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REBECCA NASH - REDEFINING ELEMENT 78 2x12"

"Redefining Element 78" presents a new work by British pianist-composer Rebecca Nash - a distinct musical voice with a deep musical identity. The music emerged following Nash"s encounter with the writings of legendary New York alto saxophonist John O"Gallagher, who joins her on the album, alongside guitarist Jamie Leeming, trumpeter Nick Malcolm, bassist Paul Michael and drummer Matt Fisher. Electronics are provided by Nick Walters and Chris Mapp.

pre-order now07.04.2023

expected to be published on 07.04.2023

WEDNESDAY - RAT SAW GOD

Wednesday

RAT SAW GOD

CassetteDOCCASS328
Dead Oceans
07.04.2023

Tape

A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.

pre-order now07.04.2023

expected to be published on 07.04.2023

FACS - STILL LIFE IN DECAY

Everything eventually turns to dust. Everyone knows this, but few want to acknowledge that our time on this mortal coil is fleeting, preferring to remain in stasis, in hopes that "the end" will pass them by. Chicago trio FACS (guitarist Brian Case, bassist Alianna Kalaba & drummer Noah Leger) have been perfecting their brand of intense, cathartic post-punk over the course of four ever-evolving albums, beginning with 2017's "Negative Houses" thru 2021's landmark "Present Tense', which saw the trio dig deep into the gaping maw of a black hole & pulling back whatever debris they could grasp onto. Their newest "Still Life In Decay" comes as an addendum to the last album - a "post-event review" if you will. "Still Life In Decay" starts with a squall of white noise before collapsing into the band already locked into "Constellation"s lumbering groove, with Case's guitar a ghostly presence, appearing & disappearing in washes of gauzy feedback throughout the track. FACS have never been more locked in as a unit, and "Still Life In Decay" is a decidedly more focused effort. The apocalyptic chaos that defined their previous album "Present Tense" is waved away in favor of an examination of events with cumbrous clarity. FACS are a heavy band, but they don't necessarily FEEL like one (see side two's "Still Life", where Case's fluttering, melodic guitar lines are buoyed by the insistent, underlying pulse of the bass & drums). As a rhythm section, Kalaba & Leger dance & twist around each other like a double helix, forming the DNA of what makes FACS special. Collectively they approach rhythm from outside the groove as opposed to inside it, creating a lattice where Case weaves guitar lines like creeping vines, which makes the moments on "Still Life In Decay" where the band DOES lock in even more powerful. When the guitar punctures the lock-step swing of "When You Say", it hits like a hammer. Case utilizes his lyrics like a person suffering from anterograde amnesia; repeating phrases & holding onto old memories in a desperate attempt to avoid the slide into oblivion. Freeform poetic missives touching on themes of resignation, cynicism, class warfare, and a search for identity & meaning in a crumbling society; A primal desire to hold onto anything in a post-pandemic barrage of sensory overload. The album is a decidedly local affair; recorded once again at Chicago's famed Electrical Audio by renowned engineer Sanford Parker & mixed at his Hypercube Studio in Chicago's Ravenswood neighborhood & mastered by Matthew Barnhart at Chicago Mastering Service.

pre-order now07.04.2023

expected to be published on 07.04.2023

FACS - STILL LIFE IN DECAY

Everything eventually turns to dust. Everyone knows this, but few want to acknowledge that our time on this mortal coil is fleeting, preferring to remain in stasis, in hopes that "the end" will pass them by. Chicago trio FACS (guitarist Brian Case, bassist Alianna Kalaba & drummer Noah Leger) have been perfecting their brand of intense, cathartic post-punk over the course of four ever-evolving albums, beginning with 2017's "Negative Houses" thru 2021's landmark "Present Tense', which saw the trio dig deep into the gaping maw of a black hole & pulling back whatever debris they could grasp onto. Their newest "Still Life In Decay" comes as an addendum to the last album - a "post-event review" if you will. "Still Life In Decay" starts with a squall of white noise before collapsing into the band already locked into "Constellation"s lumbering groove, with Case's guitar a ghostly presence, appearing & disappearing in washes of gauzy feedback throughout the track. FACS have never been more locked in as a unit, and "Still Life In Decay" is a decidedly more focused effort. The apocalyptic chaos that defined their previous album "Present Tense" is waved away in favor of an examination of events with cumbrous clarity. FACS are a heavy band, but they don't necessarily FEEL like one (see side two's "Still Life", where Case's fluttering, melodic guitar lines are buoyed by the insistent, underlying pulse of the bass & drums). As a rhythm section, Kalaba & Leger dance & twist around each other like a double helix, forming the DNA of what makes FACS special. Collectively they approach rhythm from outside the groove as opposed to inside it, creating a lattice where Case weaves guitar lines like creeping vines, which makes the moments on "Still Life In Decay" where the band DOES lock in even more powerful. When the guitar punctures the lock-step swing of "When You Say", it hits like a hammer. Case utilizes his lyrics like a person suffering from anterograde amnesia; repeating phrases & holding onto old memories in a desperate attempt to avoid the slide into oblivion. Freeform poetic missives touching on themes of resignation, cynicism, class warfare, and a search for identity & meaning in a crumbling society; A primal desire to hold onto anything in a post-pandemic barrage of sensory overload. The album is a decidedly local affair; recorded once again at Chicago's famed Electrical Audio by renowned engineer Sanford Parker & mixed at his Hypercube Studio in Chicago's Ravenswood neighborhood & mastered by Matthew Barnhart at Chicago Mastering Service.

pre-order now07.04.2023

expected to be published on 07.04.2023

FACS - STILL LIFE IN DECAY

Everything eventually turns to dust. Everyone knows this, but few want to acknowledge that our time on this mortal coil is fleeting, preferring to remain in stasis, in hopes that "the end" will pass them by. Chicago trio FACS (guitarist Brian Case, bassist Alianna Kalaba & drummer Noah Leger) have been perfecting their brand of intense, cathartic post-punk over the course of four ever-evolving albums, beginning with 2017's "Negative Houses" thru 2021's landmark "Present Tense', which saw the trio dig deep into the gaping maw of a black hole & pulling back whatever debris they could grasp onto. Their newest "Still Life In Decay" comes as an addendum to the last album - a "post-event review" if you will. "Still Life In Decay" starts with a squall of white noise before collapsing into the band already locked into "Constellation"s lumbering groove, with Case's guitar a ghostly presence, appearing & disappearing in washes of gauzy feedback throughout the track. FACS have never been more locked in as a unit, and "Still Life In Decay" is a decidedly more focused effort. The apocalyptic chaos that defined their previous album "Present Tense" is waved away in favor of an examination of events with cumbrous clarity. FACS are a heavy band, but they don't necessarily FEEL like one (see side two's "Still Life", where Case's fluttering, melodic guitar lines are buoyed by the insistent, underlying pulse of the bass & drums). As a rhythm section, Kalaba & Leger dance & twist around each other like a double helix, forming the DNA of what makes FACS special. Collectively they approach rhythm from outside the groove as opposed to inside it, creating a lattice where Case weaves guitar lines like creeping vines, which makes the moments on "Still Life In Decay" where the band DOES lock in even more powerful. When the guitar punctures the lock-step swing of "When You Say", it hits like a hammer. Case utilizes his lyrics like a person suffering from anterograde amnesia; repeating phrases & holding onto old memories in a desperate attempt to avoid the slide into oblivion. Freeform poetic missives touching on themes of resignation, cynicism, class warfare, and a search for identity & meaning in a crumbling society; A primal desire to hold onto anything in a post-pandemic barrage of sensory overload. The album is a decidedly local affair; recorded once again at Chicago's famed Electrical Audio by renowned engineer Sanford Parker & mixed at his Hypercube Studio in Chicago's Ravenswood neighborhood & mastered by Matthew Barnhart at Chicago Mastering Service.

pre-order now07.04.2023

expected to be published on 07.04.2023

Dizzy Reece - Star Bright LP
  • A1: The Rake
  • A2: I'll Close My Eyes
  • A3: Groovesville
  • B1: The Rebound
  • B2: I Wished On The Moon
  • B3: Variation On Monk

Jamaican-born trumpeter Dizzy Reece was a fixture of the London jazz scene before moving to New York City in 1959 where he recorded his excellent album Star Bright, a hidden gem in the Blue Note catalog featuring a first-rate hard bop quintet with Hank Mobley on tenor saxophone, Wynton Kelly on piano, Paul Chambers on bass & Art Taylor on drums.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

pre-order now07.04.2023

expected to be published on 07.04.2023

Roger Waters / Igor Stravinsky - The Soldier´s Tale LP 2x12"

- 180 GRAM AUDI OPHILE VINYL
- GATEFOLD SLEEVE
- PVC PROTECTIVE SLEEVE
- INCLUDES 2 PRINTED INNER SLEEVES WITH LYRICS AND PICTURES

The Soldier's Tale is a theatrical work 'to be read, played, and danced' by three actors (the soldier, the devil, and a narrator) and dancers, accompanied by a septet of instruments. The libretto relates the parable of a soldier who trades his fiddle to the devil in return for unlimited economic gain. The music is scored for a septet of violin, double bass, clarinet, bassoon, cornet or trumpet), trombone, and percussion. The libretto is adapted by Roger Waters from the translation by Michael Flanders and Kitty Black, based on the original text by Charles-Ferdinand Ramus.

As the work opens, Joseph, a Russian soldier, marches toward his hometown on leave, pack in tow. ('Marche du soldat'/'The Soldier's March') He rests by a stream and rummages through his pack. First he takes out his lucky St. Joseph medallion, then a mirror, then a photograph of his girlfriend. Finally, he finds what he was searching for: his fiddle. He begins to play. ('Petit airs au bord du ruisseau'/'Airs by a Stream') The devil appears disguised as an old man carrying a butterfly net, but Joseph does not notice him and continues to play. The devil sneaks up on Joseph from behind and startles him.

The Soldier's Tale package includes 2 printed inner sleeves with lyrics and pictures.

pre-order now07.04.2023

expected to be published on 07.04.2023

Manchester Orchestra - The Valley Of Vision LP

"This is a melancholy, broody, moody and fun project to get lost in” – CLASH
★★★★★ “Few bands are brave enough to try something this ambitious, even fewer have the talent to pull it off” - UPSET
Accompanied by an awe-inspiring film that immerses viewers in 180 degrees of virtual reality, the brand new album finds the band reinvigorated once again, delivering a serene salvo of songs that defy the heavy weight of adulthood, faith and self-redemption through sounds unlike anything they have made before. Following their previous 2021 LP, The Million Masks of God - an acclaimed collection that cried for help as it explored a man’s encounter with the angel of death - The Valley of Vision puts forth a collective, cathartic expression of gratitude that is brought to life in both the songwriting of frontman Andy Hull, and the cinematic story directed by Isaac Deitz.

Writing for the record began with a chance occurrence in the summer of 2021. Hull was looking through his suitcase for his lyric notebook, but instead found a 1975 book of Puritan prayers called The Valley of Vision, which his mom had gifted to him the previous Christmas. The title became a mantra that helped inspire the idyllic yet otherworldly energy that permeates throughout the album and film. An evolution from its predominantly guitar-driven past, the band almost completely abandons the instruments it is used to, and instead plays with primitive yet powerful piano leads and shimmering atmospheres, backed by sub-synth frequencies of bassist Andy Prince and shapeshifting sounds of drummer Tim Very.
"

pre-order now07.04.2023

expected to be published on 07.04.2023

Lewis Wright, Matt Brewer & Marcus Gilmore - The Color of Intention

Award-winning Vibraphonist Lewis Wright with Matt Brewer (Double-Bass) and Marcus Gilmore (Drums) partnered together in 2019 on their 'The Color of Intention' CD album. We believed that the recordings deserved release on vinyl.

“The Colour of Intention refers to the creative process itself: that in order to express yourself honestly in music, you have to generate clear intentions developed from thoughts and emotions which then colour the work rather than explaining every aspect of it. In the moment of performance, the goal then becomes to put all these previous investigations out of mind and exist in the present. The colour of intention is describing everything except performance; the slower processes of development, reflection and refinement and how they’ll seep, often unpredictably, into everything that ends up being realised. Working with Matt (Brewer) and Marcus (Gilmore) adds the last and most engaging dimension. How they interpret the music, interact and bring their own highly developed languages to bare, creates something that’s both a reflection of my intentions and also infinitely more sophisticated than it’s possible for me to conceive of. I think in this sense, human connection is the greatest element of what it is we do as musicians.” – Lewis Wright

pre-order now07.04.2023

expected to be published on 07.04.2023

Irma Krook - Military Arms

’Military Arms’ is the debut output by Gothenburg-based sound-smith Irma Krook. Up until now primarily known as bass player & founding member of death pop vanguards Makthaverskan, Krook has composed four tracks of ethereal beauty, in the sanctity of her own home.


Limitation is the mother of invention and recording from a flat in Masthugget narrows the possibilities even more. Recording her vocals on her phone & making all instrumentals in GarageBand on an iPad - Krook has succeeded in making a big sound from small means.

Uniquely her own, while still honoring the inspirations. Kate Bush á Hounds Of Love-era, Anna Domino, 90’s era Talk Talk, This Mortal Coil & Julee Cruise. 


Music you’ll need to take out your furniture before listening, for it to even fit in the room it’s occupying.

’Military Arms’ is available physically on a black vinyl 12” & digitally through all streaming.
It will be forerun by the double-single ’Find Me’ on the 15th of February, containing the B-side track ’I Keep On You’ which will not be available on the full-EP release.

pre-order now07.04.2023

expected to be published on 07.04.2023

DJ Scam - Darkside Geezer EP

Dj Scam

Darkside Geezer EP

12inchPSYBUM-001RP
Psycho Bummer
06.04.2023

Purple Vinyl 2023 Repress


For the inaugural vinyl release of Psycho Bummer, we bring an EP from one of our label founders, DJ Scam (Brandon Ivers). Jungle and drum'n bass was the starting point for us as DJs, friends, and collaborators, so it seemed fitting to begin the story here.

The EP's opener, "Darkside Geezer", is a tribute to the transition point right before hardcore morphed into jungle in 1993. Although producers worked with a small palette of sounds back then, the emotion and freshness they were able to pull out of their limitations remains unrivaled. "Darkside Geezer" imagines an alternate reality of that period, drawing parallels between it and the transitions that 2020 brought us.

"Sodium Pentothal" is the roughest tune on this release, adopting the sonics of modern drum'n bass production, but channeled through the tropes of the music in its early stages. DJs like Sherelle, Tim Reaper, and Coco Bryce played a tremendous role in inspiring us (and keeping us sane) over the last year, so we wanted to stick to the tempo they helped rekindle.

The closer, "Black Swan", focuses on the simplicity of early hardcore and jungle, but breaks away with glassy chimes and a folding, geometric structure. Made with old samplers and tracker software, "Black Swan" was the first track Scam did for this release and it helped set the tone for what followed.

Psycho Bummer loves the feel of weighty vinyl, so we've opted for 180 gram pressings with a brilliant purple color. The album art, created by Canadian artist Ben O'Neil, is printed on a higloss laminant sleeve, which retains the striking colors of the original digital art.

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Last In: 12 months ago
Hidden Empire - Momentum

Hidden Empire

Momentum

12inchSVT327EP
Stil vor Talent
06.04.2023

Following in the footsteps of "Mind Palace" and "Lost Spirits", respectively issued in 2018 and 2021, Hidden Empire return to Stil vor Talent with their eagerly anticipated third studio full-length, "Momentum". Going the same route that came to define their sound throughout the years, Branko Novakovic and Niklas Schäfers cook a savvy mix of deep electroid flavours and prog techno magnitude which flourishes in the long-playing format. Orbiting the frontier between proper no-nonsense, floor-focussed effectiveness and a trademark exploratory take on electronics, Hidden Empire here delivers one of their most accomplished slices to date, which not only spans the largest span of their many-faceted influences, from tribal anchorage to hypermodern escapology, but breathes a truly epic wind into it.

Draped in luscious, silken envelopes and easternmost ambiences, "Dawn" gets the ball rolling on a mystique-imbued note, halfway meditation-friendly material and square-shouldered club busting wares. Moving into Afro-infused house grounds, "Modesty" finds Branko and Niklas heading for the deeper end of the spectrum, as they pull out a clinically precise blender of rattling percussions, opaque incantations, lush synth swashes and verbed-out machine talk, tailored for nightly boogie rituals in the forest. "Avalanche" opts for a more brooding, deadlier approach. Cutting its path away from prying eyes, this one finds Hidden Empire pulling the stealth weaponry to absolute hypnotic effect - perfect for serious in-between peak time business with its thick, thriller-like tension, mist-shrouded atmosphere and surgical focus. Featuring Felix Raphael on vocals, "Who We Are", is a pop-influenced chugger that perhaps best defines Hidden Empire's ambivalent style, both hi-NRG and innervated with a melancholy that infuses down to the bass and most functional elements. Geared up for big-room traction with its seesawing synths and clinical drumwork, Raphael's moving timbre does more than offer a sensible counterpoint to the track's overall sturdy backbone, it takes it to a whole other dimension completely.

"Repeat The Good" ft. Wolfson balances out a fast-ticking groove with those subtle melodic lines Hidden Empire champion to astounding vibrancy, offering a particularly satisfying glimpse into their vortical imaginarium, whereas "Last Call" has us journeying to straight out Moroder-esque territories, flush with the aptly configured palette of fuzzy space disco bass, fast-paced Italo churn and vocodized talk for good measure. All in breaks and chopped-up euphoria, "Vivid" runs the hoodoo down in muscular fashion and with impressive levels of energy throughout, all set at cranking up the heat one notch further, while "Rebel" provides us with the kind of rough-around-the-edges EBM horsepower and neon-clad synth engineering that'll get the basement in a state of alert. Encompassing all of the pair's idiosyncratic merger of styles - from pop-laced Italo to spaced-out techno wares, through jagged motorik and heavily mecched-out jacking house, "Alright" shows off Hidden Empire's wide arsenal of pyrotechnics under the most compelling of lights. A more openly jagged and quirky weapon that hatches into a full-fledged solar number around the half, "Momentum" roars up the club's highway at full throttle, proving a formidable asset when it comes to plunging dancers into a state of weird, left-of-centre euphoria.

A stroboscopic eclipse is predicted as "Dark Sun" enters the room, deploying its obscure wingspan over the ravers, not quite a bad omen as it lets more light in with every bar, its brittle piano lines and heart-wrenching vocals cutting a path into the crowd's pulsating hearts. Graceful as Hidden Empire's music can be, a moment of utter exhilarating beauty. "Savasana" wraps up the voyage with a pure slab of cyphered 4x4 seduction, as an ASMR-like voice guides us across the soul-questioning haze that blankets our pathway onto a luminous finale. A piece of elusive nature, clearly designed for the club and yet telling a tale of off-piste initiation through twelve fascinating movements, "Momentum" will undoubtedly etch on the listeners' mind as one of the German pair's most strikingly powerful emanations.

Download:
1. Hidden Empire - Dawn Interlude
2. Hidden Empire - Modesty
3. Hidden Empire - Avalanche
4. Hidden Empire & Felix Raphael - Who We Are
5. Hidden Empire & Wolfson - Repeat the Good
6. Hidden Empire - Last Call
7. Hidden Empire - Vivid
8. Hidden Empire - Rebel
9. Hidden Empire - Alright
10. Hidden Empire - Momentum
11. Hidden Empire - Dark Sun
12. Hidden Empire - Savasana
13. Hidden Empire & Felix Raphael - Who We Are (Instrumental)

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Last In: 15 months ago
Fila Brazillia - Subtle Body

Hot on the heels of last year’s Mermaids reissue retrospective, Hull’s deep listening house forerunners return: this time revisiting a pair of originals as well as previously unreleased versions.

It’s testament to the depth of feeling that Steve Cobby and David McSherry can conjure, that these tracks sound as potent and impactful as they did when they first came out - and not just for the dance. Throughout their 30+ years, the Yorkshire duo have produced ten albums amid many more collaborations, and transformed the remix into an artform, putting their fingerprints on everyone from Busta Rhymes to The Orb to Radiohead.

This EP collection finds them at the full scope of their powers: from disembodied mood music, to tripped-out dubby beats and raw house sessions for the club. The title track Subtle Body sounds like it drifted in through the window in the middle of a snowy night. Its layered chimes, looped delay feedback and floaty chords (played on a Wurlitzer Electronic Piano that Steve bought from Bill Nelson), mark it out as an enduring piece of ambient music, and a favorite for film-makers, able to soundtrack both haunted memories and afterparty comedowns with finesse. It precedes an unreleased instrumental version of Nightfall from Fila Brazillia’s 2002 album Jump Leads (named Mixmag’s chill album of the year), and as an instrumental, the chunky electro bass and mix of ephemeral tones and bird-like chirrups are brought clearly into focus. The attention to detail is what makes Fila Brazillia’s sound palette so rich, and Nightfall a certified smokers’ anthem.

On the B side, the tempo and temperature rises, and we’re treated to The Light Of Jesus, a favorite from Fila Brazillia’s 1994 debut LP Old Codes: New Chaos. Atop a bumping house groove, the song weaves together smooth organ pads and electrified guitar licks with syrupy bass and gospel-tinged exaltations from Charles Bukowski. The EP rounds out with Room ‘96, a live house jam from Hull’s Room nightclub, and a veritable time capsule back to the halcyon ‘90s rave days, when the lights were still on, everyone was home, and anything seemed possible.

The songs here on Subtle Body might be a window into a time long past, but they remain in the present: and as long as bodies seek pleasure, and dancers want to keep going til sunrise, Fila Brazillia will endure, and soundtrack those moments for us all to get lost in.

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Last In: 77 days ago
Various - Stay Up Forever 110

Stay Up Forever on their 110th release and still going strong. Ciuciek teams up with Aggie Acid Line and Bassline Ben for a rousing Acid Techno anthem on the A1 track ACID ON THE DANCEFLOOR.

The same trio get darker on the A2 with HEAD FULL OF ACID, whilst Ciuciek and fellow Polish producer ErykkMTK deliver a pulsating dancefloor bomb on the B1 with RETURN TO ACID.

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Last In: 12 months ago
Various - FFF008

Various

FFF008

12inchFFF008
FrouFrouFrou
06.04.2023

A1 - French artist aka Dylan Dylan hits first on the record with energetic groove, breaks and deep synths - that's how we do it!

A2 - HATT.D is a Belgian music maker. A truly moving track with a soothing bass and both broken and straight rhythms. The tune may conjure up images of tropical flora and fauna.

A3 - Dawn Again, a faraway Australian artist, hits with the charming track “I’m Like a Bird" - a minimalistic style house tune with catchy rhythms.

B1 - Manhood is a collaboration of two Russian artists, Denis Kazakov and Lachetto.
The boys wrap us in delicate breaks with cosmic sounds, as if to remind us that we are not alone in this universe.

B2 - German musician Palmate continues the vibe with his dreamy and slightly lo-fi deep house "departure," which sounds like you're going home with happy recollections after a fantastic time with old friends.

B3 - The conclusion of this story will be presented to us by Dj Bigspin, a musician originally from France who now lives in Copenhagen.

He reminds us with his melancholic deep acid hous

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Last In: 3 years ago
Marcellus Pittman - Facid Trunktion

Marcellus Pittman

Facid Trunktion

12inchACIDTEST019
Acid Test
06.04.2023

Detroit’s Marcellus Pittman returns to Acid Test following his Unknown Species track featured on the “10 Years of Acid Test” compilation, he’s back with his debut EP for the label.

Juddering mechanical beats, layered percussion and gurgling 303 basslines are on the menu, from one of Detroit’s finest.

Housed in a full colour sleeve, with a photo by Marcellus himself

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Last In: 2 years ago
LOIF - Plunge

Loif

Plunge

12inchANIMA7
Animalia
06.04.2023

Descend into the vast underwater world of Melbourne/Naarm producer LOIF. LOIF's imagination of the mysterious world beneath the shores needs not words to describe it, but your ears to envision it. 'Plunge' presents four tracks of varying liquid moods which illustrate LOIF's versatility and tendency to hop between genres and moods. 'Plunge' travels through the depths and rhythms of techno, electro, bass, breaks, psy, glued together by a bubbly warmth reminiscent of oceanic exploration and dance floor groove.

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Last In: 2 years ago
Nicolas Duque - Misdirection

Bogota born and raised DJ and producer Nicolas Duque has been lighting up the scene following a string of VA contributions and his perfect pop-tinged UKG debut EP on Breaks 'N' Pieces. Since then Duque has gone on to release music that flirts with nostalgia and contemporary electronics on Dansu Discs, Magic Carpet and Limousine Dream sublabel Nug-Net, merging house with various UK flavours.

Now he makes his debut on Situ-888 with a futuristic four track EP demonstrating his fluidity between genres, this time opting for 4/4 kick drums and pleasure-seeking bleeps.

The sound of swinging hi-hats and classic bass notes churn as the record starts to spin, before distant electronics and crowd roaring grooves take hold in opening track 'Ritmos Contundentes'. 'The Unforbidden Track' is the perfect follow up, this time introducing acidic leads and festival ready chords brimming with warmth and light.

The Aptly titled 'Ting-a-ling' opens the B-side in a playful mood, with optimistic melodies racing at full steam ahead. The record comes to a close with 'Midnight Library' encompassing everything that makes this record great; the combination of mischievous, yet light-hearted grooves built perfectly around an interchanging melody.

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Last In: 2 years ago
Various - Ulterior Motive

Various

Ulterior Motive

7"-VinylJW049S
Jah Works
06.04.2023

Rapha Pico returns to the Jah Works label for Ulterior Motive, speaking out on the hidden agendas of the powerful. Beautifully moody horn lines by Arthur Flink & a strong bass foundation laid by 'King Kay' Hasselbaink support Jah Rej's drums on this stepper that'll set sound systems ablaze.

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Last In: 3 years ago
Denham Audio - Feel The Panic EP

2023 Repress...!
splatter vinyl

Sheffield production // DJ trio Denham Audio, make their Lobster Theremin debut with an incredible 5 tracker of breaks and bass, backed with a club fuelled remix from Lobster family regular Maruwa.

EP opener ‘Feel The Panic’ sets the pace, crunchy drums with scorching acid basslines and old rave esque vocal hooks, merging into a dancefloor driven weapon.

‘Volt’ injects a punch, chopped up drum sequences with floating vocals and pulsating synth lines, one for the early hours of the dance.

On the flip side Denham Audio leads with a drum driven roller ‘Bobby Wobbler’, breaks and beats soar and transform into a weighty number.

‘Check 1’ blends classic rave esque sound pallets with punchy kick drums and clean, crisp synth lines.

Maruwa’s remix of ‘Check 1’ showcases her incredible ability to create productions destined to do the business in the clubs, hands in the air pads play gracefully with the drum elements from the original production. This one is for the ravers.

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Last In: 31 days ago
De Fabriek - Music For Hippies 2x12"

Platform 23 again explores to the dense voids, this time with a touch of the funk, with a reissue of Dutch experimentalists De Fabriek and two tracks from their "Music For" cassette series, this time calling all Hippies.

Featuring both original and reinterpretations from modern-day heads, Dunkeltier and Khidja, this double-pack is something of an oddity, showcasing the bands' expansive range, moving away from the noise, drone and industrial soundscape releases they had become known for and crafting here, free flowing, groovy longform jams.

Active since the late 70s to today, De Fabriek (The Factory) have never considered themselves a real band - being also a label too - with an evolving and irregular line up centred around Richard van Dellen, they present their music and output as a kind of work-union.

With literally four decades and dozens of releases across all formats, 1988's cassette release, 'Music For Hippies', has become something of a cult curio, with the long improvisational tracks, Lullabye and Coming Down eschewing the rougher, industrial experience for something completely different.

In opener Lullabye, we go full leftfield P-Funk meets Motorik undertones. An incessant beat is laid from the start and doesn't cease for over 10 minutes, while spoken vocals call closer to the Krautrock realms of Can and hark to Liebezeit's stylised grooving best.

Analog, echo washed, with touches of glam and wrapped in simple effects pedal work, the secrets are passed to Dresden / Berlin inhabitant Dunkeltier aka Sneaker DJ aka Thomas Smorek. His darker moniker, appearing on obscure edits for Macadam Mambo and the much-missed Bahnsteig 23, his 'Hey Robot' mix adds bass, percussion, strings and synth to remold Lullabye into a late night, red light, basement denzien. This is followed by an additional, bonus reimagining, creating an all-new time piece, an ear worm of the best kind with Tik Tok Goes The Clock.

The second slab presents in Come Down, a more resembling De Fabriek werk. Edited to fit, the darkness is entered as snapshot vocal quips, oscillations and synthesised mutations are laid over a lazy, relentless ostinato rhythm where cymbals crash on the bar. Inviting, calling, De Fabriek's aptly titled downer is in fact, a joyous journey.

To complete, label affiliates, Khidja take a break from finalising their debut album to unfold their 'Psychebabble Mix', a dozen plus minutes of warped, twisted, cassette machinations that suck the listener further along the trip. Added bass propels their edit suddenly to a new direction, a hook for mind and for the open willed, the body. De Fabriek's "coming down lullabye" arriving on vinyl for the first time, with a twist and shake, calling deeper to acceptance.

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Last In: 2 years ago
LAUER / DENA - Where's Your Love Gone?

Frankfurt's celebrated producer, Philip Lauer returns to Especial, this time teaming up with Berlin based vocalist Dena for a special collaboration, covering Julie Stapleton's soulful House classic with a modern interpretation across a number of versions (vinyl and digital).

After the success of the Hotel Lauer EP on Especial way back in 2016, Lauer has continued his ascendency with albums for Permanent Vacation and Running Back, as well as releasing a string of sure-fire, dancefloor friendly EPs for the likes of Cin Cin, Futureboogie and Skatebard's Digitalo Enterprises.

Born and raised in Bulgaria, before making the move the music mecca of Berlin, Denitza Todorova has a carved a path with her electronic, dance pop stylings across releases for the likes of K7 and Kitsune Music. First appearing on Make It Stay from Lauer's last album, it jumped out as the perfect partnership to bring the raw, soulful and uplifting sounds of the cult V4 Visions label up to date. Founded by Alex Palmer, the label was part of the UK's early 90s club sound, releasing street soul, deep house and more, in Where's Your Love Gone, Palmer and 18-year-old writer/vocalist Julie Stapleton hit on the perfect marriage of Lovers Rock and Street Soul yearning with the haunting sounds of US House. Presented as a new take on the classic, but with utmost respect, the EP starts with the Club Mix, a Larry Heard bassline joins a marimba melody, lifting Dena's vocals of youth's lost love and pain. This is followed by the Demo Mix, a warm, beautiful string laden original take that Lauer and the label felt had to be included.

DJ Slyngshot is welcomed to provide a deep, tech remix. A name to watch via his releases on his YAPPIN label and recent EP for Workshop, his remix is an analogue twist of hypnotic, raw dub techno percussion and counter breaks builds as string and piano join. The EP ends in the Synthapella, as bongos, cowbell and whistle are added to create a drifting Balearic version for late summer nights and dawn that highlight Dena's vocals in a 'sunrise' light.

stock from20.05.2026


Last In: 9 months ago
Various - Nowhere Like Here: Love Songs From The Caribbean & Diaspora (2xLP)

Emotional Rescue is delighted to debut a first. Rather than a straight reissue of an (obscure) classic or a collection of music by an artist or label, here presented is a compilation of various artists centered around a sound and movement reggae-tinged music and how it influenced and spread from the Caribbean and diaspora.

Drawn from the off kilter digging of archivist, DJ and collector Bruno (perfectliv.es), Nowhere Like Here is not a follow up, but a sideways accompaniment, to his recent and already cult like 'Perfect Motion' collection of left field pop and new wave, recently self-released with Flo Dill (NTS).

This is a special release to celebrate the label's 10th year and beyond, offering a treasure trove of lo-fi and often pop inspired reggae cuts, mixing heartfelt Lovers Rocks style paeans and quirky private press oddities, all guaranteed to 'make-a-move and tap', these are, in the main ridiculously rare or impossible to find alternative bombs, that are just as sound system rocking and massive bass line quaking showcases of the enduring legacy of this Jamaican music phenomenon.
As with much of the early 80s period, the music community was in the throes of a Do-It-Yourself cultural renaissance as small labels, where crazy limited, one off White Labels Onlys came and went. Songs like Avalanche 's 'Your Love is Such a Good Thing 'or Warp Speed's 'Take It To The Night' were part of the claiming the means of production in to their own hands, pressing up the records and self-distributing. This raw, naive exuberance can be heard in the songs themselves. This is not reggae or Lovers as known, but something more expressive. Musical, simply produced, but with intelligible and uplifting optimism that is just superlatively catchy.

While Paul Thompson's 'Can I Take You Home' and Ras Ibuna's 'Black Beauty' are more straight-ahead Lover's style cuts, there is the parallel dance pop private pressing vibrations of the two Keith Robinson songs and Majority's 'Caroline' included all part of a thread; a joining the dots that Nowhere Like Here is at its most basic, a warmth the whole album exudes.

This is not a Lovers Rock Hits of some, but a left-of-center versioning, spread across Double Pack and cut loud for DJ play, fitting the ethos of Emotional Rescue by presenting something most will not have heard before and all the better for it.

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Last In: 77 days ago
YAEJI - With A Hammer Strictly Limited Pink Coloure Vinyl

Pink Vinyl

Die Wahl-New-Yorkerin Yaeji hat sich in den letzten Jahren als Produzentin, Sängerin und DJ mit ihren introspektiven Dance-Floor-Hymnen eine ganz eigene Nische geschaffen. Nach der Veröffentlichung ihrer Debüt-EPs, sowie den Singles "Raingurl" und "Drink I"m Sippin On" in 2017, war sie auf Charli XCXs 2019er Album "Charli" zu hören, remixte Songs für Dua Lipa oder Robyn, kollaborierte mit dem Seouler-Künstler OHHYUK, verkaufte weltweite Headline-Touren aus und eröffnete ihren eigenen Lifestyle Webstore JI-MART. Ihr Sound und ihre Einflüsse sind dabei so vielschichtig wie ihre Herkunft. Geboren im Jahr 1993 in New York reicht ihr Stammbaum von Seoul über Tokyo bis nach Atlanta - Einflüsse die sich in ihrer Musik in Form von koreanischem Indie-Rock und Electronica, 2000er Hip-Hop, sowie Leftfield Bass und Techno wiederfinden. Mit ihrem 2020er Mixtape "WHAT WE DREW“ schärfte Yaeji noch mal ihre Vision als Musikerin, die kreativ losgelöst von Sprachen Genre-Grenzen zu sprengen vermag - kein Wunder, dass sie daraufhin von Pitchfork 2022 zu einer der "25 Artists Shaping the Future of Music" ernannt wurde. Die nahe Zukunft wird sie ebenfalls prägen. Schließlich erscheint am 7. April nun endlich das Debütalbum "With A Hammer" bei XL Recordings. Entstanden innerhalb von zwei Jahren in New York, Seoul und London kurz nach der Veröffentlichung des Mixtapes und während den Lockdowns ist es eine Ode an die Erforschung ihrer selbst, setzte sie sich doch dabei mit ihren eigenen Emotionen auseinander - besonders mit ihrer eigenen, in ihr brodelnden Wut. Während sie textlich zwischen englisch und koreanisch springt, nutzt sie erstmals auch Live-Instrumente, sei es in Form von einem Ensemble an Musikern oder auch zum ersten Mal sie selbst an der Gitarre. "With A Hammer" beinhaltet darüber hinaus auch Features der Produzenten und engen Verbündeten K Wata und Enayet, sowie Gast-Vocals der Londonerin Loraine James und von Nourished by Time aus Baltimore.

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Last In: 3 years ago
WEDNESDAY - RAT SAW GOD LP

Wednesday

RAT SAW GOD LP

12inchDOCLP328
Dead Oceans
05.04.2023

A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.

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Last In: 3 years ago
Francois DILLINGER - Minus 40.715921

Francois Dillinger brings his futuristic visions to this classy new EP on EC Underground. It finds the sonic sculptor kick off with a warped bassline underpinning an eerie and slow motion electro cut on 'The Pilgrimage.' 'Tangential' is another snaking rhythm with mysterious pads and bouncing bass that makes for a truly original vibe.

'Message Failed To Send' has a hint of Kraftwerk retro-ism to its snappy snares and talk box vocals then 'When It Was Free' classes down with a gritty mix of celestial charm and deep space unknown.

These are next level sonics as always from Dillinger.

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Last In: 3 years ago
Various - Get Together Again

Various

Get Together Again

12inchFORMNTERRA005
Form & Terra Records
05.04.2023

The compilation "Get Together" enters a new round and gathers four artists to take a journey into electronic music together again. Maxie König opens the gathering with warm basses and sparkling
chords in her track "TenTen".

The unmistakable groove immediately carries us away and drives us straight onto the dance floor, where the no less deep track "Dezest" by Dip resounds through the speakers. Here we float on the smooth strings of the recurring sound waves, which one can hardly resist. Ana Antonova takes up this beautiful flow in her fascinating track "Naked Neighbour" and adds jazzy melodic elements that are interwoven with original sounds to create a fabulous, versatile sound story.

Finally, Cie picks up the bass and groove again and reflects the wonderful atmosphere of this gathering with the harmonic strings in "Haus Im Turm", making you want to put this record on „again“ and „again“.

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Last In: 23 months ago
Kerri Chandler / Josh Butler - Organized Kaoz EP 1

Kerri’s Kaoz Theory label unlocks the vault to two key tracks from the early days of the label that have never pressed on vinyl before.

First up the man himself, Kerri Chandler with a deep, heads down stomper ‘Who’s Afraid Of The Dark’. Kerri at his hard hitting best, as vocal refrains wash over the chunkiest of synth stabs and basslines with crunched up percussion laying the basis for a track that is readymade for smoke filled clubs and pumping sound systems.

On the flip, Josh Butler ‘Sunday Club’ goes deep down the rabbit hole effortlessly moving from ethereal elegance to twisted machine energy, showcasing that light and dark can sit together seamlessly to produce something seriously special.

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Last In: 19 days ago
Teddy Pendergrass, Mike Maurro - Close The Door / Only You

Brookside Records is at it again! This time, veteran NYC DJ/Remixer Mike Maurro hits the PIR vaults and comes up with two blazers from the label.

First up, remixed for the first time, Teddy’s sexy 'Close The Door'. Stretched to almost 10 minutes of sensuality Mike Maurro gives it his signature remix treatment bringing the drums up and fattening the bassline to perfection, with French DJ/Remixer Young Pulse adding piano and keys that take the track to another level.

Head to the B-side for another Teddy staple 'Only You'. Extended with love giving it a fresh treatment without losing the flow and vibe of the original, a must for your collection. Pressed on HQ 12'' vinyl with retro artwork.

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Last In: 2 years ago
More Amour - Solar Flair

Following the intergalactic odyssey of their first release, Hi Quality Records are back for round two. Switching to hyperdrive for another blast round the sun with two feel-good, cosmic channelling, disco burners from the mighty More Amour aka Artwork and Jon Solo.

Cruising out across the cosmos ‘Solar Flair’ is a sublime slice of boogie brilliance, with an infectious bassline and keys to match. Turning the heat up to 10 with Jon Solo on the solos, spiritually working those keys as Artwork conjures up his magic at the production controls. If you could drop the top on this spaceship and roll those windows down, this is definitely the groovin’, head bobber you’d have soundtracking your beam across the interplanetary highways.

With that non-existent breeze flowing over your spacesuit, ‘Heatwave’ ramps up proceedings on the B side. A funk-fuelled trip where sweltering Rodgers-esque riffs and slap basslines dance around string stabs and smile-inducing chords, with a signature spellbinding synth solo to top it all off. Break glass in case of emergency, this is your ticket out of any subdued dancefloor.

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Last In: 11 months ago
Mr. Käfer & Phlocalyst - Now / Again II LP

Lofi “heavyweights” Phlocalyst und Mr. Käfer liefern den zweiten Teil ihres gemeinsammen Projekts “Now / Again” auf Melting Pot Music.

Aber Moment mal.. kann man bei “Now / Again II” überhaupt von Lofi sprechen? Wenn man die einschlägigen Playlists verfolgt hat man mit Sicherheit schon Tracks der beiden gehört und wenn man ihre Zahlen betrachtet, gehören sie zu den erfolgreichsten Produzenten der Szene. Aber was ist mit der Musik? “Now / Again II” ist weit entfernt von melancholischen Piano Loops, imitierten Vinylrauschen und überstrapazierten SP-404 Effekten (oder was auch immer der Waschbär in dir mit Lofi assoziiert).

Stattdessen würden wir “Now / Again II” als Contemporary Smooth Jazz mit souligen Hip-Hop Einflüssen beschreiben. Umgesetz mit einem feinen Gespür für starke Melodien, ausgefeilten Arrangements und der nie endenden Liebe für Blue Notes. Überzeugt euch selbst.

Phlocalyst – Trumpet, Rhodes, Synths, Piano, Bass
Mr. Käfer – Drums, Rhodes, Synths, Piano, Bass
Produced by Mr. Käfer & Phlocalyst.
Mixed by Mr. Käfer.
Artwork by Giza One.Tracklist

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Last In: 3 years ago
Brainwaltzera - Royal Wavetable Mellodies & Old TDKs EP

Brainwaltzera returns to FILM with a brace of archive recordings in the artist's characteristically idiosyncratic style.

The collection opens with FMsquared royal wavetable mellodies A, a mesmerizing beatless composition split across two contrasting movements. Synth-focused, the first explores a more introspective tone whilst the second is decidedly more elevated and playful. Follow up good endgar showcases the artist's enviable talent for crafting rolling, wide-open IDM, marrying crisp drum machine hits with washed out pads and a resonant bassline. WSsquared royal wavetable mellodies B follows the same pattern as mellodies A, split once again into two movements. This time each movement is markedly more distinct: the first, an atmospheric, half-time dirge and the second a more uplifting and esoteric workout, with crystalline FX breaking up the composition. On LANsqape4 short_oneTake Brainwaltzera lets the drums roll out, underpinning more lush synth work with a hint of a break closing in as the piece subsides near its close. Copperfeel, the penultimate offering, is the most reduced work in the collection with a single main melody doing the bulk of the legwork, and buoyed by vocal-sounding synths. FMsquared epiloggy beauvine bonus perc version closes the collection, a pleasing bookend that sees the riff from the opening track's latter movement return - now underpinned with rolling drums.

a A1. FMsquared royal wavetable mellodies A

c A3. WSsquared [royal wavetable mellodies B]

[e] B2. FMsquared [epiloggy] [beauvine bonus perc version]
[short_oneTake]

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Last In: 3 years ago
GROOVE CHRONICLES - SOUL 'N MIND

UK Garage legends Groove Chronicles (Noodles & Dubchild) are back with the 'Soul 'N Mind' 12" featuring their highly sought after Brokenstep edits.
These have been on heavy rotation by the likes of Gilles Peterson, Charlie Dark, Bradley Zero, IG Culture and more. Limited hand-stamped and stickered copies, be quick!

Groove Chronicles have releases dating back to 1997 and are legendary in the world of UKG. Founded by Noodles, who is now working with longtime associate, Dubchild. Noodles has been working in the music game for three decades, from spinning at raves in Paris when he was 17, to serving it up behind the record shop counter, to running his own label, DPR. Responsible for bonafide classics like 'Stone Cold', 'Myron' & 'Poor Man's Break', his work serves as a blueprint for many sounds across the UK bass spectrum.

Leicester legend, Dubchild, stems from a musical background of reggae, hip hop, house, garage & jungle. He's released an array of dubstep & instrumental grime records through various labels since the early noughties, including Caspa's Storming Productions & Heavy Artillery, amongst others.

The duo also combine under the moniker Nu-Agenda with their own hybrid house style, and have had collective support over the years from stations such as 1Xtra, NTS, Kiss, Reprezent & Rinse, DJs such as Annie Mac, Zane Lowe, Mary Anne Hobbs & Ras Kwame, IG culture, Charlie Dark, Gilles Peterson, Bradley Zero, Marcia Carr, Afronaught and publications like iD, Fact, DJ Mag & Crack Magazine, to name a few.

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Last In: 2 years ago
The Allergies - Stanky Funk

The Allergies

Stanky Funk

7"-VinylJAL394V
Jalapeno
03.04.2023

The Allergies hook up with The Pharcyde's Bootie Brown on their brand-new slab of throwback rap, 'Stanky Funk'. It's a match made in hip-hop heaven, with The Allergies channelling classic early 90's boom bap beat business. Beefed up lo-fi funk loops, neck-snap drums, cuts and rumbling bass lines provide the backbone for a legend to get busy over.

'Never Gonna Let Go' is on the B-side – a funky up-tempo breaks-heavy banger that sees The Allergies twin monster samba samples with roots reggae vocal rips, for full dance-floor destruction.

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Last In: 2 years ago
Richard Youngs - Modern Sorrow

The endlessly prolific and unpredictable Richard Youngs returns to Black Truffle with Modern Sorrow. As any Youngs fan knows, one of the great pleasures of following his career comes from not being able to predict what the next entry in his inexhaustible string of releases will bring: Unaccompanied voice? Country songs? Shakuhachi? Guitar pieces played with his feet? Shredding fuzz bass over the top of hyper-speed distorted drum machine beats? Continuing in the grand Youngs tradition of exploring new techniques, instrumentation and approaches while bringing to all of them his idiosyncratic touch, Modern Sorrow serves up two sides of twistedly elegiac, radically stark takes on contemporary pop production. The side-long title track is built from a piano sample, synthetic bass notes and organ swells, and an iterative blurt that seems to have wandered out of a 90s jungle track. Eventually joined by a shuffling drum machine, the track moves very slowly through a series of chords, each delayed long enough that its arrival comes as a major event. Over the top, Youngs’ heavily pitch-corrected voice is heard. The processing paints his signature wandering melodic improvisations with shades of contemporary R&B; at the same time, it cuts the natural swoops and glides of Youngs’ melodies into rapid microtonal trills, giving his voice a quavering, middle eastern feel. Unfolding languorously over more than 17 minutes, the piece’s final minutes make room for an extended drumless coda, returning to the stark palette of its opening moments. On the second side, the two parts of ‘Benevolence’ push this minimalism ever further, its first half consisting of nothing more than a remarkably slow drum machine hit, bass-heavy chords and pitch-corrected voice, here so heavily processed that it starts to resemble a shawn solo. In its second part, the harmonic foundation drops out from under the piece while two more voices join; at some moments the voices pause, leaving nothing more than isolated, metronomic drum hits. Though Youngs has explored the sound worlds associated with dance music and contemporary pop in previous work, here these elements are radically reduced, foregrounding a meditative bed of silence with a boldness equal to any more academically inclined contemporary composer. Embracing the accessible digital tools of contemporary music production just as at another moment he would pick up a kazoo, like much of Youngs’ work Modern Sorrow uses simple DIY tools to generous ends, producing formally radical music that remains both free from pretension and deeply moving.

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Last In: 3 years ago
Magna Pia - QUT 2x12"

Magna Pia

QUT 2x12"

2x12inchCOUNTER034
COUNTER CHANGE
31.03.2023

Magna Pia, a.k.a seasoned producer, DJ, and composer Hüseyin Evirgen, announces his second full-length album, ‘QUT’, arriving on Inland’s Counterchange label in March on double vinyl.

After 2 steamrolling EPs of club tracks on the label - now entering its tenth year of action - Magna Pia presents his most complete and advanced body of work to date, weaving a dense narrative of drone, figurative synthesis, bass-heavy electronica, and abstract techno.

Over eight tracks each referencing his rich cultural and musical background, we are treated to a unique overview of a producer at the crest of his art. The word ‘Qut’ is an ancient positive affirmation, in one short word encompassing all that is scared, pure and good. The Old Turkic term meaning not only ‘good fortune’ and ‘joy’, but in shamanic circles, the ‘wonder of the heavens’, permeates the roots of Evirgen’s multi-heritage history.

That Evirgen expresses his interpretation of this central theme through the marriage of bewitching melodies with atonal, experimental and rumbling electronics is a conscious comment on the distortions and mutations of our Modern Era. We now exist in the digital age of the Technosphere for better or worse, and must seek beauty where-ever possible.

The opening ‘Prologue’ invites the listener into a futuristic yet organic sound world, where lush stereo processing goes hand in hand with rumbling bass and subtly detuned drone languages. From the echoes of traditional Uyghur folk music, translated via synthesizers into a glistening slow-diving opus (‘Qizil’), to churning dub-techno adorned with a symphony of evolving sine-waves (‘Venus M’), Evirgen then deploys ‘X’ - a haunting experimental piece composed predominantly with his voice and electronic processing.

The interweaving synth lines of ‘Gudanna’ pierce the fog with a radiant and transcendent club-techno bounce before the ode to the ancient Bronze Age goddess ‘Astarte’ unfolds its snare-driven broken-beat formations. The title track ‘Qut’ embodies by far the heaviest club track of the album, in a deadly, stripped-back moment of future-techno hypnotism. Dancing flames of purple-tongued synthesis are held (just) in line by a wonderfully tough throb of drums.

With his ‘Epilogue’, Magna Pia allows the spectral ideas and concepts laid out across the LP to connect and travel full circle, confirming our suspicions that this could be one of the most coherent and exciting works to emerge in the brave new field of introspective, and sensitive techno-electronic language.

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Last In: 47 days ago
London Brew - London Brew 2x12"

London Brew

London Brew 2x12"

2x12inch7245874
UMC
31.03.2023

London Brew is a reimagining of Miles Davis’ legendary album Bitches Brew. Produced by Martin Terefe and Downtown Music UK Limited, the record reflects an emotional journey of the times, having been recorded during the pandemic after many months of isolation and the inability to collaborate in person. Recorded in December 2020 at Church Studios in London, the recording session brings together UK jazz artists, Nubya Garcia, Shabaka Hutchings, Theon Cross, Dave Okumu, Benji B, Tom Skinner and more. Producer Martin Terefe describes, “Sometimes the music is uncomfortable, other times it's familiar and joyous and other times it's like deep meditation.” This album will be a 2-LP set.

Dave Okumu: Guitar

Martin Terefe: Guitar, Electronics

Nubya Garcia: Tenor Sax, Flute

Benji B: Decks, sonic feed and re-cycling

Dan See: Drums, Percussion

Nick Ramm: Piano, Synthesizers

Nikolaj Torp Larsen: Synthesizers, Melodica

Raven Bush: Violin, Electronics

Shabaka Hutchings: Tenor Sax, Clarinet, Flute, Kalimba

Theon Cross: Tuba

Tom Herbert: Electric bass, Double Bass

Tom Skinner: Drums, Percussion

pre-order now31.03.2023

expected to be published on 31.03.2023

Star Funeral - In The Dark LP

Star Funeral is the full-band solo project of Nikki Es- posito. Stepping into the spot light from behind the bass in Secret Tapes, Esposito adds guitar and lead vocals to her list of duties while drums are handled by Ethan Kreidemaker. Sonically, Star Funeral walks a fine line between pleasant and somber tones- dreamy guitars splash through plodding bass and drums with Esposi- to’s vocals driving them forward through a flurry of aching longing and regret. This is indie rock at its finest and Star Funeral feel set to be a standard bearer for a long time. “In the Dark” came together in 2020 after urging from close friends and producer Billy Mannino (Bigger Better Sun, Oso Oso). Singer/multi-instrumentalist Nikki Es- posito built this solo project from the ground up, per- forming all instruments alongside Ethan Kreidemaker’s studio percussion. It’s a lightning bolt of intensity and harrowing growth set to honor and expand upon her primary influences, a flash of self-understanding while re-entering a lightless era. Star Funeral’s debut is a potent discovery of new ways to shoulder old wounds, such as the murmurs of body dysmorphia trailing be- hind double-jaw surgery (“Mouth Bleeder”), the lack of closure in lost friendships (“Outgrow”), and the anxiety of letting others in after these hurdles (“Breather”).

pre-order now31.03.2023

expected to be published on 31.03.2023

London Brew - London Brew 2x12"

London Brew

London Brew 2x12"

2x12inch7251427
UMC
31.03.2023

London Brew is a reimagining of Miles Davis’ legendary album Bitches Brew. Produced by Martin Terefe and Downtown Music UK Limited, the record reflects an emotional journey of the times, having been recorded during the pandemic after many months of isolation and the inability to collaborate in person. Recorded in December 2020 at Church Studios in London, the recording session brings together UK jazz artists, Nubya Garcia, Shabaka Hutchings, Theon Cross, Dave Okumu, Benji B, Tom Skinner and more. Producer Martin Terefe describes, “Sometimes the music is uncomfortable, other times it's familiar and joyous and other times it's like deep meditation.” This album will be a 2-LP set.

Dave Okumu: Guitar

Martin Terefe: Guitar, Electronics

Nubya Garcia: Tenor Sax, Flute

Benji B: Decks, sonic feed and re-cycling

Dan See: Drums, Percussion

Nick Ramm: Piano, Synthesizers

Nikolaj Torp Larsen: Synthesizers, Melodica

Raven Bush: Violin, Electronics

Shabaka Hutchings: Tenor Sax, Clarinet, Flute, Kalimba

Theon Cross: Tuba

Tom Herbert: Electric bass, Double Bass

Tom Skinner: Drums, Percussion

pre-order now31.03.2023

expected to be published on 31.03.2023

Various - SCRAP METAL VOL 2

Various

SCRAP METAL VOL 2

12inchEZRDR143
Riding Easy
31.03.2023

If you were smart enough to get your grubby paws on the first Scrap Metal compilation, you probably have a pretty good idea of what you’re in for with our second installment. Featuring long-lost gems from ultra-rare 45s and private press singles—plus one previously unreleased banger—Scrap Metal 2 maintains a steady NWOBHM course. Packed with infectious outliers and supremely talented one-and-done metal warriors from the crucial British movement of the late ’70s and early ’80s (and some killer American obscurities inspired by them), this collection delivers all the fist-pumping, riff-mongering and flashy solos of heavy metal’s golden age. As always, every track has been officially licensed and every artist gets paid. As a late entry into the NWOBHM sweepstakes, JJ’s Powerhouse was formed in Merseyside, England, by guitarist Jon “J.J.” Cox with members of his previous band, Quad. Much like the opener to the original Scrap Metal comp, you can hear early Metallica coursing through this legendary ripper. Coincidentally, this ultra-rare 45 was released in ’83, the same year as Kill ’Em All. Taking their name from a 1978 sci-fi novel by Marion Zimmer Bradley, Welsh super troopers Storm Queen reveled in animal-print clothing and flying Vs. The Motörhead-meets-Priest anthem “Raising the Roof” is the flipside to their only single, which the band self-released in 1982. Led by guitarist Dave Morse, Storm Queen’s earliest lineup included bassist Bryn Merrick (RIP), who would go on to join The Damned. Roaring out of Birmingham, England, in 1975, Jameson Raid palled around with fellow Brummies Black Sabbath and named themselves after a failed 19th century attack that helped kick off South Africa’s Second Boer War. Their three-song 1979 debut featured the infectious “It’s a Crime,” which comes across like a deadly hard-glam version of Budgie. Still fronted by vocalist Terry Dark, they’re going strong as of 2022. A.R.C., a punky proto-metal group from the UK, released the boozy single “Home Made Wine” b/w “The Chase” in 1979 and—as far as we know—were never heard from again. They’re not to be confused with a gang of Tolkien enthusiasts also called A.R.C., who released two NWOBHM singles in the early ’80s and actually were heard from again. Nonetheless, the A.R.C. we have here was led by a thirsty lad named Klaus Brunnenkant, who liked to rock n’ roll all night and party every day. Both sides of Metropolis’ sole single bear the legend, “Unauthorized duplication shall result in getting your ass beat.” This San Jose metal squad released their only single in 1986 and dedicated it to Metallica bassist Cliff Burton, who had recently been killed in a bus accident. “The Raven” is the serpentine NWOBHM- and Edgar Allan Poe-influenced flipside to “Time Heals Everything,” and yeah, you can hear the guitars going out of tune on the solo, but that’s part of the charm. Of the two dozen or so metal bands that have called themselves Prowler over the years, we’re pretty sure this particular Prowler is the only one from San Diego. These dudes take a thrashier approach than most of the bands here on Scrap Metal 2: “Temporary Insanity” strikes a deft balance between early Anthrax and early Testament, with just enough hard rock swing to keep it from getting overly staccato. Self-released in ’86 as the band’s only single, the song is the flip to “I Love It.” Not much is known about Christian Steel beyond this: They put out their only single in 1983, which boasted “Need Your Love” as the flip to “I Don’t Want To.” The former, included here, sounds kinda like a dizzy, more metallic version of ’70s Jersey rockers Starz, who famously influenced the likes of Mötley Crüe, Poison and Twisted Sister. Ohio guitarist/vocalist Marty Soski’s career dates back to at least 1969 with the Inside Experience track “Be On My Way,” which we unearthed for our own Brown Acid: The Third Trip. This time, we’ve got a monster Soski cut that he recorded under the name Black Rose. Released in 1982, the absolutely smokin’ “Sidewinder” was the A-side on the band’s sole single. The main riff isn’t far off from Y&T’s major-label banger “Mean Streak,” which was released the following year. When Dark Age titled their 1987 album The Youngest Metal Band in the World, they weren’t even sort of kidding. Legend has it that “Star Trippin’,” which was released as a single a year earlier, was written by guitarist CJ Rininger when he was just 12 years old. His brother Dave, the vocalist, was two years younger. Old photos of the band—complete with pineapple haircuts—seem to bear this story out. Either way, the song is pure flash metal, conjuring Sunset Strip sleaze all the way from Ohio. By now, all you heads know Los Angeles magic men Sorcery from their storied appearance in—and soundtrack for—the death-defying Ozploitation flick Stunt Rock. What we have here in “Whales” is a previously unreleased track from the same 1978 recording sessions. It’s a little bit Zeppelin, a little bit prog, and a whole lotta thundering riffage. Why this languished in the vaults for so long is anyone’s guess. Better late than never!

pre-order now31.03.2023

expected to be published on 31.03.2023

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