were crucial to the sound of Voz Di Sanicolau, became the first Cabo Verdean woman ever to appear on a long playing record.

Produced by Jenn Wasner of Wye Oak. LP is on coloured coke bottle green vinyl + inclues download code and 12x12' lyric sheet/ liner note insert.

Madeline will be on tour throughout the UK and Europe this Autumn.

'Building from understated beauty to dense guitar theatrics. It reminds me of Chicago circa '93 as remembered in a dream — a little bit of Liz Phair 'Exile In Guyville' - rendered in soft-focus with the graceful confidence of a young master. ' STEREOGUM

In January of 2018, five months after the release of her debut album Night Night at the First Landing, Madeline Kenney traveled from Oakland, California to the woods outside of Durham, North Carolina to record her sophomore album with a new collaborator, Wye Oak's Jenn Wasner.

The choice was a conscious decision to explore new methodology in writing, recording, production and even genre. Perfect Shapes sees Kenney leaping headfirst into fresh and adventurous territory, largely eschewing conventional rock structures in favor of theme and melody. Its ten songs are full of surprises big and small - from vibrant synth lines to taut bass figures and subtly modulated vocals - that instead of feeling fussed over, reveal Kenney's penchant for elegant and abstract composition.

Kenney's 2017 debut, Night Night at the First Landing, was a guitar-centric rock album, produced by friend and collaborator Chaz Bear of Toro Y Moi, Perfect Shapes leans on the foundational pieces of Night Night - fuzzed-out guitar tones, coy wordplay and Kenney's notably strong voice - but with an unconventional approach that allows them to bloom, reincarnated. Perfect Shapes marks Wasner's first foray into producing another artist's work and is permeated by the pair's collaborative spirit. Both Wasner and Kenney play multiple instruments on the record, and engineered the session alongside Kenney's touring percussionist, Camille Lewis.

An eagerness to explore and experiment is apparent from start to finish, as Kenney and Wasner weave endless sonic curve balls into the arrangements. From the delightfully warped percussion on opening track 'Overhead' to the burbling synths on the R&B-tinted 'The Flavor of the Fruit Tree' and the left-field trumpet solo in 'Your Art,' these rich and inventive ideas echo Yo La Tengo's everything-but-the-kitchen-sink mentality, as well as the surging soundscapes of Tame Impala and Wye Oak at their most impressionistic. Lead single "Cut Me Off" is a surprise of its own - the most pop-forward song Kenney has written yet. 'Bad Idea,' finds her balancing fragility as foil; later, 'I Went Home' manages to evoke both frustration and affection in a single breath.

The complex and open-ended questions that lay at the core of Perfect Shapes mark Kenney's arrival into a hard-hitting reflective space: How do you love another when it hurts to do so What is the physical limit to which one can carry the emotions of others How does a modern female artist reckon with the expectations demanded of her femininity Yet for all the notes of doubt and fear that Kenney raises, she delivers each song with confidence and poise, grounded by the pointedly laid and surging soundscape.

Kenney has always had a penchant for curiosity and experimentation. Raised in the Pacific Northwest, she began studying classical piano and dance in kindergarten, and grew to believe her future lay in modern dance choreography. Not one to be tied to a singular pursuit, however, Kenney took a hard left in college, studying Interpersonal Neurobiology and supporting herself with a career in baking. Music remained a constant however, and after moving to the Bay Area in 2013, Kenney quickly found footing in the supportive arts community in Oakland. There, she met and began collaborating with Chaz Bear (Toro Y Moi), which led to the production of her Signals EP and later her debut album, Night Night at the First Landing. Both releases were received with great critical acclaim, and saw Kenney exploring the sounds within her self-proclaimed twang-haze genre, defined by cathartic fuzz breakdowns and lyrical sensitivity.

In 2015, something magical happened. We met a couple of talented young Swedes named Artur Bra¨ndstro¨m and Egil Kahlbom who excelled at composing and producing these lighthearted, breezy disco-hued house tracks (or house- hued disco tracks, perhaps) that both fit the aesthetic and character of LPH and brought something new into the fold. The result of that first encounter was Marathons, a full-length album, their debut to the world, and now, two years later, we're back for the much-anticipated follow-up.

Rehearsal is a little briefer than its predecessor—it's five tracks—and has a markedly different tone, one that's less about dusty, sun-bleached samples and more about tightly-engineered and delicately-crafted songs. If the first effort was marked by its carefree naivete´, the sophomore effort is, well, something a bit more advanced or, perhaps, rehearsed.

What hasn't changed, though, is these guys' ability to home in on grooves and coax something trasncednetally hooky, memorable out of them. The five tracks contained here are low-key in attitude but powerful and punchy in approach. They're uniquely juicy, nourishing numbers for mellow hours and fearlessly fun ditties for party hours.Lots of love went into the lot of them, and we hope all's you feel when you let them wash over you is that. Love.

In Silent Series pools together four innovative tracks of deep, textural and explorative Techno Music from four of this era's most inventive Artists: Sigha, SNTS, Dadub and Positive Centre.

Mastered by Daniele Antezza @ Dadub Studios - Artwork by Maria Mendes
Positive Centre / In Silent Series Bio:
Positive Centre is the Experimental Techno alias of British born Artist Mike Jefford. Currently located in Lisbon after a long period of living and producing music in Berlin. Positive Centre combines analog machines with tape and effects processing to create hypnotic and textural techno music, with releases on Our Circula Sound, Stroboscopic Artefacts, SNTS, Pole Group and Leyla.
The first of three Positive Centre releases came in 2013 on Sigha's Our Circula Sound label concluding with his debut album In Silent Series, of which his label takes its name. Positive Centre established the In Silent Series label in 2017 to promote and cultivate releases that develop the potential of textural sounds that reflect sonic landscapes.
The First Release was Positive Centre's Reassembly EP - A Record made of reconstructed tracks from his Our Circula Sound back catalog that featured a remix of 'Hiding Knives' from SHXCXCHCXSH. This was followed by the 'Myths' EP by Mastering Engineer and one half of Techno Duo Dadub: Daniele Antezza under his Inner8 moniker.
With ISS003, Positive Centre draws on the Artists that have played a hand in his previous releases by bringing Sigha, SNTS and Dadub together onto this Various Artists EP.

Double 180 gram, half-speed vinyl re-release of the orchestral epic. Norwegian Grammy-nominated and critically acclaimed masterpiece «The Mechanical Fair» finally gets it's long awaited vinyl release

Jampacked with a wellspring of harmonic slingshots, pumping beats and melodic rollercoasters, critics called The Mechanical Fair «the best movie you'll never see» and drew comparisons to Igor Stravinsky's «The Rite of Spring» upon it's original release in 2014. It's apparent appeal to an surprisingly wide range of musical communities finally brought it right into DJ dance-wiz Todd Terje's hands. And make no mistake: the physicist hands doesn't settle for an iPad. It craves vinyl. His wholehearted endorsement led the captain of the Olsen Family to clear the rights, assemble his own killer remix and requisition Grammy-winning cutting engineer Matt Colton for a gorgeous double 180 gram, half-speed vinyl re-release of the orchestral epic.

Originally written for a quintet including heavily merited jazz cats Erik Nylander, Ole Morten Vågan, Petter Vågan and Even Helte Hermansen in 2013, The Mechanical Fair expanded at the initiative of the Trondheim Chamber Music Festival, growing bolder and more powerful with the addition of the adventurous and Grammy-winning chamber orchestra The Trondheim Soloists in 2014.

Having just spearheaded seven genre-blending shows in just six days as the «Artist in Residence» of this years prestigious Molde International Jazz Festival, the multi award-winning Norwegian violinist/multiinstrumentalist, composer and producer Ola Kvernberg (35) can look back at an already impressive recording- and performing career. The once 17 year old jazz manouche violin sensation quickly and impatiently moved beyond the jazz realm for inspiration - resulting in seven albums as a solo artist, eight feature films as a movie score composer and countless additional recordings as a sideman. His list of collaborators range from jazz legends Pat Metheny and Joshua Redman, via post/prog-rock act Motorpsycho, to collaborations with world renowned novelists Lars Saabye Christensen and Jo Nesbø. His fearless attitude and relentless drive towards the boundaries of genres has given him a well-earned high standing on the Scandinavian scene today.

Don't miss out on this rollercoasting, genre-twisting magnum opus as it finally hits is true potential on the Olsen label on November 11 this fall.