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The signal mutates. Following the first installment, Parallax Effect PT.2 finds Versalife shifting gears, distilling his unmistakable rhythmic instincts into something even more elastic and unpredictable. Smeared low-end and restless sequences coil around a framework of percussive movement, flickering between restraint and momentum. There's an underlying tension--one moment held in suspense, the next unfolding into fluid motion. The machine logic remains intact, but with an organic pulse running through it, shaping each track in real time. A fitting counterweight to PT.1, this second chapter bends the perspective once more, closing the series with a sense of motion still lingering in the air.

Pressed on smoky blue vinyl. 1971 classic album with new analogue mastering. Released on the Upsetter label, celebrating the groundbreaking collaboration between Bob Marley and The Wailers and Lee 'Scratch' Perry

The classic album now returns with new analogue mastering and stunning smoky blue vinyl pressing Released in Jamaica in 1971, Soul Revolution Part II is the follow-up to Bob Marley and the Wailers' 1970 debut album Soul Rebels. Going from strength to strength on the material they recorded for Lee Perry, this 12-tracker constitutes another crop of exceptional early-roots reggae anthems. Some of the songs are among the more widely lauded efforts in the repertoire of Bob Marley, Peter Tosh and Bunny Wailer. 'Don't Rock My Boat', 'Duppy Conqueror', 'Sun Is Shining' are about the most acclaimed of them and sound better than ever on this newly remastered edition using vintage analogue gear. Recorded at the famed Randy's Studio (also known as Studio 17) located at 17 North Parade in Kingston, Jamaica, this is the second full-length collaboration (and last!) between Bob Marley and the Wailers and producer Lee 'Scratch' Perry!

H.D. Reliquary is the first eponymous release from Ben Shirken a.k.a. Ex Wiish, and finds him returning home to his own label, 29 Speedway. The songs sparked during sessions with close collaborators - across 11 pieces, artists such as Pavel Milyakov, MIZU, Dorothy Carlos, Kevin Eichenberger and Muein breathe personality into the record. H.D.R. coaxes beauty from a serrated, raw, yet subdued palette drawn from improvised recordings of trumpet, violin, upright bass, cello, and modular synthesis.

The title references the hard drive as a sacred container for relics, contemplating how digitally archived fragments of one’s existence can burn eternally after death. Archives, and in this case recordings, splinter and warp. Some distort what they contain. Some vanish, and others are eternally preserved, immune to deletion. Your information on these digital drives becomes archival shrapnel, the music that survives the remnants of collaboration. Pieces of recordings were fed into a series of proprietary neural networks, generating MIDI information and audio that reacted to on-the-fly soloing, imaginary sessions between players and algorithms invented posthumously (in post).

Shirken will release H.D. Reliquary alongside a sound installation on April 11. Where his prior work was geared towards dissociation, H.D. Reliquary invites us to contemplate how our tools for understanding and containing the world fundamentally alter our relationship with it. He has performed in spaces such as The New Museum, Pioneer Works, Public Records and Nowadays in New York City; Dripping Music And Arts Festival in New Jersey; La Station in Paris; and Cafe Oto in London.

Repress!

Echospace Detroit is the label launched by Rod Modell (Deepchord) and Soultek's Steven Hitchell, two leading lights of the minimal dub techno scene. And as with anything Deepchord, the entire release has an air of mystery to it. Previously, as a near-mythical vinyl pressing with minimal packaging and restricted pressings, everything about Vantage Isle was geared toward the underground, or 'those who know.' However, there's nothing but love of craft driving these grooves, and now a lot more people will finally be able to hear this absolutely brilliant collection of spacial dub wonder on CD. Vantage Isle Sessions consists of a whopping 13 takes of the title track, reworked by Modell and Hitchell in various guises (cv313, Deepchord, Echospace, Spacecho), as well as a guest spot (and first ever remix) from Gerard Hanson (Convextion). Across their 13 versions, Modell and Hitchell manage to take the Deepchord template (analog synths, deep bass, gently throbbing beats, bursts of static and noise, and deep, deep chords) into a surprising variety of directions, akin to looking at the same giant glacier from a helicopter from every angle possible: some are beatless and undulating, some are pulsing and dynamic, some are looking up from under the ice and some are towering overhead. The aforementioned Convextion version is revelatory. It's built on cascading and echoing pieces of the original that are layered like shifting sands, for a distinctly dark and shimmering journey to the bottom of the frozen ocean and back. It's remarkable enough to get all these takes on one basic template to sound somewhat different, given that the source material is really just a skeletal array of sound sheets. Vantage Isle Sessions is for anyone looking for the logical successors to the Basic Channel throne, or just looking for something mellow for those steamy late summer nights. A stone-cold classic of the genre. Don't miss it." -Todd Hutlock, Stylus Magazine/Beatz by the Pound

"Steeped in mystery, Detroit musicians Rod Modell and Mike Schommer (aka Deepchord) are legendary for their hard to find twelve-inch dub techno releases. Their sound is heavily influenced by Berlin dub techno producers like Maurizio, Basic Channel, Chain Reaction, Rhythm & Sound, Blue Train and Pole. While the German sound often has a futuristic metallic edge, Deepchord are known more for the rust and grease, which is part and parcel of those metal parts. Static, analog sounds, deep bass thumps and, of course, deep chords blend in a timeless minimal manner. However, the real gems on this disc are the drifty ambient cuts devoid of beats. This is an excellent album that is on par with the classics from a decade ago!" -Exclaim


"In terms of ambient dub, if Basic Channel is the Father (the source, remote and inaccessible and very powerful) and Pole is the Son (dazzling but ultimately stranded halfway between man and the divine), than Rod Modell’s Deepchord and his Echospace label he run with Steve Hitchell is definitely the Holy Spirit." -Popmatters


"Deepchord’s dub-techno stealthily peels away melody, leaving a bare chassis of beats to ghost-ride down Woodward Avenue. Vantage Isle Sessions, which collects remixes of a 2002 Detroit Electronic Music Festival performance, finds the duo swerving through empty, neon-smeared streets, and recalls Berlin’s Chain Reaction label, minus the anemic minimalism." -XLR8R

"The album scales a magnificent peak in “Spacecho Dub II - Extended Mix” when smeary chords ricochet over a massively deep, bass-heavy pulse, and Hanson's light-speed missile of vaporous propulsion (“Convextion Remix”) is beautiful too.
Long may they run." -Textura

‘Vantage Isle’ is a tremendous achievement that will most likely be held up as a high water mark of the genre for years to come." -Resident Advisor

"My favorite mix is by Convextion (his first remix for another artist). Reedy, distant synth tones sound like a science fiction soundtrack overheard rooms away. An undercurrent of echoes, many difficult to describe, drift in a sonic syrup." -Gridface

"Modell’s music always seems to be in this suspended animation, adrift and afloat in a majestic emptiness." -Dusted Mag

CREDITS:
Written & Produced by Deepchord. Redesigned and Reshaped by Convextion (Gerard Hanson) cv313 (Stephen Hitchell) echospace / spacecho (Rod Modell + Stephen Hitchell)
Additional Mastering, Mixing and Engineering by Ron Murphy @ NSC Mastering, Detroit, USA. Side E/F Remastering and Lacquer cutting by Dietrich @ Complete, NYC, USA. (2018)

dreamcastmoe is the recording project of singer, songwriter, producer, and DJ Davon Bryant, a lifelong resident of Washington, DC. His music moves freely between moods and modes, hypnotic, romantic, traversing electronic, R&B, funk, soul, and hip-hop... Resident Advisor dubs it "soulful, cross-genre dance music." This ability to adapt and finesse, to twist in different directions while staying true and coherent in vision, can be traced to his home city and its complex cultural history. "Most Black kids in DC don't ever get to this point," he says. "This is what I am making this music for, in the DC tradition of soul and empathy and love that is rooted in this city. My music is for real people dealing with shit every day." A versatile, modern artist and collaborator, dreamcastmoe has thrived in the underground since his first uploads to Soundcloud and Bandcamp in 2017 and subsequent releases with labels like People's Potential Unlimited, Trading Places, and In Real Life Music. Bryant's laid-back personality, emotional honesty, and infectious energy shine through his work and how he talks about it, as Crack Magazine notes in their 2021 Rising feature: "a steady combination of confidence, creativity, and calmness." He grew up playing drums in church; he's worked dead-end jobs, had ups and downs, even sold off all his gear one time, but never stopped reinvesting in himself. He is quick to praise his co-producers, rattle off influences _ the visual feel of NBA 2K, the comedic timing of Bernie Mac, the savvy legacy of Duke Ellington, for starters _ and credit resourceful DC breakouts like Ankhlejohn that showed him the roadmap. His voice, a steady instrument, seemingly connects it all, capable of slow falsetto flow, swaggering talk-rap, and outright croon. His storytelling style is choppy yet fluid, like a mixtape, which is how Bryant sees Sound Is Like Water, his debut on Ghostly's International's freeform label, Spectral Sound. The two-part project culminates as a full-length LP release in November 2022. The first side, released as Part I, opens on the blurred beats of "El Dorado," which dreamcastmoe dedicates to his journey. It's a head-nodder, an off-kilter earworm co-produced by Max D (Future Times, RVNG Intl, etc.), with Bryant harmonizing hooks with synth jabs and a pitched-down presence. "Complicated" is the slow jam, delivered smoothly from a Saturday night crossroads. dreamcastmoe is contemplative and committed... gliding and locking ad-libs into skittering rhythms courtesy of co-producer Zackary Dawson _ but also willing to let something go, "acknowledging that everything in life IS NOT easy." "RU Ready" takes off from the jump as a tribute, challenge, and promise to his partner and his city ("The times you sat with me when I needed you the most / Told me the things that I needed to see / Young black man, really trying to be what I can be / And I'm really from DC). In its potent two-plus minutes, the sonics (co-produced by ZDBT) press the message, all cymbal crashes, breakbeats, and serrated synth lines. "Cloudy Weather, Wear Boots" is a blitzing dance-punk track made in collaboration with Jordan GCZ on Bryant's first trip to Amsterdam. The album's flipside opens on "Much More," the first of two synth-and-beat ballads co-produced by ZDBT. Later on "Long Songz," he claims, "I'm not writing love songs no more," prioritizing the vibe with "all my day ones." He calls it "a cry for more normal moments. Everything doesn't have to be a fantasy love story, more time spent getting to the money, growing, and making a way." He saves two of his most propulsive cuts for the finale, co-produced by Sami, co-founder of DC dance label 1432 R. As their titles suggest, "Take A Moment" and "Make Ya Mind" operate as anthems for movement, with Bryant free-flowing commands above wildly-styled percussion. Per Bryant, the latter is both "wake & bake jam" and a "dance floor bomb." His parting line: "Action / You got to show me action / Reaction." The world of dreamcastmoe straddles virtual reality and the realness of DC, images both imagined and lived-in. Bryant has a knack for unexpected melodies but what makes his music so exciting is his capacity to defy the expectations of genre and image. A fluid ingenuity and vulnerability bottled by Sound Is Like Water, and this is just the beginning.

"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.

‘LIVE. SHIFT. DREAM.’ : three words for a first EP that invites you to embrace existence, shift gears when opportunities arise and keep your hopes and ambitions alive. That's what PAMELA is all about: electric energy, raw momentum, urgency. There's no time to get bogged down, it's all there in front of us, so let's make the most of it.



In this EP, each track is a facet of themselves, a distillation of their influences and raw energy. ‘Focused’ opens like an adrenalin rush, oscillating between desire and loss of control. ‘G.R.E.A.T.’ ? An explosive Britpop anthem, celebrating individuality with saturated synths and a heady riff. ‘IDNTKNWYT’ invites you to let go and dance without restraint. Then there's ‘Lover's Potion’, which reveals a softer, more intimate side, with a retro, hushed voice that's transporting.



And that's not all: ‘Full Sentimental’ is a powerful confession, where nostalgia becomes an outlet, while ‘Put out the Fire’ burns with urgency and sounds the alarm about the current climate situation.



Co-produced with Pierre Cheguillaume (who also produced Zaho de Sagazan), their tracks oscillate between LCD Soundsystem, The Cure, and Soulwax, blending into dance music tinged with indie rock and britpop. Showcasing their full power live, PAMELA will perform at La Maroquinerie (Paris) in March, after supporting Zaho de Sagazan on her Arena tour.



‘LIVE. SHIFT. DREAM.’ is more than just a start for PAMELA: it's an invitation to feel, to vibrate, and never stop.

Lush housey vibes with infused Dub Techno elements, made on analog gear and recorded on tape

Mar De Novo is a mainstay of the Vinyl Only label which is now almost up to release number 20. As always these are magnificent beats that blend great invention with a healthy respect for disco days gone by and they are all made in what must be a studio jam-packed with analogue gear from all across the ages. 'Instant Humidity' has plenty of characterful synth details that are freaky and playful, 'Call Me' pairs stepping disco beats with super sweet vocals and 'Paraggi' is a blissed-out seaside gem. 'Progression' heady back to the club with strobe-lit disco arps, 'Get A Way' pairs plunging basslines with cosmic keys and another great vocal and 'Quiet Down' rounds out with another horizontal downbeat disco gem.

Im Herbst 2022 lebte Phil Cook allein in einem kleinen Haus am Rande von Feld und Wald in North Carolinas Piedmont. Die meiste Zeit seines Leben lang lebte er in der Nähe der Herzen der Städte, die er sein Zuhause nannte, in der Nähe des ächzenden Verkehrs und des Trubels in den Coffee Shops. Diese Nähe Nähe trug dazu bei, dass der gesellige Cook ein produktiver Mitarbeiter wurde, als Mitbegründer von Megafaun bis zur Zusammenarbeit mit The Blind Boys of Alabama, Bon Iver, Hiss Golden Messenger und unzähligen anderen. Aber Cooks nächster war ein Wanderweg, und so ging er hin und lauschte, hingerissen erst von der Stille und dann von den vielen Vögeln. Er begann, sein Fensterbrett jede Nacht einen Spalt offen zu lassen, damit der Chor der Vögel im Morgengrauen ihn begrüßte. Cook begann, diese verworrenen Vogelstimmen aufzunehmen, und er schloss sich ihnen an. Wenn die Sonne schließlich hoch stand, hörte Cook sich die Aufnahmen des Tages an und improvisierte in Echtzeit auf dem Instrument, das seine erste und unerschütterlichste Liebe seines musikalischen Lebens geblieben ist: das Klavier. Als Cook diese Hütte nach einem Jahr verließ, zog er in ein eigenes Haus in Durham, mit viel Platz für seine beiden Jungs zum Spielen und für etwas, das er noch nie besessen hatte: ein richtiges Klavier. In den nächsten Monaten verbrachte Cook unzählige Stunden damit, an diesen Stücken zu feilen. Während des Unterrichts beim großen Südstaaten-Gospelpianisten Chuckey Robinson hatte dieser Cook aufgefordert, weniger Noten zu halten und seine Melodien nicht mehr durch die Verwendung der Pedale des Instruments als Krücken zu benutzen. Seine Musik hatte plötzlich mehr Klarheit, und die Klänge und Gefühle, die sie transportierten, hatten mehr Raum zum Funktionieren. Cook grub sich in die Gefahr und Freude, in die Idee, dass wir unsere Körper zu Knoten verdrehen um zu verstehen, was das Beste für unsere Herzen ist. Im April 2024 kehrte Cook in das Chippewa Valley in Wisconsin zurück, wo er aufgewachsen war. Sein lebenslanger Freund und Bandkollege, Justin Vernon, hatte gerade die Renovierung von April Base abgeschlossen, dem Studio, in dem Cook in den letzten 15 Jahren an mehr als einem Dutzend Platten gearbeitet hat. Cook bat Vernon, Appalachia Borealis so einfach wie möglich zu produzieren, nur zuzuhören und in zwei ausgedehnten Nachmittagssitzungen Feedback zu geben, um die richtigen Takes auszuwählen, die, die das Herz erfasst haben. Natürlich wurde das Ganze komplizierter, als sie anfingen in dem Prozess zu experimentierten. Vernon fügte die Vogelstimmen zu Cooks Kopfhörern hinzu oder entfernte sie, um zu sehen, wie sie sich auf sein Spiel auswirkten. Oder sie leiteten seine Noten durch eine massive Hallkammer und Cook reagierte darauf mit hauchzarten Improvisationen. Appalachia Borealis ist eine zutiefst ergreifende und persönliche Sammlung von 11 Klavier Meditationen, die die emotionale Bandbreite einer vollen und offenen Existenz abbilden. Inspiriert von diesen Improvisationen auf der Fensterbank, spiegelt es nicht nur die Aufruhr und die Traurigkeit einer schwierigen Zeit für Cook, sondern auch die Hoffnung, das Licht und die Freude, nach der anderen Seite zu schauen. Manchmal kann man noch die Vögel hören, deren Melodie und Zeit so viele dieser Lieder inspiriert haben. Selbst wenn sie nicht in Hörweite sind, bleibt ihre Essenz bestehen.

Four years since her last dancefloor 12", upsammy returns with a four-track exploration of gleaming, sprightly drum and bass with a restorative centre. Thessa Torsing's moves in upper tempo zones have been defined by her light touch, finding power and presence in finely chiseled sounds and sculpting space between intricate, interwoven rhythms.

The dynamic movement of her pristinely moulded percussion is absolutely geared up for the club, but it's also matched with an uplifting, meditative sound palette which tempers the busy energy of the drums. Pushing and pulling on her arrangements with ever-increasing expressiveness and revelling in the subtlest of modulations to her kinetic beat systems, upsammy proves once again that moving in time to fast music can be an incredibly restorative experience.

"The classic album now returns with new analogue mastering and stunning smoky blue vinyl pressing
Released in Jamaica in 1971, Soul Revolution Part II is the follow-up to Bob Marley and the Wailers’ 1970 debut album Soul Rebels. Going from strength to strength on the material they recorded for Lee Perry, this 12-tracker constitutes another crop of exceptional early-roots reggae anthems. Some of the songs are among the more widely lauded efforts in the repertoire of Bob Marley, Peter Tosh and Bunny Wailer. ‘Don’t Rock My Boat’, ‘Duppy Conqueror’, ‘Sun Is Shining’ are about the most acclaimed of them and sound better than ever on this newly remastered edition using vintage analogue gear.
Recorded at the famed Randy’s Studio (also known as Studio 17) located at 17 North Parade in Kingston, Jamaica, this is the second full-length collaboration (and last!) between Bob Marley and the Wailers and producer Lee ‘Scratch’ Perry!
* 1971 classic album with new analogue mastering 
* Pressed on smoky blue vinyl 
* Released on the Upsetter label, celebrating the groundbreaking collaboration between Bob Marley and The Wailers and Lee ‘Scratch’ Perry "

And another! One Eye Witness rounds up 4 more acts to deliver the latest instalment of their V/A series, WITNESS07. The EP brings together names from across Europe: here fresh faces — the likes of Bristol’s JoeLy — rub shoulders with more established dancefloor exponents such as SameSame from Germany and Rome’s Christopher Ledger, all utilising the hypnotic tech house aesthetic championed by O.E.W.

Young Adults’ “It’s Only Temporary” kicks the EP into gear, a perky cut loaded with bounce. The The Hague duo employ a rubbery bassline and sound palette with plenty of boing, whilst working in a playful nod to a certain 1997 Loveparade anthem. Christopher Ledger gets classy on “Change That”, its slinky, steady break keeping hips in motion whilst tricky dubwise FX swirl across the stereo field. JoeLy slows things down and reigns it in with “Transitional”: beneath the filter sweeps, a seductive, sliding acid bassline is accompanied by augmented 303 action. As punchy as it is textural, the fittingly titled “Novel End” by SameSame seems draped in gauze — delicate drones wrap the drums in a soft cocoon, offering something a little more cerebral. WITNESS07: A tech house Tour de Europe, brought to you by Amsterdam’s all-seeing eye!

BENMONT TENCHs neues Album The Melancholy Season ist sein zweites Soloalbum nach vier Jahrzehnten an den Keyboards bei Tom Petty and the Heartbreakers. The Melancholy Season erschien bei Dark
Horse Records und ist Tenchs wahrer Einstand als Singer-Songwriter, ohne Kompromisse oder Zweifel. Es
wurde von Jonathan Wilson produziert – einem gefeierten Singer-Songwriter und Tourgitarristen von Roger
Waters, der an karrierebestimmenden Alben für Dawes, Father John Misty und Margo Price gearbeitet hat.
Die Kern-Studioband des Albums bestand unter anderem aus Taylor Goldsmith von Dawes an der Gitarre,
Sebastian Steinberg von Soul Coughing am Bass und Wilson am Schlagzeug, mit Beiträgen von Jenny O.
und Sara Watkins. Tench „könnte nicht glücklicher sein“, ein Zuhause für The Melancholy Season bei
Dark Horse Records gefunden zu haben, und sagt, es sei „ein Label, das mich emotional berührt. Und sie
haben die Musik von George, Cat Stevens, Joe Strummer – das sind Autoren. In dieser Gesellschaft zu
sein, ist perfekt.“

The industrial treasure chest of Laurent Petitgand & Thierry Mérigout Geins’t Naït unit gets a third and final archival jag, playing to a spectrum of styles from misfit tape cut-ups to sludgy grooves and trampling sidewinds of the filthiest, sickest calibre.

The three volumes mining the Geins’t Naït Archive have parsed some 40 years of work for the most potent industrial blatz, culminating in some of the gnarliest and richest tackle on this final volume. As also highlighted on releases via Vladimir Ivkovic’s Offen Music label, it’s hard to fully surmise Geins’t Naït’s oeuvre, but you kinda know it when it hits. It’s industrial, or more specifically post-industrial, in the classic sense of everything after Throbbing Gristle and their famous label; buzzing with atonality and often heavily rhythm-driven, but not necessarily built for the club. In some senses, it's adjacent to freakier ‘floors in a way shared by the likes of Bourbonese Qualk or Din A Testbild, likeminded miscreants who emerged in TG’s shadow during the ‘80s.

‘Archives 3/3’ opens with a particularly Gallic slant on the paradigm in ‘Michel’, and shells a slew of thee crankiest gear that shares a certain tone and thrust toward trippy abstraction with Anne Gillis. ‘Abstrac 2’ finds them speaking in ogreish tongues on an uncanny waltz, before dialling up the pomp with near-EBM levels of muscularity and fanfare on ‘Poiro’, and unleashing reverse-looped heck like a La Peste joint in ‘GN is Good For You’. The keening pulse and nose attack of ‘Rappel’ reminds us of CHBB, and the evil slug of ‘Hate’ feels summoned from Parisian catacombs, whilst ‘Wladimir’ stands out for its phosphorous synth burn and prototypical Él-G poetry, leaving ‘Base Cour’ to souse the senses in distortion and barnyard squabble.

Set sail for the second release in Snorkel Records' limited 12'' single series, featuring Olefonken and Raaja Bones. This summer, they brought their gear to a cabin by the Norwegian fjords, crafting an ode to late-night reveries between quiet moments drifting in a dinghy. Vinyl only, limited to 300 copies - get your copy before it paddles away!

The official re-release of this 1968 Garage grail in direct collaboration with lead signer & songwriter for The Outcasts, Al Collinsworth. As featured on DJ Shadow & Cut Chemist's 'Product Placement', this 45 has remained an iconic anthem across various scenes. We're honoured to contribute to The Outcasts legacy, showcasing their single close to 50 years since it was originally released.

In the words of Al:

'In the spring of 1968, I wrote the song 'Loving You Sometimes' and recorded it with a young group from Ashland, KY called The Outcasts. The group included Dick Hall, Nick Wickware, Ronnie Gibson, Ralph Morman and I. A local record company, Plato Records from Huntington, WV heard us at a local bar and signed us to a record deal. Queen City Recording Studio located in Cincinnati, Ohio, was our first experience with a multitrack studio in a big city. On the morning of the session, we piled into Nick's van and drove from Ashland to Cincinnati, with most of us sitting on the floor with our gear. When we stepped out of the van, we knew we had started an adventure, one that has lasted nearly half a century.'

2025 Repress
Echospace Detroit’s cv313 aka Stephen Hitchell joins forces with Federsen for the second instalment on the latter’s newly minted Alt Dub label with the ‘Skyspace’ EP. Over the past decade and a half San Francisco based artist Federsen has been making his mark on the dub infused techno and house sound, delivering his vintage tape delay and analogue gear driven sound via the likes of Mixcult, Greyscale, Lempuyang and Ohm Series among others. In May this year Federsen inaugurated his own Alt Dub label with a split EP from himself and Hidden Sequence, and here the story continues following the split format with more original material from himself and cv313, accompanied by both artists remixing each other to run alongside their originals across the 12’’. cv313’s original mix of ‘Skycrossing’ opens the release and in typical Hitchellfashion treats us to eight and a half minutes of deep soundscapes, spiralling dub echoes, muted drums and a subtly unfurling feel throughout. Federsen’s ‘Dub’ remix of ‘Skycrossing’ then follows, offering a more refined and reduced feel with subby pulsations and crisp drums intertwined with dubby fragments of the original tracks. On the flip-side Federsen’s original ‘Skyway’ leads, employing a sturdy rhythm section with nuanced dub echoes and rumbling low-end swells. To conclude the release cv313 offers up his ‘Dub’ interpretation of ‘Skyway’, stamping his mark on things with phasing atmospherics, intricate oscillations and fluttering percussion

"Every night we've been listening to RATTLE. They have a stark yet deep trance percussion vibe that is both holistic and rocking." Thurston Moore
“Quietly dramatic and loudly intimate.” The Quietus
“Two drum sets. Two voices. One great idea.” MOJO
Rattle are Katharine Eira Brown and Theresa Wrigley, they formed in 2011 after meeting on the live circuit whilst both playing in other bands. Katharine was a guitarist who had recently started playing drums in the band Kogumaza, whilst Theresa was the drummer in Nottingham band Fists. They’ve since released two long-players, 2016’s self-titled debut album Rattle (Upset The Rhythm / I Own You) and 2018’s Sequence (Upset The Rhythm) to much critical acclaim in the music press, and with James Acaster discussing the debut on his BBC Sounds podcast Perfect Sounds!
Rattle have honed the four songs that make up ‘Encircle’ by playing them live over the last few years, adapting and stretching them into endlessly inventive new shapes, playing with the concept of time and expectation. ‘Encircle’ was recorded at Foel Studios, Wales, produced and mixed by Mark Jasper, and mastered at Liminal Audio by Shaun Crook. The stunningly colourful artwork was created by Martha Glazzard, who was also responsible for Rattle’s other mesmeric covers.
‘All Burning’ opens the album, a live favourite of cyclical tumbling and evolving wordplay. ‘All Burning’ was built up gradually layer by layer with Theresa’s cumulative snare work and Katherine’s urgent calls for action: “hold your doctor, hold your daughter, hold your horses”. If ‘All Burning’ represents fire, then it’s accompanying 12-minute long track on Side 1, ‘Argot’, is informed by the air. ‘Argot’ is a song about uncertainty, with Katherine singing wordlessly across the majority of the track. “I prefer to sing wordlessly often because it feels a bit more expressive and universal” asserts Katherine. The track feels truly epic with a satisfying release that comes with the eventual introduction of the bass drum and snappy hi-hat section.

Side 2 also pairs a shorter song with a long-form composition. ‘Ritual’ is worked up from a simple snare drum pattern which becomes more and more overlapped into an elliptical form of waltz. Katherine considers ‘Ritual’ as “very earthy song - lots of low lying mist on the ground swirling around and the drums coming together to summon something”! ‘Ritual’ was inspired by a visit to the ruins of Boleskine House so multi-dimensional themes and occult practice loom large. ‘Your Move’ is a step-up gear change with the band wanting it to feel like the tape had suddenly started to spin faster, urging movement, venturing action. Clocking in at over 15 minutes, ‘Your Move’, is mesmeric and boundless, hypnotic in its minimalism of doubled-drums and almost tribal vocal cycles.
With ‘Encircle’ Rattle have grown again, these songs are alive with elemental power. They build-up and disintegrate, existing in two places at once, embracing the nuance, tracing the circle’s edge. These are modes of song as pure gesture and eternal imagination, refined in mirrors after midnight.
Rattle has performed at The Barbican, London and toured the UK with Animal Collective and Thurston Moore Group and Europe with The Julie Ruin and Protomartyr, and performed with Hot Snakes, Bill Orcutt Quartetand Codeine.

"Every night we've been listening to RATTLE. They have a stark yet deep trance percussion vibe that is both holistic and rocking." Thurston Moore
“Quietly dramatic and loudly intimate.” The Quietus
“Two drum sets. Two voices. One great idea.” MOJO
Rattle are Katharine Eira Brown and Theresa Wrigley, they formed in 2011 after meeting on the live circuit whilst both playing in other bands. Katharine was a guitarist who had recently started playing drums in the band Kogumaza, whilst Theresa was the drummer in Nottingham band Fists. They’ve since released two long-players, 2016’s self-titled debut album Rattle (Upset The Rhythm / I Own You) and 2018’s Sequence (Upset The Rhythm) to much critical acclaim in the music press, and with James Acaster discussing the debut on his BBC Sounds podcast Perfect Sounds!
Rattle have honed the four songs that make up ‘Encircle’ by playing them live over the last few years, adapting and stretching them into endlessly inventive new shapes, playing with the concept of time and expectation. ‘Encircle’ was recorded at Foel Studios, Wales, produced and mixed by Mark Jasper, and mastered at Liminal Audio by Shaun Crook. The stunningly colourful artwork was created by Martha Glazzard, who was also responsible for Rattle’s other mesmeric covers.
‘All Burning’ opens the album, a live favourite of cyclical tumbling and evolving wordplay. ‘All Burning’ was built up gradually layer by layer with Theresa’s cumulative snare work and Katherine’s urgent calls for action: “hold your doctor, hold your daughter, hold your horses”. If ‘All Burning’ represents fire, then it’s accompanying 12-minute long track on Side 1, ‘Argot’, is informed by the air. ‘Argot’ is a song about uncertainty, with Katherine singing wordlessly across the majority of the track. “I prefer to sing wordlessly often because it feels a bit more expressive and universal” asserts Katherine. The track feels truly epic with a satisfying release that comes with the eventual introduction of the bass drum and snappy hi-hat section.

Side 2 also pairs a shorter song with a long-form composition. ‘Ritual’ is worked up from a simple snare drum pattern which becomes more and more overlapped into an elliptical form of waltz. Katherine considers ‘Ritual’ as “very earthy song - lots of low lying mist on the ground swirling around and the drums coming together to summon something”! ‘Ritual’ was inspired by a visit to the ruins of Boleskine House so multi-dimensional themes and occult practice loom large. ‘Your Move’ is a step-up gear change with the band wanting it to feel like the tape had suddenly started to spin faster, urging movement, venturing action. Clocking in at over 15 minutes, ‘Your Move’, is mesmeric and boundless, hypnotic in its minimalism of doubled-drums and almost tribal vocal cycles.
With ‘Encircle’ Rattle have grown again, these songs are alive with elemental power. They build-up and disintegrate, existing in two places at once, embracing the nuance, tracing the circle’s edge. These are modes of song as pure gesture and eternal imagination, refined in mirrors after midnight.
Rattle has performed at The Barbican, London and toured the UK with Animal Collective and Thurston Moore Group and Europe with The Julie Ruin and Protomartyr, and performed with Hot Snakes, Bill Orcutt Quartetand Codeine.

Das zweite gefühlvolle Dark Pop Album des legendären Schlagzeugers Dave Lombardo und der Singer-Songwriterin Paula Lombardo.

Die Beziehung von Dave und Paula Lombardo ist wie geschaffen für eine romantische Komödie. Man stelle sich vor: Der Mann, der die Messlatte für Heavy-Metal-Schlagzeuger höher gelegt hat, hat ein Rendezvous mit einer schönen Frau, deren musikalischer Hintergrund darin besteht, dass sie in Las Vegas als Backgroundsängerin für bekannte Bands gearbeitet hat und in Nashville als Singer/Songwriterin Fuß fassen wollte. Zum Glück für die Welt hat sich ihr musikalischer Bund in Venamoris manifestiert, deren Ipecac-Debüt To Cross Or To Burn (erscheint am 28. Februar) weit davon entfernt ist, vorgefasste Meinungen zu zerstören, während es fesselnde neue Möglichkeiten aufbaut.

Natürlich sind die Qualitäten des unermüdlichen Dave Lombardo als Weltklasse-Schlagzeuger bekannt. Aber während er die Blaupause entwarf, die das Thrash-Metal-Schlagzeugspiel definieren sollte, hat er seine Finesse auch auf Solo-Schlagzeug (Rites Of Percussion von 2023, ebenfalls auf Ipecac), Hip-Hop und klassische Musik angewandt, und er hat grenzüberschreitende Aufnahmen und Auftritte mit jedem gemacht, von John Zorns Ensembles bis zu den Punk-Ikonen Misfits und Mr. Bungle. To Cross... ist ein weiterer Meilenstein in seiner bewegten Karriere, in der er seine klanglichen Fähigkeiten um Gitarre, Bass und bemerkenswerte Produktionstechniken erweitert hat. „Das einzige, was mit den vielen Schlagzeugen, die wir zu Hause haben, mithalten kann, sind die vielen Gitarren, die Dave hat“, sagt Paula lachend. „Also spielt er auf diesem Album ziemlich viel Gitarre.“

Paula ist eine wahrhaft dynamische musikalische Kraft mit beeindruckenden stimmlichen Fähigkeiten, Geschick am Klavier und am Synthesizer und einem ausgeprägten Gespür für verführerische Texte, Melodien und Arrangements. Mit 18 war sie Backgroundsängerin in der Enklave des Entertainers Wayne Newton in Las Vegas, wo sie lernte, mit dem Druck umzugehen, wenn man mehrere Auftritte an einem Abend hat und jeden Tag Perfektion verlangt wird. Sie verließ Vegas und ging nach Nashville, um ihre Musikkarriere fortzusetzen, aber, wie sie selbst sagt, „es war einfach nicht das Richtige“.

Der Name Venamoris leitet sich vom lateinischen vena amoris („Liebesader“, die angeblich vom linken Ringfinger zum Herzen verläuft) ab. Die erste öffentliche Aufnahme von Venamoris war „The Gift“, ein Weihnachtslied, das die Lombardos auf Bandcamp veröffentlichten. Kurz darauf erschien ihr Debütalbum "Drown In Emotion", das sich durch Paulas Singer-Songwriter-Vibe auszeichnet, als wäre es 1975 zwischen den Deep Cuts von Carole Kings "Tapestry" und "Heart's Dog And Butterfly" aus dem FM-Radio gezupft worden.

Unter den Special Guests auf dem Album::
Kontrabass - Trevor Dunn von Mr. Bungle (Stay with Me)
Bass - Ra Diaz von Korn (Stain of Pain)
Gitarre - Alex Skolnick von Testament (Stain of Pain, Burnt Paper)
Gitarre - Gary Holt von Slayer (Animal Magnetism)

The single release from Jimi Tenor's second thematic album on Timmion Records offers two very different moods. "Summer of Synesthesia" takes us back to those dreamy summer days, a natural overpour of sensations mixing together, sounds becoming colors before turning into flavors. Synthesizers grow into delicate layers over Cold Diamond & Mink's rhythm, and when your heart can hardly bear the beauty of it all, Tenor's soft lyric places the cherry on top. "Tsicroxe" on the flipside couldn't be more different, kicking into gear with a demonic organ arpeggio that sounds like you've just been dropped into a Dario Argento scene. Even though the familiar funk from Cold Diamond & Mink eases the dread a bit, when Tenor busts in with the eerie flute solo, the ritual closes in on its conclusion.

The contents of the backwards vocal bits at the end shall be saved for your turntable so make sure to rewind that track, selector! Also Available From Jimi Tenor & Cold Diamond & Mink: Is There Love In Outer Space? 7", Gaia Sunset 7", Is There Love In Outer Space? LP / CD. The single takes listeners on a sonic journey: “Summer of Synesthesia” flows with warm, dreamlike beauty, while “Tsicroxe” dives into intense, mysterious depths, showcasing Tenor’s dynamic range. Blending synth layers with Cold Diamond & Mink’s classic funk rhythms, both tracks bring elements of 70s soundtrack-style tension and ethereal soul, appealing to fans of both cosmic grooves and suspenseful soundscapes. Tenor’s layered synthesizers, haunting flute, and even backward vocal elements add a captivating texture, making “Summer of Synesthesia” b/w “Tsicroxe” a must-have for fans of genre-blending, atmospheric music.

Mirae Arts proudly presents The Way I Am and The Way You Yawn, the debut album from Katsunori Sawa under his KWARP alias. This six-track release explores the fleeting nature of youth and the weariness of aging, blending Sawa’s experimental roots with fresh, modular synthesizer-driven soundscapes.
From the forward-driving hi-hats and alien voices of "Frog FM" to the mechanical aggression of "Ultra," the album offers an imaginative auditory journey. Highlights include the playful chaos of "PlayStation" and the metallic rhythms of "Metal Gear."
About Katsunori Sawa: First emerging on the scene in 2008 as EOC with his debut on the UK-based Ai Records, Sawa has steadily built a reputation for innovation and collaboration within the underground music community. He co-founded the influential 10 Label and has paired his talents with an array of respected artists, including Yuji Kondo (as Steven Porter), Martsman (under the moniker Bokeh), and DJ Nobu (Nobusawa). These alliances have birthed releases on prestigious labels like Kynant Records, SNTS, and Token.
Creating his sound in a hidden studio set within a striking Tadao Ando-designed building, Sawa crafts a sonic landscape that fuses rhythmic noise with pulsating bottom-end rave abstractions. His work reached new heights with an album on Opal Tapes, making him the label’s first Japanese artist and firmly establishing his place in the global music conversation. His tracks have even been woven into the sets of electronic stalwarts such as Aphex Twin.
* Artwork by Jesse Osborne-Lanthier

Gelobt sei das allmächtige Riff! Triumphaler, großartiger, schwerer und kraftvoller Stoner Metal.Das Debütalbum von King Zog aus dem Jahr 2017
führte einen neuen Titanen in die Unterwelt des Doom ein und erntete einseitige Fangemeinde und Kritikerlob für sein hingebungsvolles Opfer an die
Götter des Metal. Songs wie Temple's Temple, Man-sized Rotisserie und Witchsmoker klangen so, wie das ikonische Album-Artwork von Dominic
Sohor aussah: feurig und grausam.Seit dem Erscheinen dieses musikalischen Leviathans haben King Zog an einer unermüdlichen Mission gearbeitet.
Daniel Durack (Gesang/Gitarre), Connor Pitts-West (Gitarre), Martin Gonzalez (Bass) und Sean Ryan (Schlagzeug) haben keinen einzigen Tag
vergeudet, sich während der Pandemie in die Kisten gekauert, um Album Nr. 2 zu schreiben, und nach Aufhebung der Sperren unermüdlich performt.
Die Belohnung für ihre Mühen steht kurz bevor: „Second Dawn“ soll Anfang 2024 auf Hammerheart Records erscheinen. Größer, schwerer und
doomiger als sein Vorgänger, ist King Zogs zweites Album alles, was Fans sich wünschen: ein wütender Stier aus iommischen Riffs, seismischen Bässen
und donnernden Rhythmen. Downtuned und verzerrt, das erdrückende Gewicht.

Große Neuigkeiten von Milow: Das 7. Album des Belgiers 'Nice To Meet You' wird am 20. Mai erscheinen. Milow dazu: "Ich habe in den letzten 2 Jahren an diesem Album gearbeitet und es in Brüssel, Berlin und Antwerpen mit einigen der besten Musiker und Produzenten aufgenommen, mit denen ich je zusammengearbeitet habe." Grande nouvelle de Milow : le 7e album du Belge 'Nice To Meet You' sortira le 20 mai. Milow déclare à ce sujet : "J'ai travaillé sur cet album au cours des deux dernières années et je l'ai enregistré à Bruxelles, Berlin et Anvers avec certains des meilleurs musiciens et producteurs avec lesquels j'ai jamais travaillé".

Some records come from the head, others from the heart. Weltraum EP by Cara Carpaccio is a bit of both—an interstellar blend of cosmic vibes, disco roots, and a touch of robot melancholy. Born out of a time when the world felt both distant and strange, the EP channels those moments of isolation, longing, and unexpected creativity into something playful and deeply human. What started as an open-ended studio session turned into a journey guided by synthesizers we could only dream of owning, Marvin the robot’s dry wit from The Restaurant at the End of the Universe, and Cara’s love for cosmic sounds and disco grooves. The tracks came together in single evenings, capturing emotions as they unfolded.
Cara brought her energy, composing, performing, and singing her way into the stars, with Luis (aka Planet Zwo) riffing on guitar to ground it all. Marabou (Fabian) tied it together, wiring up gear, recording, and even finding a remix idea in the middle of mixing.
The result? A collection of tracks that balances nostalgia and futurism, melancholy and euphoria. Adding even more fuel to the ship are remixes from the likes of Intergalactic FM’s I-F + Gerd Janson, and Dan Tyler of the Idjut Boys.

Celebrating 50 years of Kahil El'Zabar's Ethnic Heritage Ensemble's legacy and unwavering contribution to Great Black Music. 'Open Me, A Higher Consciousness of Sound and Spirit' is a new Ethnic Heritage Ensemble sound, constantly shifting gears and tempos in a jazz-blues continuum, in perpetual spontaneity, combining their meaningful music history with an innovative approach to arrangements, performance and improvisation. This is Ancient / Future Music for the Now and Beyond.

Open Me is a joyous honoring of portent new directions of the Ethnic Heritage Ensemble; it's a visionary journey into deep roots and future routes, channeling traditions old and new. It mixes El'Zabar's original compositions with timeless classics by Miles Davis, McCoy Tyner, and Eugene McDaniels. Thus, the Ethnic Heritage Ensemble continues affirming their indelible, half-century presence within the continuum of Great Black Music.

For Open Me, El'Zabar has chosen to push the sound of the EHE in a new direction by adding string instruments --the addition of strings opens new textural resonances and timbral dimensions in the Ensemble's sound, linking the work to the tradition of improvising violin and cello from Ray Nance to Billy Bang, Leroy Jenkins, and Abdul Wadud.

Open Me contains a mixture of originals, including some El'Zabar evergreens such as "Barundi," "Hang Tuff," "Ornette," and "Great Black Music" (often attributed to the Art Ensemble of Chicago but is, in fact, an El'Zabar composition).

As a milestone anniversary celebration and a statement of future intent, Open Me effortlessly carries El'Zabar's healing vision of Higher Consciousness of Sound and Spirit.

DOVS are the duo of Vienna’s Johannes Auvinen, aka Tin Man, and Mexico City’s Gabo Barranco, aka AAAA. Psychic Geography is their second album together, but it differs considerably from both their respective solo work and their 2019 debut LP together, Silent Cities: Where that album’s hardware-based acid kept its gaze focused squarely on the dancefloor, Psychic Geography is a strictly ambient affair.

The album has its roots in a trio of beatless tracks that peppered Silent Cities; this time, the duo decided to try making an entire album with no drums. “It opened up the chance to make a different, more narrative style of music with more complex structures,” Auvinen says. Ambiguity and uncertainty are key watchwords for their music, which moves with eerie, liquid grace. Untethered from 4/4 kicks, their music drifts and morphs; familiar acid sequences give way to surprising shifts in tone and mood. And with no drums to distract the ear, the seeming simplicity of their silvery synth lines opens up to reveal remarkable depth and dynamism.

Barranco and Auvinen recorded the album together in the studio utilizing machines like the Roland TB-303, Juno G, Prophet 5, Elektron Octatrack MKII, Make Noise DPO and René, Mutable Clouds, Roland SH-101, Behringer TD3, and Sherman Filterbank. Listen on good speakers or headphones, and you can tell: Their gear yields a tonal richness that recalls the ambient and cosmic music of decades earlier. You can practically feel the heat from their circuits warming the air.

The meaning behind the name DOVS is as ambiguous as the duo’s music. (Dig, if you will, the picture of Picasso’s dove of peace—or, perhaps, the outline of a bird pressed into a small white pill.) But Psychic Geography needs little explanation. DOVS’ album is a collection of mental maps of imaginary places. Set your coordinates for the mirage on the horizon and prepare to dissolve.

Ein verspieltes Album mit klangschönen Träumereien, komponiert für Mandoline und Akkordeon, poetisch und unbändig zugleich. Es ist das erste Mal, dass der stets kreative Komponist speziell für die Mandoline geschrieben hat. Auf dem Album ist auch Vincent Beer-Demander zu hören, dessen Mandoline zu einem Orchester multipliziert wird, um eine einzigartige Klangpalette zu schaffen, die sorgfältig mit dem Akkordeon von Grégory Daltin kombiniert wird.

Mike Patton, der mit Vannier an dem 2019 erschienenen Album 'Corpse Flower' gearbeitet hat, sagt über die Veröffentlichung seines neuen Albums auf Ipecac: „Jean Claude ist ein guter Freund, Mentor und ein wunderbar talentierter und exzellenter Komponist. Eine Legende. Es ist eine große Ehre, mit ihm gearbeitet zu haben. Seine Texte und Arrangements haben eine Vielzahl von Künstlern beeinflusst, und ich kann mich zu den Glücklichen zählen, die seinen Weg gekreuzt haben. Er hat schon bahnbrechende Sachen geschrieben, bevor ich überhaupt geboren wurde. Er hat mich tief beeinflusst und ich bin ihm für immer dankbar und voller Ehrfurcht“.

Jean Claude Vannier, der von der Presse als „the rare bird“ bezeichnet wird, hat in den letzten 60 Jahren unter anderem mit Serge Gainsbourg und Jane Birkin sowie mit Künstlern wie Beck und Sean Lennon zusammengearbeitet. Er hat an unzähligen Soundtracks mitgewirkt, sechs Soloalben veröffentlicht und ist eine Ikone der französischen Popkultur, die für den Eurovision Song Contest komponiert, Videos gedreht, Gemälde ausgestellt, Radiosendungen moderiert und Kurzgeschichten veröffentlicht hat.

Ein prächtiges Doppelalbum (2x LP) im Gatefold welches die besten Beispiele eines bis vor kurzem sehr unterschätzten Genres enthält.
Jetzt ist es natürlich der angesagteste Sound überhaupt.
Aus dem umfangreichen Nippon Columbia-Katalog hat Cunimondo Takiguchi die heißesten Stücke der innovativsten Schöpfer des City Pop-Genres zusammengestellt.
Wenn man dann noch die berühmte hohe Produktionsqualität und Qualitätskontrolle von Gearbox hinzunimmt, hat man einen frühen Anwärter auf die Compilation des Jahres!

Revolutionary DJ and producer Matador presents his exciting debut release for Hot Creations Wildside this July. It features two contrasting tracks that stay true to the ethos of the label synonymous with White Isle hedonism.

Wildside opens with spirited percussion of shakers and snare rolls, reverberating into a fuzzy and infectious bassline groove. The playful sample is looped over crazy effects and bright keys, before dropping into a final crescendo that will have feet stomping in unison. Sweet Release retains a classic deep house sound with dreamy chords and lush synth. The track develops with warm sub-bass, piano, arpeggiation and soulful vocals, resulting in a summertime anthem.

Matador has made his mark on the electronic music world since the very beginning, producing a BBC Radio 1 Essential Mix, becoming a brand ambassador for MODEL 1 and featuring in Resident Advisor’s ‘Top 20 Live Acts’ for three years in the early part of his career. In 2016 he launched his label RUKUS, releasing music from emerging and established artists alike. Spanning genres and formats he has made music for Sky TV and British Airways, his vinyl-only series Cyclone is firmly rooted in techno, whilst the stream only album Tuesday presents an exquisite take on ambient. His collaboration with Zurich’s Tonhalle Orchestra again highlighted his dexterity as a truly authentic musician. 2020 sees the launch of Matador’s podcast series focusing on studio gear and featuring interviews with touring artists. His new live performance ‘Live 2.0’ is also forthcoming and will feature hotly anticipated new music.

Ltd Edition!

After several wildly popular singles out on Penrose Records, alongside labelmates Thee Sacred Souls, The Altons gear up to release their debut album on Daptone Records. With lead vocals shared between Adriana Flores and Brian Ponce the interplay between their unique timbres brings a romantic quality to the music that is absent in many of today's soul offerings. Steeped with moody ballads, soulful, tejano-kissed duets and Bond theme psychedelia-Heartache in Room 14 is poised to be the "must have" album of 2025.

Ltd Edition!

After several wildly popular singles out on Penrose Records, alongside labelmates Thee Sacred Souls, The Altons gear up to release their debut album on Daptone Records. With lead vocals shared between Adriana Flores and Brian Ponce the interplay between their unique timbres brings a romantic quality to the music that is absent in many of today's soul offerings. Steeped with moody ballads, soulful, tejano-kissed duets and Bond theme psychedelia-Heartache in Room 14 is poised to be the "must have" album of 2025.

Soul Quest are proud to present the latest release from Berlin based DJ and producer Jean-Jez, who continues on with a musical journey with flourishing roots and a bright, bright future.

Jean-Jez has made waves in Berlin’s underground for a good while now, with his Kedi Bounce parties (whom he co-founded) quickly becoming a celebratory cornerstone of community and culture. His DJing style and production approach act as a core expressional loop, with Jean-Jez embracing a multitude of styles and sounds with both. Bridging the gap between house, Jazz, Hip-Hop, Afro-Latin and beyond, Jean-Jez is all about nurturing the collective joy found within music - either through his own tunes or deep in the mix at a Kat Nip party.

‘Soul Notion’ wears its heart on its sleeve, and embodies the core musical principles to which Jean-Jez holds so very dear. ‘Did you want to dance!’ kicks things off with a deep melodic embrace, before spreading outwards with brassy frills, evocative simmering drumming patterns and vocal samples which kick the inner consciousness into another gear.

‘Take me to the moon’ contains an up and front piano lead, with uptempo drums providing a twist and flair to proceedings. Some inspired vocals add further to the atmosphere, one of airiness and emotional escapism.

‘What is it tell me’ stirs into life with a wide scope through the low ends, but Jean-Jez cooks up a storm with some wondrous jazz guitar that weaves one final spell to get lost deep within.

To wrap things up, Jean-Jez enlists his own collective: Kedi Bounce to put an Acid twist on ‘Did You Want To Dance’ to close the ep in style. This mix is exclusive to the vinyl mix and won’t be released digitally.

Jean-Jez looks to celebrate and resonate through his music, and this EP is a full demonstration of his abilities to bring things together. Seamlessly blending some of his favourite styles, this record contains all the feels to be wished for, and an experience that leaves plenty of room for return visits, this EP has you covered.

Diamond Dogs may be a bunch of renaissance rockers deeply rooted in the early 70s British rock and roll, but just like our forerunners, we owe
almost everything to Little Richard, the architect of it all! It's impossible to even imagine rock and roll without him.

Little Richard is the soul, spirit and passion of the Diamond Dogs lifestyle, and I was six years old when I first heard 'Rip It Up' with love at first feel.
The raw energy and the blood screaming lyrics over that manic hammering piano embodied everything I craved in music, straight from the speakers to my young heart. Even if I discovered a lot of other influences later on in life, I always kept Little Richard close to where he once hit me. One of Diamond Dogs' early tunes is called 'Lunatic Eye-Rolling Delivery' which is a line nicked from a concert review of Little Richard, and we believe it sums up the essence of his greatness pretty well. He was much more than a rock pioneer, the way he dressed up and spoke was something the world had never experienced before.

Little Richard got Paul McCartney to write 'I Saw Her Standing There', got James Brown a new haircut, and put a silly little mustache on Prince!
So, the idea of recording a homage to the true king of rock and roll had been with all of us for many years when Chris Spedding one day called me
and asked if we should record something together. Of course, I immediately said yes, and then asked him to join Diamond Dogs in the upcoming
studio session to record some well selected Little Richard gems for an LP. All said and done, and Chris was extra thrilled that his favorite 'Send Me
Some Lovin'' was among the songs we picked.

And on a cold and windy January day we gathered the Dogs and the new old puppy in the sweet premises of Dog Pound Studios, along with our
beloved friend and engineer Jonas Åhlén.

So, when the room is geared up, we do our melodies as we normally do it, no rehearsals, all live, straight to tape. One hour per track is usually a
good thing! An amazing energy and swagger filled the atmosphere as Diamond Dogs and Chris fulfilled my dream.

Now that I'm listening through the vinyl, I must say that I've never been prouder of anything we've achieved with this shady bunch so far. It's like
walk the full circle, like I've been graduating from the 12-bar rock and roll academy.
Sulo, Stockholm/Sweden, 2024

Sound Like: The Faces, Rod Stewart, Frankie Miller, Elton John, Mott
The Hoople, J Geils Band, The Rolling Stones, Steppenwolf, Little
Richard

Diamond Dogs may be a bunch of renaissance rockers deeply rooted in the early 70s British rock and roll, but just like our forerunners, we owe
almost everything to Little Richard, the architect of it all! It's impossible to even imagine rock and roll without him.

Little Richard is the soul, spirit and passion of the Diamond Dogs lifestyle, and I was six years old when I first heard 'Rip It Up' with love at first feel.
The raw energy and the blood screaming lyrics over that manic hammering piano embodied everything I craved in music, straight from the speakers to my young heart. Even if I discovered a lot of other influences later on in life, I always kept Little Richard close to where he once hit me. One of Diamond Dogs' early tunes is called 'Lunatic Eye-Rolling Delivery' which is a line nicked from a concert review of Little Richard, and we believe it sums up the essence of his greatness pretty well. He was much more than a rock pioneer, the way he dressed up and spoke was something the world had never experienced before.

Little Richard got Paul McCartney to write 'I Saw Her Standing There', got James Brown a new haircut, and put a silly little mustache on Prince!
So, the idea of recording a homage to the true king of rock and roll had been with all of us for many years when Chris Spedding one day called me
and asked if we should record something together. Of course, I immediately said yes, and then asked him to join Diamond Dogs in the upcoming
studio session to record some well selected Little Richard gems for an LP. All said and done, and Chris was extra thrilled that his favorite 'Send Me
Some Lovin'' was among the songs we picked.

And on a cold and windy January day we gathered the Dogs and the new old puppy in the sweet premises of Dog Pound Studios, along with our
beloved friend and engineer Jonas Åhlén.

So, when the room is geared up, we do our melodies as we normally do it, no rehearsals, all live, straight to tape. One hour per track is usually a
good thing! An amazing energy and swagger filled the atmosphere as Diamond Dogs and Chris fulfilled my dream.

Now that I'm listening through the vinyl, I must say that I've never been prouder of anything we've achieved with this shady bunch so far. It's like
walk the full circle, like I've been graduating from the 12-bar rock and roll academy.
Sulo, Stockholm/Sweden, 2024

Sound Like: The Faces, Rod Stewart, Frankie Miller, Elton John, Mott
The Hoople, J Geils Band, The Rolling Stones, Steppenwolf, Little
Richard

Clystre's debut album 'Arpichelago' is reminiscent of Kraut, early synth pop, psychedelic and electronica. Carefully crafted synth voices, rhythms and textures form this joyous yet compelling sonic menu. With his album Carsten Rochow invites us to the eastern German countryside where we witness how a multitude of electronic music gear and natural surroundings can lead to detailed compositions whose repetitive but multifaceted structures provide a sense of timelesness and immersiveness. 'Arpichelago' is a ticket to a sonic vacation including the four seasons:

After days with '15 Inches of Snow', vernal gardening sessions do follow in 'Gartentraum'. While the title track of the album reminds of hot, summery moments, 'Cutting Wind' reminds of a long autumn walk out in the Fields of the Altmark. Includes our 'Eggplant Kraut Salad' recipe - a ¬avorful starter/side dish for your next asian-in¬uenced tapas night.

Dutch electronic music duo Polynation returns to Atomnation with Bloom, a new EP featuring guest appearances from Itai Weissman and Eric Vloeimans.

Polynation has always employed a wide range of gear to make their music, from synths, bass, guitar, and pedals to their unmistakable use of acoustic drums. This time, they have guest musicians Eric Vloeimans on trumpet and Itai Weissman playing saxophone and EWI — a digital wind instrument. The EP is their investigation into the symbiosis between electronically generated sounds and acoustic wind instruments. It finds them playing wind instruments in unconventional ways to mimic the language of a synthesizer and contrasting them with electronic sounds that breathe and feel alive, as if acoustic. "We are particularly interested in the sonic world where the boundaries between electronic and acoustic sounds begin to blur," they explain. They now take that concept one step further on this latest outing.

Bloom is another deep dive into the adventurous sonic alchemy of the continually innovative Polynation.

After a rollercoaster ride through their debut album and COVID plagued campaigns, KAWALA are gearing up to release ‘KAWALA Collection’ a collection of tracks that the band recorded in early 2024.

The band saw themselves stripping away some of the grander studios in favour of their own small east London studio working with close friends Saint Raymond and Mathi Wang to create a collection of music that they would love to listen to in their own time. The release features singles, ‘American Adrenaline’ and ‘Time Slipping Away’ and now lead single ‘Make A Difference’. While the band didn’t set out for the KAWALA Collection to be their final release, it feels like a fitting end to an incredible 10-year career..