Cerca:hed

Shir Khan marks the 37th release on his infamous Black Jukebox imprint with an all-killer balearic house record courtesy of mysterious Cécille-affiliated Cabin Luv Affair hot on the heels of his debut album which has seen support from Fouk, Laurent Garnier, Jamie Jones, Mr. V and Archie Hamilton.

Here, the masked master lays out 4 convivial cuts that sit in a particular pocket between House and Disco; one that has historically been occupied by the likes of Pepe Bradock, Damiano Von Eckert and Andrés. A spot classically characterised by beautifully imperfect, sample-heavy productions that are shot through with palpable depth and soul.

The record sets sail with ’Te Siento’. Polyrhythmic percussion bubbles across the surface of a deep sonic pool that forms a bed for vivacious drums, romantic vocals and a spine-tingling strings riff. A hazy opening clears out before the backbone of recording shines through; an uplifting 90s piano motif that's later picked up by Xylophone tones while a tight, truncated bass line punches away at the track's core.

'Dance With Us' then rolls out a beautifully seductive mood. Softly shifting synth chords, a loose-limbed drum break and hedonic vocals whip up a hot and heavy vibe that shines with a distinctly Chicago-tinged elegance.

'Time Is Killing Us' follows up with an immaculately executed, 'last tune' House groove. A gentle but powerful euphoria is generated with swooning strings, more giddy piano riffs and another robust drum track that all gather momentum as progress rolls on. An ecstasy-crescendo forms before it crashes and fizzles before the lights go on.

'My Head Like Shibuya Crossing' then follows up with a tightly-knitted Deep House cut. Buttery melodies adorn an effortlessly kinetic bass groove before a delicate Japanese vocal bleeds into focus. As is the case with much of the record, the track graciously segues through its chapters with melody at the fore-front before bringing the record to a conclusion.

Die Band, welche Alternative Country zum Durchbruch verhalf, ist zurück! 1983 begann Lone Justice in den Clubs von Los Angeles zu spielen und machte sich schnell einen Namen. 1984 bereits wurde man von Geffen Records unter Vertrag genommen, 1985 erschien das selbstbetitelte Debütalbum, mittlerweile ein Klassiker der Rockgeschichte mit geradezu ikonischem Cover. Die LA Times kürte es zum "Album des Jahres". Sie spielten Konzerte mit U2, Tom Petty & The Heartbreakers und Willie Nelson. Doch bereits nach dem zweiten Album löste sich die Band früh in 1987 auf, Sängerin Maria McKee und auch die Instrumentalisten begannen ihre Solokarrieren. Nun hat die Band 38 Jahre später ein neues, drittes Album fertiggestellt, mit zum größten Teil inspirierten Interpretationen von Fremdmaterial und Tradtionals, auf dem alle ursprünglichen Mitglieder des Debütalbums noch zu hören sind: Maria McKee, Ryan Hedgecock, Marvin Etzioni und auch der mittlerweile verstorbene Don Heffington. Zu den zusätzlichen Gästen gehören die Streicherarrangeurin Tammy Rogers, der Multihornist David Ralicke, Greg Leisz an der Steel-Gitarre und Benmont Tench am Klavier. Das Eröffnungsstück "You Possess Me" stellt Sängerin McKee in den Mittelpunkt, nur unterstützt von einem Streicher- und Mandolinenquartett. "Rattlesnake Mama" war einst ein dröhnendes elektrisches Stück in ihrem Live-Set von 1983 - diese Version ist jedoch rein akustisch mit Hedgecock an Harp und Tammy Rogers an der Fiddle. Später kreischen sie durch eine juvenile, atemberaubende Coverversion von 'Teenage Kicks' (der 1978er Single von The Undertones). Die Energie hält mit spürbarer Begeisterung für die Musik an und lässt Viva Lone Justice zu einem unerwarteten, inspirierenden Comeback werden. Lass den zweiten Frühling von Lone Justice auch dein Herz berühren, auch deine Scheune mit Folk, Rock, Country & Americana abbrennen.

Mit dem aktuellen Line-Up von Christer Göransson (Gesang), Magnus Danneblad (Gitarre), Jerker Edman (Gitarre), Christer Carlson (Bass) und Linus Melchiorsen (Schlagzeug) legen Mindless Sinner nun ihr brandneues Studioalbum "Metal Merchants" vor.
Mit Stücken wie "Speed Demon" (die erste Single) oder der Hymne "Metal Merchants" (ein Song über die Metal-Community) halten Mindless Sinner die Fahne für den traditionellen schwedischen Heavy Metal hoch.

Mit dem aktuellen Line-Up von Christer Göransson (Gesang), Magnus Danneblad (Gitarre), Jerker Edman (Gitarre), Christer Carlson (Bass) und Linus Melchiorsen (Schlagzeug) legen Mindless Sinner nun ihr brandneues Studioalbum "Metal Merchants" vor.
Mit Stücken wie "Speed Demon" (die erste Single) oder der Hymne "Metal Merchants" (ein Song über die Metal-Community) halten Mindless Sinner die Fahne für den traditionellen schwedischen Heavy Metal hoch.

DJ Support from: Dave Lee, Purple Disco Machine, Michael Gray, Birdee, Dr Packer, John Morales, David Harness, Lenny Fontana

Sean’s debut album, ‘Down To The Disco’, comes as a 2 part vinyl series is a tight blend of soulful, disco, '80s boogie, and house music, featuring collaborations with artists such as Brian Lucas, Alexis Victoria Hall, Toni Sea, Nell Shakespeare, Elysha West, Octavia Lambertis, and Pav plus extensive production duties from Midnight Riot’s Yam Who? & Jaegerossa.

Sean Scanlan’s A highly respected UK DJ (Hed Kandi, Fierce Angel, Discopolis, Hat Club, and Ministry of Sound), As a producer his releases have made a significant impact on Traxsource, earning DJ support from industry legends like Joey Negro, DJ Meme, John Morales, Michael Gray, Dr. Packer, and Purple Disco Machine, among others. Inspired by labels such as Salsoul & Z Records, Sean is known for his dedication to producing authentic, high-quality Disco and House music, with a passion for creating vibrant sounds through real musicians, live strings, brass, bass, and percussion, ‘Down To The Disco’ is a must-listen for fans of classic disco house music.

Einmal im Jahr muss uns GOAT den Weg weisen - das selbstbetitelte neue Album im Oktober 2024! Der Ouroborus - also das Symbol der Schlange oder des Drachens, der seinen eigenen Schwanz frisst - erscheint den einen als Ausdruck der Brutalität der Natur. Für andere, die gnostisch veranlagt sind, symbolisiert er die Dualität des Göttlichen und des Irdischen im Menschen. Am häufigsten wird er jedoch einfach als Symbol für die endlosen Zyklen von Tod und Wiedergeburt verstanden, die das Leben auf diesem Planeten kennzeichnen. In der Welt von Goat, dem geheimnisvollen und immer wieder neu belebenden Kollektiv, das mit seinem neuesten Album ein weiteres Abenteuer jenseits dieser Ebene der Realität erlebt, ist dieses Bild von großer Bedeutung: Die Band, die bereits Alben mit den Titeln Requiem und Oh Death veröffentlicht hat, beweist mit ihrem gleichnamigen Album erneut, dass Transzendenz und Metamorphose ihre Leitmotive sind. Mit Goat beschwört die stets unberechenbare Band rhythmisch getriebene Rituale in einem unverwechselbaren, erhebenden und schillernden Stil herauf, der die Tanzfläche ebenso wie den Geist zu beflügeln vermag. "One More Death" und "Goatbrain` sind spektakuläre Vorboten, die einen hedonistischen Geist verkörpern, der von prägnantem Funk angetrieben wird und von einer gnadenlosen Fuzz/Wah-getränkten Gitarre besessen ist. An anderer Stelle ist die Liebe der Band zum Hip-Hop der Treibstoff für den epischen Albumabschluss ,Ourobourus", der ansteckenden Gesang mit atemloser Breakbeat-Action im Stil von Lalo Schifrin verbindet. Und das bedeutet auch, dass wir am Ende, wie das älteste allegorische Symbol der Alchemie, wieder dort sind, wo wir angefangen haben. Wie Brad Dourifs Figur Hazel Moates in dem Film Wiseblood von 1979 sagt: ,Wo du herkamst, ist nicht mehr da. wo du dachtest, dass du hingehst, war niemals. Und wo du bist, ist es nicht gut, es sei denn, du kannst davon wegkommen". In Goats ewigem Jetzt der Erneuerung und Offenbarung gab es nie ein wirksameres Mittel zur Flucht. Limitiertes, schwarzes Vinyl!

Weißes Vinyl, limitiert auf 300 Exemplare. Unwiederbringlich dem Credo ,born too late" verfallen, loten Traum in ihrer Musik die technischen Grenzen des Zeitreisens neu aus und kreieren dabei einen naiven Gegenentwurf zum Hier und Jetzt in oszillierendem Technicolor. Der Sound des Trios entfacht Reminiszenzen an die Ursprünge von Psychedelia, Acid Rock und Glam, getragen von einem eskapistischen Tunnelblick auf längst vergangene Dekaden des bewusstseinserweiternden Hedonismus. Die ersten Aufnahmen der Band weckten prompt das Interesse des kalifornischen, in Los Angeles ansässigen Psychedelic-Connaisseur-Labels Hypnotic Bridge, welches Anfang 2024 zwei Traum-Songs auf 7" Vinyl veröffentlichte und dazu schrieb: ,Traum präsentieren eine Ode an den mystischen Rausch eines Technicolor-Traums. Aufgeladen durch Vintage-Tape Echos und Ausbrüche von Fuzz-Gitarren, sind ihre Songs dazu gemacht, sich tief in die Doppelhelix-Matrix von mehrfach gespiegelten Gedankenströmen zu winden." Das renomierte englische Musikmagazin ,Shindig!" schrieb dazu: ,Das Debütalbum der drei deutschen Musiker von Traum lässt keinen Zweifel daran, wo ihr Herz schlägt. (...) Der Gesang ist verträumt und distanziert, die Gitarren schlängelnd und kurvenreich." und zog zahlreiche Vergleiche zu obskuren Vertretern des Psychedelic-Pop der späten 1960er Jahre in Großbritannien wie Fire, Tintern Abbey, The Smoke, u.ä. Im Frühjahr 2024 begab sich die Band erneut ins eigene Studio um vier weitere Stücke aufzunehmen, die von Frontmann Helen Lichter komplett analog abgemischt wurden und mit ihrem puristisch verträumten Sound nahtlos an die Erstveröffentlichung anschließen.

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, SMan, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche


Kicking things off on Toolroom’s next 4-track vinyl sampler series is Mark Knight’s hugely successful rework of Groove Armada’s seminal classic ‘Get Down’. Considered one of the holy-grail records of their back catalogue so it’s an absolute honour for us, and Mark Knight, to be re-presenting this incredible record to a new audience. Fusing those unique vocals from Stush and classic Groove Armada synth line, coupled with the energy and insatiable groove of a Mark Knight record, this is a sure-fire dance floor weapon for 2024! Next up are a fan favourite of the label, the mighty duo Illyus & Barrientos who make their long overdue return with ‘When You Gonna’. Tracks such as ‘Shout’, ‘Promise’ and most famously, ‘So Serious’, propelled them to be one of the most exciting and sought after acts in the World. This record is trademark Illyus & Barrientos and reflects their personalities as artists perfectly. Think high energy house music filled with fun and peak-time dance floor vibes! Leading the charge on the b-side is an incredible collaboration from 2 heavyweight house artists, working together for the very first time! David Penn has a career spanning over 25 years. He was recently crowned the #1 house artist on Beatport and boasts over 1 million monthly listeners across leading streaming platforms. OFFAIAH appears on Toolroom for the first time in his career under this alias, although he was a firm part of the original Toolroom Family line up as Michael Woods. So this is a SPECIAL ONE! The record screams sun-drenched terraces, pool parties and chilled cocktails! A huge bass line, infectious tribal vocals and some lush house pianos for good measure. Last but not least, Long-standing Toolroom Family member and fan favourite, Ben Remember returns to the label with ‘Waiting 4 You’. As with all of Ben’s records, this is super creative and super original. Based around an infectious disco vocal sample and all created using out-board, analogue studio gear which gives the track a real gritty
undertone.

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

Returning for his third release on UFO Inc., DJ Europarking conjures up four cuts of high-spirits rave hedonism on The Legend of the Princess. Following on from two unhinged standout EPs on UFO Inc., the Dutchman lays down a mischievous package of the weird and unexpected, fusing references to all sorts with a spring in his step and a donk on his drums. Never one to shy away from experimentation, his belief in the power of playfulness is balanced with a sincere appreciation for sound and a rigorous knowledge of technical production skill, and the results are, as always, complete bangers.

Mit ihrem neuen Album „Sad Girl“ schlägt TSHA ein neues Kapitel auf, in dem sie ihren Tracks ihren eigenen stimmlichen Stempel aufdrückt und sich den Genres nähert, die sie schon immer ausprobieren wollte, anstatt die Anerkennung ihrer Kolleg:innen zu suchen. TSHA zeigt nicht nur die euphorischen oder melancholischen Seiten ihres Charakters, sondern stellt sie alle zur Schau. Es ist ein Werk, das zeigt, dass es in Ordnung ist, traurig zu sein, und dass man darin sogar schwelgen kann - schließlich kann man die Höhen nicht ohne die Tiefen haben.

Es ist das zweite Album des aufstrebenden britischen Stars und folgt auf das Debütalbum, „Capricorn Sun“, aus dem Jahr 2022, das auf einem hellen, melodischen House-Fundament aufbaute und britische Garage- und Rave-Einflüsse einbrachte. Das Album wurde vom DJ Mag und BBC Radio1 Dance zu ihrem jeweiligen Album des Jahres gekürt, während das Music Tech Mag TSHA zur Produzentin des Jahres kürte, was für eine weibliche Produzentin, deren Produktionsfähigkeiten oft übersehen werden, sehr viel bedeutet.

Während sie Freude an Hedonismus und Eskapismus findet, ist „Sad Girl“ auch ein Album, das schwierige Gefühle anspricht. Das Zwischenspiel, „Lonely Girl“, erzählt von ihrer isolierten Kindheit in der überwiegend weißen Stadt Fareham in der Nähe von Portsmouth, in der sie sich Märchen im Stil von „Secret Garden“ ausdachte. „Green“ entstand nach einem Streit mit ihrem Partner, wo sie offen über toxische Positivität singt (auf dem Album singt sie zum ersten Mal). TSHA mag in den DJ-Videos, die sie in den sozialen Medien postet, Selbstvertrauen ausstrahlen und von einem Ohr zum anderen grinsen, aber sie hat auch offen über ihre Probleme mit ihrem psychischen Wohlbefinden gesprochen.

Mit dem Albumtitel lässt sie ihre Teenagerjahre Revue passieren. Er ist eine Anspielung auf emo-mäßige MSN-Screennamen und Hotmail-Adressen - und man kann es in den Anflügen von 00er-Jahre-R&B, rauem Elektro und hymnischem Techno hören, die an die Bittersüße und die Angst des frühen Erwachsenseins erinnern. Zwischen den Momenten der Stille und des Nachdenkens ist es im Kern eine Dance-Platte: heiße Club-Stomper reiben sich an hypnotischen Floorfillern und MTV-tauglichem Pop.

In 2013, Marc Almond realised the then ambition of his creative
career when he collaborated with legendary producer Tony Visconti
(David Bowie, Hazel O'Connor, T-Rex, Morrissey). The evocative
results of their unique collaboration can be heard on the opening
tracks ‘The Dancing Marquis’ and ‘Burn Bright’.
In collaboration with record producer Tris Penna, Tony Visconti also
lends a helping hand with string arrangements and mixing duties on
two further tracks; ‘Tasmanian Tiger’ and ‘Death of a Dandy’, the
latter lovingly inspired by the tragic and sudden death in 2010 of
Soho’s renowned hedonist, the writer and artist Sebastian Horsley.
Continuing in this collaborative vein, ‘The Dancing Marquis’ also
features the talents of Martin McCarrick (Siouxsie and the
Banshees, Therapy?) contributing cello on the hearteningly buoyant
‘Burn Bright’, and strings on title track ‘The Dancing Marquis’, a song
which Marc penned with Henry Paget, the 5th Marquess of Anglesey
very much in mind. Jarvis Cocker (Pulp) contributes an infectious
electro-pop song that he wrote especially for Marc, ‘Worship Me
Now!’ - he also features on backing vocals and production duties in
conjunction with Jason Buckle (The All Seeing I).
‘Love Is Not On Trial’ saw Marc once again collaborating with Carl
Barât (The Libertines), his co-star in the 2012 opera ‘Poppea’ as
performed at Théatre du Châtelet in Paris. Produced again by Tris
Penna, the song was written especially for Marc by Carl, who also
features on guitar and vocals.

Four of the freshest Blaze remixes come together on wax for the first time on Slip ‘N’ Slide, ‘Blaze Remixed’. The West London label is home to some of the best house music that crossed the Atlantic from the 90s onwards, and today the imprint continues to refresh Blaze’s legendary catalogue with remixes from leading industry figures. Up first, British producer Atjazz takes the cool feel of ‘So In Love’ from the minds of Kevin Hedge & Josh Milan as Black Rascals, adding his signature genre-crossing style. Jimpster’s take on ‘Wonderland’, featuring Josh Milan on vocals as Alexander Hope, stabilises the track while allowing the free-flowing feel of the OG to shine through. Brooklyn native DJ Spinna’s remix of ‘How Deep Is Your Love’ capitalises on Hope’s powerful vocals, supported by impeccable synth-laden production, before vinyl aficiando Natasha Diggs closes out this Blaze collection with her remix of ‘Breathe’; Diggs stays faithful to the original’s iconic saxophone and trumpet-led sound, sprinkling in her tasteful flair for smooth grooves and delicious synthwork at every turn.

Picture a time when you could have a good time all the time. It was an era when fast cars rolled under neon lights, yachts were a sensible housing decision and fighting for your right to party was a full time occupation. This mythical age had an equally flamboyant soundtrack to match, and it blared from boomboxes and dashboards in every time zone. It was the 1980s, and bands like Van Halen, Toto and Def Leppard personified a summertime sound built on big beats, bigger melodies and choruses so epic that singing along was the law, and places like Vegas, Hollywood, and Miami Beach became hedonistic epicenters of a global, sonic heatwave.

After over a year spent in a slight creative slump in a crumbling terraced house in Tottenham, Jam Baxter rang his label boss while heavily intoxicated to request they fly him to Bangkok forthwith, to rejoin forces with '...so we ate them whole' producer and engineer, Chemo. After an initial period of understandable hesitancy, the flights were booked and Baxter found himself suddenly regurgitated from the belly of a Jet Airliner into the magical and surreal surroundings of Mansion 38.

Mansion 38 is the name of the apartment block in Bangkok in which Baxter wrote the entire album, all the while going slowly insane on a heady mix of local liquor and multicoloured pharmaceuticals. The album is very much a product of the month he spent there in a dream-like state, becoming a delusional half-man half- goat figure to be admired and feared in equal measure.

Despite not being the wholesome and creative Zen retreat he anticipated and most probably needed, the backdrop of seedy late nights and impulsive tropical hedonism has resulted in some of his most intriguing and honest work to date. Chemo once again provides the haunting and evocative canvas that is all too perfect for Baxter's colourful imagery and dark psychedelic storytelling, blending a huge array of influences into an album that flows seamlessly from start to finish.

With comrades Lee Scott and Trellion flying to Bangkok on a whim to record their contributions and with videos shot in Bangkok, Hanoi and London this is truly an international project born of grand ambition and abject madness.

Mansion 38 is clear proof that after several years and multiple solo and group projects, Jam Baxter is still angrily shoving the boundaries of hip hop and lyricism further outward.

Having established himself as a guitar slinging matinee idol fronting Welsh riot starters Trampolene and riding shotgun in Peter Doherty’s band the Puta Madres, Jack Jones releases his debut solo album ‘Jack Jones’. For this album Jack Jones has put away his guitar and embraced a fresh and highly contemporary sound in which to couch his hard-hitting state of the nation poems of existential fear and loathing. His lyrics tackle many of today’s burning issues: mental health, drug addiction, mortality, and the tortuous demands of technology. There’s also joy and hope in there. With some of his catchiest tunes so far, it’s a record that’ll both open up this natural-born star to untapped audiences, and reveal hidden depths to those already ‘on the team’. Much like the first Specials album at the turn of the 1980s, you can imagine ‘Jack Jones’ being useful to youngsters in 2024 trying to navigate the problems of today – swap birth control and street violence for mindless hedonism and mental-health struggles, and you have an equally bold and connective roadmap to the pitfalls of contemporary young-adult living. Jack Jones has enjoyed Top 10 success with TRAMPOLENE on the Independent Album Charts with three Top 10 Albums, hit the road as special guest to Liam Gallagher at the personal request of the iconic frontman, supported The Libertines on an Arena Tour as ‘Tour Poet’ and had the honour of being the first act to headline Swansea Arena. Headline tour dates are: November 2nd Glasgow The Poetry Club SWG3, 3rd Liverpool Jacaranda, 6th North Shields Three Tanners Bank, 7th Manchester YES Basement, 8th Cambridge The Six Six Bar, 9th Shrewsbury Albert & Co Frankville, 13th Bristol The Exchange, 14th London Old Blue Last, 15th Swansea Bunkhouse, 16th Cardiff The Moon

Marazion is a new colourful various LP inspired by the infamous Ballacid channel.

This LP contains 12 warm acid techno and electro tracks by upcoming artists all over the world.

Im Jahr 2023 wurden BIG BIG TRAIN vom Publikum in ganz Großbritannien und Europa begeistert aufgenommen und krönten ihre Tournee mit zwei triumphalen Auftritten in der Londoner Cadogan Hall. "A Flare On The Lens" zeigt die komplette Show der Band in der Cadogan Hall vom zweiten ihrer beiden Auftritte im vergangenen Jahr und enthält außerdem sieben Songs, die nur am ersten Abend gespielt wurden. Der Blu-ray-Film dauert etwa 3 Stunden und enthält nicht weniger als 17 Songs plus ein Akustik-Medley mit 3 Liedern, darunter Favoriten aus dem Backkatalog wie "East Coast Racer", "Hedgerow", "Folklore", "Judas Unrepentant", "Curator Of Butterflies" und "Victorian Brickwork", die instrumentale Live-Tour de Force "Apollo" und die zukünftigen Klassiker "Love Is The Light" und "Oblivion". Die beiden letztgenannten Songs sind auf dem hochgelobten Studioalbum "The Likes Of Us" zu hören, das im März dieses Jahres veröffentlicht wurde. "A Flare On The Lens" ist der Beweis dafür, dass BIG BIG TRAIN auf dem Weg nach oben sind und sich als eine der überzeugendsten Live-Bands der Rockmusikszene etabliert haben. Erhältlich als limitiertes 3CD+Blu-ray Digipak im Schuber (die Blu-ray enthält 5.1 Surround Sound & High Resolution Stereo Mixes) sowie als Gatefold 180g 2LP Edition (mit einer Auswahl von 10 Tracks aus dem Live-Set), sowie als Digitales Album.

Neon Genesis Evangelion gehört unumstritten zu den legendärsten Anime Franchises auf dem Markt und begeistert die Fans seit fast drei Jahrzehnten. Der Soundtrack von Shiro SAGISU erscheint jetzt als brandneue blau-schwarz-marmorierte Doppelvinyl, inklusive der Hits "A Cruel Angel's Thesis" und der beliebten Bossa Version von "Fly Me To The Moon" aus der Serie.

Das Debütalbum 'One of a Kind' folgt auf die EP 'Life And Life Only', die der Band bedeutende Auftritte und Anerkennung brachte. Die aus Brighton stammende Band bleibt Ansatz der EP treu, entwickelt sich jedoch stilistisch weiter und orientiert sich stärker an britischen Wurzeln und dem düsteren Hedonismus von Bands wie den Rolling Stones. Strahlende Melodien und mehrstimmigen Harmonien bilden weiterhin den typischen Retro-Sound von The Heavy Heavy.

Das Debütalbum 'One of a Kind' folgt auf die EP 'Life And Life Only', die der Band bedeutende Auftritte und Anerkennung brachte. Die aus Brighton stammende Band bleibt Ansatz der EP treu, entwickelt sich jedoch stilistisch weiter und orientiert sich stärker an britischen Wurzeln und dem düsteren Hedonismus von Bands wie den Rolling Stones. Strahlende Melodien und mehrstimmigen Harmonien bilden weiterhin den typischen Retro-Sound von The Heavy Heavy.

This eponymous release from Three Body fuses digital futurism with cosmic organica. Hedonistic breakbeats, woodwind and keys interpolate six melodious tracks, stemming from live recordings, revolving around percussive conversations. With the band's raw minimal approach and combination of natural and synthetic instrumentation, this elemental EP offers an innovative study of contemporary electronic music and its relationship with ethnic rhythms and tones.

With the world in the throws of lockdown, the record never received its live inauguration, but it got nuff love on radio, with 6Music, WWFM and NTS all championing the release. It's since gained cult status amongst DJs with an ear for earthy tones, with tracks 'Palm Leaf' and 'Jampa Gawa' regularly spreading their wings. The trio's unique approach to sound is shaped by years of impromptu improvisations. The characterful drums and synthesis of Tom Towle, masterful sampling and engineering from Guohan and the wandering woodwind of Pete Beardsworth form the skeleton of this record, meticulously fleshed out in subsequent studio sessions.

"Waxwork Records is excited to present FRIDAY THE 13TH PART VIII: JASON TAKES MANHATTAN Original Motion Picture Score by Fred Mollin. Released in 1989, Friday the 13th Part VIII: Jason Takes Manhattan is an American slasher-horror film written and directed by Rob Hedden and stars Kane Hodder as Jason Voorhees. The eighth installment of the series follows Jason as he stalks a group of high school graduates on a ship en route to New York City.

The film’s musical score was composed by Fred Mollin, who worked with longtime Friday the 13th composer Harry Manfredini on the previous installment, Friday the 13th Part VII: The New Blood.

Jason Takes Manhattan was the first film in the series not to feature Manfredini credited on the score. Navigating away from traditionally used strings and horns, Mollin’s score to Jason Takes Manhattan is electronic based and utilizes digital keyboards and synthesizers popular of the time.

Waxwork Records is thrilled to release the complete score for the very first time on vinyl. Sourced from the original master tapes from Paramount’s vaults, the score has been restored and remastered. The 2xLP album package features 180 gram colored vinyl, an interactive die-cut old style tip-on gatefold jackets with matte satin coating, printed inner sleeves, and new artwork by Anthony Petrie."

The wild greaser with an ever-broken heart, Cong Josie, is back! His
eagerly anticipated sophomore album; Moto Zone, pulls up throbbing,
revving, sweating and grinding hotter than bitumen on a summer day
It is a non- stop EBM'in', synth- punkin', rock 'n' rollin' and doo- woppin' sizzler, in
much the same vein as his 2021 debut Cong!. With this release however, Cong
pushes his own M.O. even deeper. The throbs get bolder, the NRG goes harder,
slow sleaze hip-grinding enters and the dream washes return to envelope all that
hear them like a siren's call. On Moto Zone, Cong conjures the age of rock 'n' roll,
a world of motorcycle gangs and hot rods, leather, chains, backcombing and hair
pomade, with an Aussie twist on greaser 'cool'. Confessional lyrics tell tales of
addiction and mental illness tracing the scars of a troubled past. Cong says the
"Moto Zone" reflects his daily life and mindset. A life of ADHD, burning the
midnight oil, living on black coffee, obsessively creating and revving through
every day. Ultimately Cong is reaching for bliss, feeling connection and a new
world in these songs. Exhilarating? Anxious? Hedonistic? Dangerous? Beautiful?
A lust for life? The record is all of the above.

The wild greaser with an ever-broken heart, Cong Josie, is back! His eagerly anticipated sophomore album; Moto Zone, pulls up throbbing, revving, sweating and grinding hotter than bitumen on a summer day. It is a non-stop EBM’in’, synth-punkin’, rock ’n’ rollin’ and doo-woppin’ sizzler, in much the same vein as his 2021 debut Cong!. With this release however, Cong pushes his own M.O. even deeper. The throbs get bolder, the NRG goes harder, slow sleaze hip-grinding enters and the dream washes return to envelope all that hear them like a siren’s call. On Moto Zone, Cong conjures the age of rock ’n’ roll, a world of motorcycle gangs and hot rods, leather, chains, backcombing and hair pomade, with an Aussie twist on greaser ‘cool’. Confessional lyrics tell tales of addiction and mental illness tracing the scars of a troubled past. Cong says the “Moto Zone” reflects his daily life and mindset. A life of ADHD, burning the midnight oil, living on black coffee, obsessively creating and revving through every day. Ultimately Cong is reaching for bliss, feeling connection and a new world in these songs. Exhilarating? Anxious? Hedonistic? Dangerous? Beautiful? A lust for life? The record is all of the above.

Last Summer, Daniel Foggin, guitarist, writer and chief architect of Smote, uprooted himself from his usual home in Newcastle to live and work in a farmhouse in Kelso, near the Scottish border. “Through the summer when I was working up there, myself and Rob (Smote drummer) would finish work and go sit by a small river and have a couple of beers in the sun, and it was the best thing ever” he relates “So I guess the philosophy is that to some people it looks like any other stream, but to us it was supreme happiness.” Hence came the title of the fourth Smote album proper, one largely recorded in this same farmhouse – A Grand Stream. It’s an album that’s the truest incarnation thus far of his vision for this band – a full-scale psychic voyage into the ether and a drone-and-repetition-fuelled series of incantations that takes simple, primal ingredients and utilises them for the purposes of aural sorcery, summoning spectres and revelations aplenty in its wake. Whilst the folk-tinged, ceremonial ambience that Smote have made their trademark is present and correct here, utilising Swedish classic psych heaviness and Swans textures as fuel for the ominous rhythms of ‘Coming Out Of A Hedge Backwards’ and the uplifting cadences of opener ‘Sitting Stone Part 1’, Foggin and his cohorts also waste little time exploring new more eerie and ethereal textures and dimensions. The meditative ‘Chantry’ in particular sees them gravitate towards a headspace akin to the drone-based epiphanies of Kali Malone’s ‘Does Spring Hide Its Joy’ filtered through the transcendent amplifier worship of ‘Earth 2’. A Grand Steam takes this band – one who’ve always eschewed the cliches and stumbling blocks of all contemporary psych rock in favour of their own unique and wyrd vision – into a realm in which they transcend through willpower and skill alike into something preternaturally thrilling, mapping out their own crepuscular new territory Question is; dare you step over the threshold?

Pressed on heavy-weight 3xLP 180g curaçao vinyl GIANTS is an ambitious video game concept album, meticulously crafted over six years by Tokyo-based record label Brave Wave Productions under the direction of Mohammed Taher. The colossal 98-minute album showcases the talents of legendary composers known for their iconic work on series like Mega Man, Ninja Gaiden, Panzer Dragoon, Sonic the Hedgehog, Final Fantasy, among others. The album is a rich tapestry of new, gameinspired compositions from these celebrated artists, paired with innovative remixes from their classic catalogue as reimagined by their contemporaries. A highlight of the album is its emphasis on collaboration, exemplified by original tracks like Ultramarine_the first collaborative effort from Mega Man 2's Takashi Tateishi with Mega Man 3's Harumi Fujita and Sonic Mania's Tee Lopes. Another standout track, Ronin, marks a historic reunion for the Ninja Gaiden composer trio_Keiji Yamagishi, Ryuichi Nitta, and Kaori Nakabai_collaborating for the first time since their work on the NES Ninja Gaiden titles. The collaborative spirit extends to the remixes as well, such as Final Fantasy series composer Yoshitaka Suzuki's cinematic reimagining of Mega Man 2's Wily Stage, featuring Bayonetta co-composer Takahiro Izutani on acoustic guitars and producing, as well as Celeste composer Lena Raine's tranquil rendition of Panzer Dragoon Saga's Art Thou the Holy One, crafted in harmony with original composer Saori Kobayashi. GIANTS transcends traditional boundaries, featuring a diverse array of genres and styles brought to life by over two dozen talented musicians, making it a celebratory anthology of game music's rich history and evolution, led by Brave Wave's in-house rock band Super Strikers and a legion of legendary game composers.

80s alt country punk outfit, Lone Justice, with Maria McKee, Ryan Hedgecock, Marvin Etzioni and Don Heffington are in full flight with the release of a brand new 7". Taken from their forthcoming album, Viva Lone Justice, 'Teenage Kicks' is a rambunctious slice of punk angst that sounds like it was recorded in one take. It's a timeless anthem with a joyous riff that explodes into a hail of feedback. A favour returned as Maria McKee, the songwriter of Feargal Sharkey's only solo hit 'A Good Heart', Lone Justice cover The Undertones' Peel-approved favourite with the artwork of the single being a nod to the original. "As much as we loved Merle Haggard, George Jones, and many other authentic hard core Country artists, we were also deeply impacted by Punk; from the Velvet Underground (we were playing "Sweet Jane" live as early as 1983) to the MC5 ("Sister Ann" is on the album "Viva Lone Justice")." Backed with 'Nothing Can Stop My Loving You' that's cut with a wild, squeezebox-powered interpretation of the George Jones and Roger Miller country stomp. "Speaking of George Jones, here's one written by George Jones and Roger Miller. Two of our favorites! We played this song at nearly every show starting in 1983. This ragged and right live recording captures the fire from a sold out show at The Palace in Los Angeles and features Jo-El Sonnier on lead accordion documenting the only time Sonnier played with LJ. "Nothing Can Stop My Loving You" is the only live track on Viva Lone Justice." // "A roots rock band that took Los Angeles by storm in the 80s and developed a smaller but deeply enthusiastic following outside the Golden State

Glam metal band Pretty Boy Floyd formed in 1987. Their 1989 debut album Leather Boyz with Electric Toyz spawned two singles: "Rock and Roll (Is Gonna Set the Night on Fire)" and "I Wanna Be with You". At the heart of Pretty Boy Floyd's appeal lay their unabashed celebration of all things glam. With their teased hair, flamboyant outfits, and unabashedly hedonistic lyrics, the band embodied the spirit of excess that defined the era. The LP captured the essence of the glam metal genre, combining catchy hooks, driving rhythms, and over-the-top theatrics to create an album that was as infectious as it was unapologetically fun. Over the years, the album has grown into an incredibly influential classic within the glam metal community.

500 only pressed. 80s alt country punk outfit, Lone Justice, with Maria McKee, Ryan Hedgecock, Marvin Etzioni and Don Heffington are in full flight with the release of a brand new 7”. Taken from their forthcoming album, Viva Lone Justice, ‘Teenage Kicks’ is a rambunctious slice of punk angst that sounds like it was recorded in one take. It’s a timeless anthem with a joyous riff that explodes into a hail of feedback. A favour returned as Maria McKee, the songwriter of Feargal Sharkey’s only solo hit ‘A Good Heart’, Lone Justice cover The Undertones’ Peel-approved favourite with the artwork of the single being a nod to the original. “As much as we loved Merle Haggard, George Jones, and many other authentic hard core Country artists, we were also deeply impacted by Punk; from the Velvet Underground (we were playing "Sweet Jane" live as early as 1983) to the MC5 ("Sister Ann" is on the album "Viva Lone Justice").” Backed with ‘Nothing Can Stop My Loving You’ that’s cut with a wild, squeezebox-powered interpretation of the George Jones and Roger Miller country stomp. “Speaking of George Jones, here's one written by George Jones and Roger Miller. Two of our favorites! We played this song at nearly every show starting in 1983. This ragged and right live recording captures the fire from a sold out show at The Palace in Los Angeles and features Jo-El Sonnier on lead accordion documenting the only time Sonnier played with LJ. "Nothing Can Stop My Loving You" is the only live track on Viva Lone Justice." // “A roots rock band that took Los Angeles by storm in the 80s and developed a smaller but deeply enthusiastic following outside the Golden State.

Limited Colored Vinyl. Various Artists Release With Original
tracks by Jnjs, Enzo Leep, Vern, Matpri....

Sheffield's hugely talented producer Hedge Maze lands on Selvamancer. Years in the making after a long search to decipher an unreleased tune from an unknown alter ego found online (title track Riding The Wave), we're excited to finally bring it to the masses. Morphed industrial violence, tearjerking post-dubstep-trap and the ruthless title track bounce off the walls. Let's commence! Face to the glass. "You use a mirror to see your face, you use a work of art to see your soul." G.B.Shaw... but if you stood with your breath appearing on the canvas what would you say to a Mane or a Rothko three inches away from it. As you push your nose up to the mirror of your soul, what to say to it in response. To listen to one's soul is to hear its depth, for it has many voices, but which voice to listen to. Fear be a man's best friend, he will accompany you should you wish. Forever on your coattails, a whisperer of half unseen truths: distorting perceptions. grief, illness, disappointment, pain, struggle, poverty, loss, terror, heartache, All to be feared. Yet, all features of a life lived! Courage then is simply to live and to live well, choose the voice that gives light. Throw the house out of the window so some say, throw yourself too, say I. Mark Warren. - written whilst listening to Strukku's Beat on Hedge Maze EP

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche


Kicking things off on our next 4-track vinyl sampler series is Toolroom's very own Martin Ikin who returns to the label with ‘Make U Sweat’! He was the Best-selling Tech House artist on Beatport in 2020 and 2021 and has over 1m monthly listeners across streaming platforms. Recent studio collabs have included Noizu and Joshwa and tours have seen him travel far and wide to the US, Brazil, Bali, Ibiza, Italy, Croatia and of course, his hometown of London. This new record is the follow up to 'Oscill8' that dropped in March 2023 and sits in a similar lane, in that it's pure, unadulterated club weaponry! Next up is Italian house legend Flashmob with the frenetic, high-energy club vibe of new cut ‘My Body’. Flashmob's sound, production and go-for-broke DJ sets have changed with the game, embracing the vitality of new house music rather than hankering after sentimental sunsets. His ethic and aesthetic move relentlessly forward, using the old and new to craft unique sonic alchemy from big festivals like Tomorrowland to the intimacy of small clubs on the international circuit. ‘My Body’ is typical of Flashmob's current sound, combining solid drums and some insane synths and fx, alongside an earworm vocal sample that results in yet another memorable club cut from an established master. Canadian Tech House maestro Nathan Barato debuts on Toolroom kicking off the B-side to the vinyl alongside studio partner, Matheo Velez with 'Weapon'. A record that has already caught the attention of the underground elite with Michael Bibi premiering the track at his first appearance back at DC-10 in Ibiza last Summer. Both artists are enjoying great success across key labels such as Viva, Circus, Snatch and RAWthentic. This is an addictive, bumpy club track

that packs a huge punch on the dance floor and actually features Nathan's very own 'Move me… Rock me' vocals! Rounding things off is UK DJ/producer duo, Jenn Getz & Alfie who are residents at Dubai's #1 nightlife destination, Soho Garden, where they warm up for legends such as Sonny Fodera, MK, Claptone, Solardo & Fisher on a weekly basis. In their relatively short 3 year career they have already released on Solotoko, Abode and Toolroom Trax and now debut on Toolroom with 'Vibration'. Both girls are incredibly passionate about house music and are also big advocates for a life centered around well-being and meditation, and the idea of this record was to combine their 2 passions in life, so they proceeded to co-write these original lyrics to accompany the track, which in itself is very inspiring! This is a super cool club record that will excite fans and DJ's alike, welcome to the Toolroom Family, Jenn Getz & Alfie!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

Jaqee – is rhythm and life ”Places becoming journeys in themselves… Different places where I have lived and learned, places that have made my heart beat, the emotional realms that I have experienced. This is where it all starts, every time. Where I am is where it happens, because I am, there. Here.” She sings. She laughs! And she cries, too. Jaqee cannot tell when music and singing became her life, it has ”just always been there, in my head” she says. Now with the fourth album she has taken a closer look at herself, from every possible angle. No hiding. Different phases, different sides of her personality and musical creativity are all there. All as one. ”I am a diaspora kid, I fell in love with all kinds of music, I let myself embrace it all, because good music, is good music. All the way from Uganda at age 13 to the new home and culture in Sweden, then leaving Sweden as an adult for Berlin – has made me the Jaqee that I am”, says the Ugandan /Swedish artist who also received a Swedish Grammy nomination for her past work. Being on the move is without a doubt an important part of her life. “For me travelling is about being exposed to different perceptions, situations, cultures and extreme emotions, it has always made me grow. How many times have I not thought that: I wouldn’t have experienced this or that, if hadn’t been here. I love that feeling!” Jaqee’s music reflects this constant movement and progress. The album is inspired by places like Berlin, South Africa and Jamaica. The trip to Jamaica resulted in the only collaboration track on “Yes I am” recorded in Kingston with reggae artist Anthony B. Teka, the “Kokoo Girl” and “Yes I am” Producer says: ”This time around, like on the last album, we have worked with our colleagues in different countries. Musicians we love and musicians that are inspiring like Martin Hederos (The Soundtrack of our lives) who arranged the strings on the album. We also had New York drummer Daru Jones of Rusic Records play on some tracks. All these talents enhance the idea and expression that we wanted for “Yes I am”. With the album done, it is again time to hit the road and tour for Jaqee. “Getting out there and meeting the crowd is a high. We laugh, we dance and we get loud together. This is the best part of working with music – having a good time together. Music is a universal language.” On composing music, she admits that this time, more than ever, the words matter. Newly found motherhood has made this album in particular a significant legacy. Every song has a life punctuation of its own she has not limited herself by thinking in genres. Making the tone very straightforward. “The melodies and lyrics are closely intertwined, how I sing a word makes all the difference. Even though I love word play, it has to be very clear. Since I am not educated in reading music, I instead visualize and hear it, it seems to be the way my system works. It is all about rhythm and life, it is “YES I AM“.

January 2023, Dorset. Snow is piled at the door, icy roads are closed, and Emily Cross is in a coffin. Not a setting typical for a rebirth. But for Loma, this is where they bring their band back from the brink. "It's like a demon enters the room, whenever we get together", writer, singer and instrumentalist Cross says of the struggle to bring new Loma music into the world. Following the release of their 2020 second album Don't Shy Away, Loma's three members were cast around the globe and the band-not for the first time-entered a deep sleep. Multi-instrumentalist and recording engineer Dan Duszynski remained in his studio in Don't Shy Away's central Texas heart, but Cross, a UK citizen, moved to Dorset, and writer and instrumentalist Jonathan Meiburg left the US for Germany to research a book. In the pandemic years, even being in the same room was impossible, and attempts to start a new record faltered. The following winter, in an attempt to salvage the record and the band, Cross suggested they regroup in the UK, in the tiny stone house-once a coffin-maker's workshop-where she works as an end-of-life doula. With minimal recording gear and few instruments, Loma turned two whitewashed rooms into a makeshift studio, using a padded coffin as a vocal booth. It was a turning point. They scrapped much of what they'd made, letting a new place set a new course. The one-lane roads, hedgerows and dark skies of Dorset gave the new songs an ineffable but unmistakable Englishness. The band used the ruin of a 12th-century chapel as a reverb chamber-surprising hillwalkers who peeked in to find them singing to no one-and the sounds of Cross's chilly workshop wormed their way into the recording: a leaky pipe, a drummer's brushes on a metal lampshade, the voices left on an ancient answering machine. What emerged was How Will I Live Without A Body?: a gorgeous, unique, and oddly comforting album about partnership, loss, regeneration, and fighting the feeling that we're all in this alone. Many of its songs have a feeling of restless motion; faceless characters drift through meetings and partings, tangling together and slipping away. "I Swallowed A Stone" is like a nightmare with a happy ending; "How It Starts" and "Broken Doorbell" reflect on the challenge (and necessity) of wrestling with agoraphobia. Though the record nods to the trio's separate lives- a German percussion ensemble, a pair of Texan owls, and the surf at Chesil Beach make guest appearances-the core of Loma's sound remains intact: earthy, organic and deeply human, anchored by Cross's cool, clear voice. Loma's previous album, Don't Shy Away, was galvanized by the unexpected encouragement and contributions of Brian Eno. This time, they found inspiration in another hero, Laurie Anderson, who offered a chance to work with an AI trained on her entire body of work. Meiburg sent her a photo from his book-in-progress about the once and future life of Antarctica; Anderson's AI responded with two haunting poems. "We used parts of them in a few songs," he says. "And then Dan noticed that one of its lines, 'How will I live without a body?' would be a perfect name for the album, since we nearly lost sight of each other in the recording process." In the end, Loma's efforts to reconnect with one another are the album's central focus: what do you owe a shared past, when everyone and everything has changed? "Making this record tested us all," says Duszynski. "I think that feeling was alchemized through the music." Alchemized, because How Will I Live Without A Body? is by no means a stressed-out record: an undercurrent of deep calm runs through it. But maybe 'relaxed' isn't the right word. It's more like a feeling of relief, of making it through a tough journey together.

Brilliant crazy Hardcore/speedcore, Old School, Banging and... Colored !!

Orange :)

Kazy Lambist's return heralds the start of an endless summer. Elegant, hedonistic and unstoppable, the music of Kazy

Lambist's music is designed to make you dream in a hammock, dance in a cosy lounge or on a dancefloor bathed in hypnotic sunshine.

With an undeniable international reputation - double platinum single and sextuple gold export single with hits such as

On You, Doing Yoga and Headson - Kazy Lambist defends his album with a world tour, with Kid Francescoli.



He just finished a tour in the US opening for Kid Franecscoli and will be touring in Germany in October:

fabric, the iconic hub of electronic music culture, proudly announces its latest addition to the fabric mix series: "fabric Presents The Streets". This eagerly anticipated compilation marks a milestone in the illustrious history of the UK institution, as they join forces to commemorate 25 years of groundbreaking club nights and genre-defining mixes. The release is accompanied by original material from The Streets in the form of two singles, the first to be shared is “No Better Than Chance”.

fabric Presents The Streets" is more than just a mix; it's a sonic journey through the pulsating veins of UK nightlife. Skinner's deft curation transcends mere selection; from the gritty beats of underground garage and bass music to the icy melodies of UK rap and grime, Skinner weaves together a tapestry of sounds that encapsulates the essence of fabric's legendary atmosphere. The compilation album will also be available in the iconic fabric CD tins.

fabric itself stands as a bastion of innovation and inclusion within the electronic music community. For 25 years, it has been a sanctuary for music lovers, a breeding ground for artistic evolution, and a beacon of diversity in an ever-changing landscape. Its impact on UK nightlife cannot be overstated; fabric is not just a club, but a cultural institution that has shaped the tastes and trends of generations. To commemorate the 25-year journey, fabric's labels will release a collection of exclusives. These will include five special ‘fabric presents’ compilation releases, ‘fabric Presents Shygirl’ was the first to be shared in March.

In addition to the mix album, fabric and The Streets unveil the brand new original single "No Better Than Chance," an electrifying track that encapsulates the spirit of both fabric and The Streets.

“I’ve spent many nights wasted but not wasted any nights in fabric over the years. The dedication to underground music and innovation, the way the bodysonic bass transducers sent the sounds through your body via your feet, the queues, the camaraderie and a real sense of being part of something that people will remember through the haze as the home of some of the greatest moments of their lives. When I was asked to do a mix for the anniversary series I couldn’t wait to get on with it. fabric has become one of the homes of bass music and that’s some of the music I’ve been playing out the most. It’s a pleasure to follow in the footsteps of so many incredible DJ’s in the fabric, FABRICLIVE and fabric presents series and be part of their celebration. Here’s to many more decades of hedonism.” - Mike Skinner

As fabric celebrates its silver jubilee, "fabric Presents The Streets" stands as a testament to the club's enduring legacy and commitment to pushing boundaries. This co

Objectiv returns to Flexout with a single that blurs the boundaries between rollers and jump-up. A goofy sonic palette executed in a sophisticated manor, the tracks are fun, groovy and cold. A combination that you don't hear often and it makes this single as unique as the incredible artwork and gnarly vinyl that accompanies it.”The Goons” is a collab with Russian artist Untrue and has been gaining support from the biggest artists in Drum & Bass including Serum, BOU and Hedex

Sunk in quicksand, doused in prosecco and soundwaves of glitches and Croatian choons, Bolka

is stuck in the raw state of desire. This love came into being under the sad ceilings, bearing traces
of fantastically naive melodies shredded by claws of intruding noises of the artist's debut EP.
And yet, radical sensitivity and optimism on the new EP do not remain just on the beach.
Žiadzasamy (loosely translated as Yearningforus) include love songs about love read in cards,
about overcoming insecurity, about scratching up the slippery walls of reality towards the dream
source of warmth that only SHE possesses.
Syrupy pop tunes in "nech sa ti páčim" ("i hope you like me") are led by a nursery rhyme about
the complex embrace of infatuation, from the head down to the shoulders, knees and toes of the
desired person. The sound wizard of peculiarities goes by the motto "let anything I wish for
come true", whether it's his white buttocks shining in the dark sea or him sweeping past barefoot
in search of seafood delicacies, and the same is heard in his music where euphoric and childish
moods sink arbitrarily to the depths of corroded and distorted rhythms of anxiety. "A smutek
utek" ("and the sadness is gone"), though, sets a new direction for the Bolka's musical piece;
after a slow mo deflation of the balloon of hopes, after wallowing in oozy and sticky blend of
delirious melodies, Bolka gets to spin the wheel of the real Balkan soap opera.

"More, mám ťa veľmi rád" ("sea/man, i like you very much") is the pinnacle of absolute
infiltration and absorption with infatuation and suddenly, the amusing nods to stereotypical
Croatian hits make it clear that all the joy and high spirits do not stem from holiday idleness. In
žiadzasamy, Bolka indulges in the ideal notion of love that is closer to reality with each passing
kilometer, impatiently speeding up the Latin tempo in the hyper-pop escalation in order to
venture into the most radical decision – that all will end well.
Žiadzasamy is hedonism injected right into one's vein, an ashtray always aglow with a lit
cigarette and a musical burst of new-born love that sets the Bolka's sound world on a single
course: from siesta to fiesta, and so on and on.




[d] 04: Žiadzasamy (Remix) [feat. Viktor Jenčuš]