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Returning for Volume 4 of the sought-after series, Glitterbox Jams is back with another red-hot delivery of dancefloor gems, ready to become a record box essential for all discerning disco DJs. The A-Side features two remixes of an early noughties dancefloor gem, as two esteemed disco editors Moplen and Dr Packer both take on ‘Love Will Be Our Guide’ from Mark Picchiotti presents Jersey Street. On the flip come two productions from Italian-Belgian producer Vito de Luca, donning his Aeroplane alias for a disco-infused remix of Marco Faraone & Greeko’s hip-house pumper ‘Armaghetton’, before swapping over to his Flush pseudonym to deliver the playful Balearic joy of ‘Come Back Baby’.

Originally released in 1979 on Mistlur Records in Sweden, Nyanser is widely considered Thomas Almvqvist’s masterpiece.

It's almost unspeakably beautiful.

With his adventurous, virtuoso guitar technique to the fore, the album explores a unique path through world music, folk, jazz and acoustic experimentation, whilst retaining a very personal vision.

It’s aged very, very well indeed and is now rare and immensely sought-after, coveted for many years by collectors of all musical genres. This Be With re-issue, remastered from the original analogue tapes, shows off just why this deserves to be back in press.

The majority of the album is a solo exercise with Thomas playing Rhodes, flute, synthesizer and percussion as well as his idiosyncratic guitar on all tracks. Alongside Thomas in the studio were an array of young, experimental Swedish musicians in the nascent stages of their careers including the much lauded Swedish composer Ann-Sofi Söderqvist, vocalist Turid Lundqvist and perhaps the key contributor to the album, Hans Peter Andersson, whose alto, tenor and baritone saxophone contributions shift the album from into the realms of jazz, most notably on “Horisont” and “E.M.”

The whole ensemble comes together on the centrepiece of the album, the joyous aquatic harmony of “Coral Reef”, one we've been playing out for the past 5 years to dropped jaws. The album presents a very visual aesthetic, each track evoking images of landscapes and far-flung corners of the earth. Almvqvist himself considered the visual aspect of his sound very important, describing his approach as “picture music.”

Nyanser is considered one of the earliest examples of a fusion of world music, jazz and folk traditions, certainly from a Scandinavian artist. Despite its impact on release being minimal outside of those aficionados tuned into such sounds, over the years the album has become something of a "lost" cult classic and a fine example of the experimentalism going on in Scandinavian music at the time. The English translation of nyanser - ‘shades’ - is a particularly apt description of the sounds contained within.

Thomas very sadly passed away in 2008 at the age of 55. We hope this reissue will go some way to bringing his unique output to a wider audience and secure the legacy he deserves as one of Sweden’s great guitarists and musical visionaries. It sounds sensational, if we do say so ourselves. Working with audio from the original analogue tapes, the vinyl mastering chops of Simon Francis are on full show here in what he considers to be some of his best ever work for Be With. Pete Norman’s cutting skills have made sure nothing is lost whilst the beautiful artwork has been restored here at Be With HQ as the finishing touch to helping this revered work find a rightful place in every record collection.

Tape
J. Mono twists our sense of time again, coming up with the third installment of his 'Redate' series: an elegant selection of uncut tracks, roaming in the fields of electro, acid, IDM and EBM.

Redate III in its digital format presents tracks that were written and recorded between 2014 and 2015.

As the cassette version, it includes not only Redate III (as side A), but a collection of J. Mono's various other tracks created between 2017 and 2021, that appeared beforehand on various compilation albums (as side B). In other words, with this fresh new tape you're all set with 8 years of J. Mono experience.

American singer-songwriter, poet, and photographer Thomas Meluch, known musically as Benoît Pioulard, returns with his most structured and vocal release to date. Titled »Eidetic,« a word denoting the ability to recall mental images with extraordinarily rich precision, the album presents unprecedented clarity and vitality for Benoît Pioulard. To access its thematic ground, Meluch looked inward with an affinity towards the people he loves during a period marked by his move from Seattle to Brooklyn in 2019. The resulting work engages with the universe's unflinching mortality and, as he says, »the ways it has modified and improved my relationships, especially with family.« Embodied by the creek, leaves, and ferns of the cover photography — taken in Michigan’s Burchfield Park, where he and his dad used to hike and »muse on existence« — the music glistens and unfurls with the flow of life he’s come to know. »Eidetic« is the culmination of Meluch's craft both as a producer and writer. An evocative sonic vocabulary meets deft lyrical introspection, articulated with the nuance, vulnerability, and confidence of a longtime artist hitting a stride.

Meluch has continually refined, redefined, and adjusted the focus of his gentle pop project over the last 20 years. Recorded primarily with guitar, tapes, and voice — and spanning labels with albums for Kranky, Morr Music, Beacon Sound, and Past Inside the Present — his catalog flows seamlessly between ambient improvisation and pop composition. Much like the analog photos that often accompany his releases, songs can feel dreamily softened and distant, and others beautifully vivid and detailed. 2021 full-length »Bloodless« found Meluch deep in droning decay, expressive yet wordless. With »Eidetic,« he swings back to sharpened forms. Lush banks of treated guitar and synth brush against hushed percussion; there is mist in the distance, but everything up close is intricately constructed and radiant. Meluch's voice is notably forward in the mix — a warm and calming tenor, a harmonic coo more than a whisper — ever-observant and actively processing.

To record much of the album, Meluch filled a cabin in rural Maine with his usual setup of simple percussion, a couple of Fender electrics, and a parlor guitar made by his friend who does bespoke luthier work. The modest utility is what he knows best, and here he pushes the output to its most pristine potential.

»Eidetic« opens in a swirl of familiar haze; »Margaret Murie« eases listeners in, as lush and verdant as the landscapes conserved by its famed namesake. With the setting established, Meluch, the narrator, enters the foreground with »Crux,« a tender piece written about finding new motivations in a new city. »We covet this rare green hue / Here at the farthest point from home,« he sings above a reassuring pattern of strums and percussion. Meluch's prose shines on the swiftly-moving »Nameless,« inspired by the neurological effects that came with the antiquated practice of manufacturing mercury mirrors; »folks would slowly go insane while looking into their own reflections every day,« he adds. The idea informs a series of surreal abstractions before everything drops out in the final minute, and we are left free-floating in eerie nothingness.

Across the album, labyrinthine lyrical ponderings scatter with dazzling imagery, artfully blurring scenes from world history with Meluch's more personal, present-day. The propulsive and earnest »Thursday Night« catches his mind overly active and too stoned, riffing on black holes and songwriting itself. »Halve« references the splitting of the atom, what he considers »the beginning of man's downfall,« and the unrealized initiative proposed by the US government that would have created 'nuclear refuges' in its national parks. Meluch's loved ones weave throughout; »Tet« holds his father's experience in Vietnam and its lasting effects. »Lillian Isola« touches on his maternal grandmother's spinal curvature, and »Pastel Dust« navigates the wake of his cat, who died on New Year's Eve 2020.

At first blush, Meluch's atmospheric and melodic sensibilities resonate purely in their own right. Upon closer meditation, his ability to render stories — many of which surround human tragedy, misfortune, and understanding — through the prism of his poetry makes »Eidetic« even more rewarding.

Dark Green Vinyl

American singer-songwriter, poet, and photographer Thomas Meluch, known musically as Benoît Pioulard, returns with his most structured and vocal release to date. Titled »Eidetic,« a word denoting the ability to recall mental images with extraordinarily rich precision, the album presents unprecedented clarity and vitality for Benoît Pioulard. To access its thematic ground, Meluch looked inward with an affinity towards the people he loves during a period marked by his move from Seattle to Brooklyn in 2019. The resulting work engages with the universe's unflinching mortality and, as he says, »the ways it has modified and improved my relationships, especially with family.« Embodied by the creek, leaves, and ferns of the cover photography — taken in Michigan’s Burchfield Park, where he and his dad used to hike and »muse on existence« — the music glistens and unfurls with the flow of life he’s come to know. »Eidetic« is the culmination of Meluch's craft both as a producer and writer. An evocative sonic vocabulary meets deft lyrical introspection, articulated with the nuance, vulnerability, and confidence of a longtime artist hitting a stride.

Meluch has continually refined, redefined, and adjusted the focus of his gentle pop project over the last 20 years. Recorded primarily with guitar, tapes, and voice — and spanning labels with albums for Kranky, Morr Music, Beacon Sound, and Past Inside the Present — his catalog flows seamlessly between ambient improvisation and pop composition. Much like the analog photos that often accompany his releases, songs can feel dreamily softened and distant, and others beautifully vivid and detailed. 2021 full-length »Bloodless« found Meluch deep in droning decay, expressive yet wordless. With »Eidetic,« he swings back to sharpened forms. Lush banks of treated guitar and synth brush against hushed percussion; there is mist in the distance, but everything up close is intricately constructed and radiant. Meluch's voice is notably forward in the mix — a warm and calming tenor, a harmonic coo more than a whisper — ever-observant and actively processing.

To record much of the album, Meluch filled a cabin in rural Maine with his usual setup of simple percussion, a couple of Fender electrics, and a parlor guitar made by his friend who does bespoke luthier work. The modest utility is what he knows best, and here he pushes the output to its most pristine potential.

»Eidetic« opens in a swirl of familiar haze; »Margaret Murie« eases listeners in, as lush and verdant as the landscapes conserved by its famed namesake. With the setting established, Meluch, the narrator, enters the foreground with »Crux,« a tender piece written about finding new motivations in a new city. »We covet this rare green hue / Here at the farthest point from home,« he sings above a reassuring pattern of strums and percussion. Meluch's prose shines on the swiftly-moving »Nameless,« inspired by the neurological effects that came with the antiquated practice of manufacturing mercury mirrors; »folks would slowly go insane while looking into their own reflections every day,« he adds. The idea informs a series of surreal abstractions before everything drops out in the final minute, and we are left free-floating in eerie nothingness.

Across the album, labyrinthine lyrical ponderings scatter with dazzling imagery, artfully blurring scenes from world history with Meluch's more personal, present-day. The propulsive and earnest »Thursday Night« catches his mind overly active and too stoned, riffing on black holes and songwriting itself. »Halve« references the splitting of the atom, what he considers »the beginning of man's downfall,« and the unrealized initiative proposed by the US government that would have created 'nuclear refuges' in its national parks. Meluch's loved ones weave throughout; »Tet« holds his father's experience in Vietnam and its lasting effects. »Lillian Isola« touches on his maternal grandmother's spinal curvature, and »Pastel Dust« navigates the wake of his cat, who died on New Year's Eve 2020.

At first blush, Meluch's atmospheric and melodic sensibilities resonate purely in their own right. Upon closer meditation, his ability to render stories — many of which surround human tragedy, misfortune, and understanding — through the prism of his poetry makes »Eidetic« even more rewarding.

Faitiche presents the album Exq I by Berlin underground techno legends Muellie Messiah & Punk not Punk, mainly known under their 100Records moniker. Weighing in at 36 minutes, the track was recorded in 2010, effortlessly intermingling dub, drone and collage, a blend achieved thanks to the duo’s jazz-inspired approach to improvisation.

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100records is one of the last undiscovered treasures of the Berlin underground of the 1990s and 2000s. Like Elektro Music Department, 100records is unthinkable without techno and the club scene, but with a few exceptions the duo’s tracks are not aimed at the dancefloor. With a claim to universality and a broader frame of reference, 100records developed a more extensive understanding of sound that rests on three pillars: the understated analogue drums of the Roland TR-808, a blurred, dubby sound, and improvisation.

On first hearing, Exq I has little in common with the groovy, detailed, variation-rich sound usually associated with 100records. Recorded at the end of a highly productive decade, it is an echo speaking of exhaustion in which dub, drone and collage converge to form something whose jazz sensibility makes it readily identifiable as the work of 100records.

100records was founded in 1994 by Muellie Messiah (Dirk Budde) and Ekki 808 (Ekkehard Rau), who were joined in 1999 by Punk not Punk (Martin Osti). Around 2002, Ekki departed, leaving Budde and Osti to continue as a duo. Since then, their relationship has shaped 100records: Budde is the driven lone genius doggedly pursuing sounds, Osti the pragmatist who turns ideas into music.

As well as making music, Budde is also a musicologist. In 1997 he published his PhD thesis entitled Take Three Chords... Punk Rock and the Development to American Hardcore. As well as being his specialization, punk is also part of his identity: in the 1980s he sang and played keyboards in various punk bands in Kassel, the best known being Haunted Henschel.

After the fall of the Wall, attracted by the freedom of the newly reunited Berlin, Budde packed his bags and drove to the formerly divided city, having already become acquainted with techno at Kassel’s influential Stammheim club.

Cultivated Electronics presents For the Floor Volume 2. The second part in its new split EP series on vinyl only sister label CE LTD. This installment heads deep into the techno electro sound with 4 club focussed tracks. The A side see's dutch Techno stalwart Darko Esser aka Tripeo make his CE debut. He shows an absolute masterclass in bridging the space between techno and electro with ''Bullshit Detector'' and ''Echo Cages''. Forward thinking futuristic grooves! Also making his CE debut is Spanish dub techno producer Francisco Aguado with his new electro focussed alias Cycloplex. ''Hypertension'' and ''Alarm Activated'' are both brooding, deep tracks that blur the lines of the genre and are firmly aimed at the dancefloor.

If we want to look into the future, we have to start considering the implications more holistically. All too often, science fiction is a dystopian projection of the current era's grimmest realities spiked with pragmatic historical hindsight - but what if instead it was able to reflect our needs, hopes, and dreams? On "SPINE", award-winning Danish composer SØS Gunver Ryberg considers a sustainable alternative, buoyed by interconnectedness, empowerment, and understanding. Channeling her dextrous sound design into advanced, time-bending music that fluctuates through techno, experimental ambient, and soundsystem-vibrating bass music, she maps out an artistic landscape that's futuristic and complex, but never oppressive.

Ryberg is an accomplished producer who's developed her sound over many years, playing concerts and working tirelessly on video game soundtracks, film scores, dance, performance, and multichannel installation pieces. Her first solo album "Entangled" appeared in 2019 on Berlin's esteemed Avian imprint, and was praised for its sensitive approach to noise and abstracted techno, while its EP-length followup "WHYT 030" was nominated for the Nordic Council's prestigious music prize this year. "SPINE" is the inaugural release on Ryberg's own label Arterial, and stands as a thematically dense statement of intent. The label provides a platform to extend Ryberg's artistic goals and reflect not just her world but a world she wants to see develop in the future: somewhere connected and creative, where exploration and free expression is prioritized over genre division and petty compromise.

This philosophy is central to the sounds on "SPINE", which have been carefully sculpted to accurately lay out Ryberg's worldview. Opening track 'Unfolding' presents a sonic ecosystem that flourishes as it spreads itself out, and quivering kick drums vibrate alongside unstable atmospherics. There's the faint fingerprint of Chain Reaction's notional dub techno in there somewhere, but Ryberg interrupts the thought before it can coagulate, assuring the listener that her vision isn't ponderous but playful and optimistic. This mood flickers into view again on the title track 'Spine', as fragmented breaks rumble beneath disorienting synths, faint images of a life we once knew refracted into cosmic beams of light. 'Mirrored Madness' meanwhile is warm, assertive, and optimistic, contrasting skittering cybernetic percussion with dense, enveloping harmonies.

When she pushes rhythm into the background, like on the cinematic 'We tumble on the edges', Ryberg's compositional skill is placed under the microscope. We're presented with the opportunity to examine another dimension of her work, the mystery beneath the stone, hearing saturated, alluring pads infused with hidden harmonies. In these moments, Ryberg implores all of us to consider the environment, asking us to think about the earth's essential nutrients on the dreamy 'Phosphorus Cycle', and what we might do to save ourselves on the delirious 'Where do we go from here'. Ryberg's concern isn't chastising, it's laid out in a warm embrace. The future could still be bright - there's something beautiful in the complexity if you just take the time to look closely.

Modal Analysis proudly presents Het Zweet - Archives Volume 1: 1982-1988, a compilation of the Dutch outsider legend painstakingly picked from over 100 hours of unheard tape. An early electronic pioneer who deployed an array of homemade instruments alongside synths and a tape recorder to craft his searching sound, Marien Van Oers occupies a lonely branch on the tree of this music's early efforts, sliding between pounding industrial grooves, ambient fragments, and extended, entrancing compositions bridging this divide. Most closely akin to Muslimgauze, Test Dept. or Fad Gadget, who shared his outsider practice while remaining thoroughly entrenched in contemporary sounds, Het Zweet is striking for his diversity and for its meticulous composition, formed of carefully arranged layers of sonic detritus culled from his collection of homemade devices and electronic distortions. Finally rising to greater exposure since his death in 2013, Modal Analysis passionately continues this mission with our first volume of archives dedicated to the memory of this bold innovator gone before his time.

Repress!

The independent label Six Nine Records Ltd. UK, based in Newcastle upon Tyne, proudly presents the astonishing Tracy Cruz and her first release on the label!

A double A side record with both the original mix of “Find A Way” and a boogie-fied edit of the same from the genius that is Yuki “T-Groove” Takahashi!

Definitely not to be missed as it is a limited UK press with full colour printed picture cover!

First Word Records is extremely proud to welcome the legendary New Sector Movements to the label, and the first new release from this moniker in 15 years! A 5-track EP for 'These Times', comprised of street soul, hip hop, jazz and bruk-tinged vibes.

Founded, headed and produced by DJ & musician IG Culture (CoOp Presents / LCSM), this all-new quasi-group project also features the vocal talents of Allysha Joy, Mike City and Natalie May with additional accompaniment from Wonky Logic, Wayne Francis, Alex Phountzi and the NSM Fusion Starship!

New Sector Movements (aka NSM) were the first out the gate at the dawn of the original broken beat movement, releasing their first single 'Groove Now / New Goya' on the People label in 1997, then releasing several singles and EPs through to the late noughties, and dropping a classic album on Virgin entitled 'Download This'. The previous incarnation featured several other artists from the bruk foundation era, including Kaidi Tatham, Izzy Dunn, Julie Dexter and Eska Mtungwazi amongst others.

Awarded a 'Lifetime Achievement Award' at the 2019 Worldwide Awards, NSM's IG Culture is a hugely pioneering prolific artist in the UK music scene. His catalogue of releases over the years has seen numerous aliases, collaborations, remixes and productions. Appearing on the scene in 1990 as part of Dodge City Productions, to producing several solo albums throughout the noughties, to recent years with his hugely-acclaimed cosmic jazz outfit LCSM (Likwid Continual Space Motion), additionally to co-running the CoOp Presents label, continuing the legacy of the award-winning club night whilst showcasing new artists, IG Culture has been omnipresent at every corner of British black music for three decades deep, influencing many a sound.

This is all additionally to projects like NameBrandSound, Likwid Biskit, Da One Away and Son of Scientist to name just a few. His work has appeared on releases by Roots Manuva, Young Disciples, Les Nubians and Monday Michiru, while remix work over the years has included Gang Starr, Femi Kuti, José James, Miraa May, Slum Village, Digital Underground, Luniz, Naughty By Nature, Airto Moreira & Flora Purim.

As a DJ, he's shut down dances all over the world, recently at places like Fabric, We Out Here festival and Summer Dance Forever in Amsterdam, as well as regularly rocking the airwaves on Worldwide FM and combining the two at BBC 6 Music's All Points East stage in the Summer. IG Culture also founded Selectors Assemble; a collective of forward thinking DJs and producers.

So, as we head towards Winter 2022, New Sector Movements has returned (but don't call it a comeback!). After a turbulent few years in the world, it seemed a poignant moment to reinvigorate the soul, and reflect upon 'These Times'. Here we have five brand new tracks, each illustrating a pertinent mood and attitude representing the current climate. Allysha Joy leads the vocal on EP opener 'These Times', a sumptuous slice of street soul with a deeply infectious horn hook. 'Stand' is next - uptempo boom bap for the dancers, this one featuring the soulful pipes of Mike City. 'Hope' is a midtempo jazz-funk dub again feature vocal licks from Allysha, and introducing the mysterious NSM Fusion Starship into the fold. 'H.E.A.T.' picks up the pace with some infectious jazz-bruk business, this one lead by Natalie May on the vocals, who explains "heat = movement, motion". And finally 'Bless' with closes the set on a four-four riddim with bruk sensibilites, inviting Mike City back with an uplifting vocal requesting we "bless the people just trying to make it".

An essential EP of cross-genre vibes to resonate cross-generations, New Sector Movements do not ramp. IG Culture and crew proceed to give you what you need for 'These Times'.

'These Times' is released on vinyl and digital worldwide via First Word Records late February 2023.

hift Imprint proudly presents Maurice Turner aka DJ MoReese!
After his stunning "Pulsar EP" on Terrence Parker's Intangible Records, this "Kepler EP"
is the first release for Maurice in 5 years!

Ten years after our initial survey of Afro-Latin accented rhythm & blues from the mid-century, Jazzman proudly presents a fourth installment, packed with as many musical surprises as the first. With music plucked from an era spanning the late 1940s into the early 60s, Jukebox Mambo IV highlights yet again the unparalleled musical creativity of the post war era, and shows how the infusion of afro-latin rhythms was key to these revolutions.

Lovingly and painstakingly researched and curated, the album boasts 23 tracks, many previously uncompiled, touching on jazz, blues, doo wop, calypso, rock & roll, gospel and more. Featuring individual track notes for every song along with some never seen before photographs of the artists, Jukebox Mambo Vol IV maintains the same high production values of each previous volume, and indeed the wider Jazzman catalogue.

BT67 presents Colombian producer / promoter and DJ Non Punire with a mini-album entitled Espeletia. Member of the defunct Vltra Delta Drive, Espeletia sees the Colombian exile delivering a masterclass in Giallo-infused synthwave and electro.

Throughout 6 tracks, the EP blends suspense and drama for the discerning dancefloors.

The next release on Phase Group is a truly singular and original album from Rotterdam-based producer Ayaz.

With ‘Unpinned’ Ayaz presents a window into a uniquely crafted and highly personal sonic environment, where intercepted radio broadcasts tune in and out of focus, modulating drones echo through cavernous space and the sound of experimental synth explorations are layered over heady dub-laden beat work, deep bass lines and expertly programmed traditional sampled artefacts from the music of his native Azerbaijan.

This is an uncanny and evocative sound universe both cinematic and driving, music that would work equally scoring science fiction cinema as in the most avant-garde club environments. Mind-bending and visionary music for those that explore.

Record Kicks presents "Yours Truly", the new album by Bordeaux's "Soulboy", Mr. Alexis Evans.

Like fine Red Wine, "Soulboy" Alexis Evans gets better with Age. The best evidence of this is his brand new album "Yours Truly", set for release on February 3rd, 2023 on LP, CD and digital via Milan-based label Record Kicks. Produced and mixed by Louis-Marin Renaud (Lou Doillon, Theo Lawrence, Desmond Myers), "Yours Truly" is the third studio album by Bordeaux-based singer-songwriter Alexis Evans and sees the light 4 years after his previous LP "I've Come A Long Way", defined "Soul album of The Year" by Rolling Stone France. "Yours Truly" consists of 12 brilliantly soulful cuts that take direct inspiration from 60's & 70's classic soul music adding a sound that is firmly rooted in the new millennium.

Anticipated by the first single "Mr Right On Time", the album was recorded between Bordeaux and Nantes during 2021 and beginning of 2022. The idea behind the new album was to find a unique sound, mixing classic 60's & 70's soul music with more contemporary influences such as hip hop beats, jazz, reggae, and Caribbean sounds. To do that, Alexis paired up with producer Louis-Marin Renaud, known for his work with French-English singer, actress and model Lou Doillon and country-soul rising star Theo Lawrence, who took part in the arrangements and mixed the album.

"All instruments were recorded live, some titles were completely live and others got modified, cut, sampled, depending on the tunes in a kind of beatmaking way. It was a very fun and fulfilling project that will sound awesome on stage for sure," explains Alexis.

Lyrically, the album could be described as soulful everyday rhymes. "Love may be the number one subject in soul music and clearly has its place of honor in a few songs ("Close to me", "What is this feeling"), while other songs tend to deal with it in a more cynical but poetic way, for instance on "Mister right on time", in which beauty remains in simplicity," states Mr. Evans. He continues: "Another topic of the album is abandonment ("It matters to me", "The only apple", "Close to the water"). Whether it is the fear of being left behind or the sadness after a loss, this album still bears some traces of lockdown and I was aiming at giving another perspective on different matters, looking at them in a dreamlike way." The themes of the album are reflected in the cover artwork, made by Adrià F Marquès.

Alexis Evans, songwriter with a timeless style based in Bordeaux, France, found the love of music and learnt to play guitar thanks to his father, an English musician. His inspirations range from Marvin Gaye and Sam Cooke to David Bowie. At the age of 17 he debuted with his first project "Jumping to the Westside", with which he was awarded the "Cognac Blues Passion" prize and flew to the "International Blues Challenge" in Memphis, Tennessee, where he impressed the American audience even though he was still a teenager. Mr. Evanshas built a household name in the scene as the "enfant prodige of soul" starting with his first album, released in 2015, and consolidated his reputation with his second long play "I've Come a Long Way", released in 2019 on Record Kicks. Rolling Stone France described it as "The Soul album of the year", while Blues & Soul Magazine and BBC 6 defined him as "One of the most exciting additions to the international Soul Scene". Following the release of the album, Alexis toured in France and Europe extensively, stopped only in 2020 by the Pandemic. Thanks to the forced break, Alexis started to lay down the new album, and he's now ready to present the fruit of his hard work: "Yours Truly".

A Detroit resident, William Odell Hughes is a much-loved street educated singer-songwriter and music composer. As a regular passenger riding to work on the Detroit East Side bus route in the early eighties, he met jazz pianist Pamela Wise who also rode the bus to work every day and who he noticed was always reading music. Pamela told him about saxophonist, clarinetist, and producer Wendell Harrison (founder of the legendary Tribe collective and a regular collaborator of Pamela Wise). She introduced Odell to Wendell, who was impressed with William’s compositions and felt that it would be a great project for release on his WenHa record label.

Hughes and Harrison began producing and recording the album to be called “Cruisin”featuring musical arrangements by both Wendell Harrison and Pamela Wise. This album (released in 1981) was the first recording for Hughes and the beginning of a long musical journey that continues to this day. Cruisin’ features an all-star line-up that includes Andrew Gibson (The Counts), Pamela Wise (Tribe) and award-winning Detroit Jazz icon Wendell Harrison…all doing their bit and making this a monster of an album!

William Odell Hughes’ debut album has all the best characteristics of an 80s album: it’s filled with funky playful beats and has excellent soulful honey-dipped vocals. On Cruisin’ the listener is treated to both mellow soul sounds and electrifying disco boogie (that’ll make even the shyest of club goers want to get up and dance) and Wendell Harrison’s instantly recognizable flute-playing and synth pads give the record a warm, relaxed groove. Prepare yourself for funky vibes, cool soothing feet-tapping rhythms, fantastic interplays on vocal tempos…all backed by a beautiful array of soulful synthesized and cosmic music.

References to universal awareness are plentiful throughout and the spirituality of The Tribe remains a constant undertone; a gentle reminder of WenHa’s roots. With a sound like this, it’s no wonder that this album has long been considered a grail for crate diggers around the world. All of the above makes this incredible record both timeless and as relevant today as it was back when it was initially released.

Tidal Waves Music now proudly presents the first ever vinyl reissue of this rare funk & soul album (original copies go for large amounts on the second-hand market) originally released in 1981 on WenHa records. This unique record comes as a deluxe 180g vinyl edition (strictly limited to 500 copies worldwide) with obi strip. This vinyl edition also features the original photography by acclaimed British photographer Brian Smith known for his work with artists such as Screamin’ Jay Hawkins, Howlin’ Wolf, Chuck Berry and John Lee Hooker.

BASSIST/COMPOSER PETROS KLAMPANIS LOOKS TO PAST AND FUTURE AS HE TRANSFORMS TRADITIONAL GREEK MUSIC WITH TORA COLLECTIVE

Unique instrumentation bridges Greek folkloric and modern jazz worlds, with Klampanis (bass, artistic direction), Areti Ketime (vocals), Thomas Konstantinou (oud, laouto), Giorgos Kotsinis (clarinet), Kristjan Randalu (piano), Ziv Ravitz (drums, electronics, co-production) and more.

Following up his acclaimed recent outings Rooftop Stories and Irrationalities, bassist and composer Petros Klampanis creates one of his most inventive musical settings to date with Tora Collective, his sixth album as a leader. For Klampanis, who grew up in Athens, Greece
surrounded by the confluence of Mediterranean and Balkan folk cultures, making music has always meant navigating cultural crossroads. With Tora Collective (“Tora”=“Now”) he puts traditional Greek music at the centre, even as he presents it from a bold new angle.

In addition to the two new originals “Disoriented” and “South By Southeast,” Klampanis and his compact hybrid jazz/Greek folk ensemble interpret popular Greek songs such as “Xehorismata,” “Sybethera,” “Hariklaki” and “Menexedes ke Zoumboulia.” These songs, Klampanis asserts, are “not just part of Greek cultural heritage or a fragment of the past, but also as part of the future: they live into the present, breathe into the ‘here and now,’ while constantly evolving in a dynamic state and in dialogue with contemporary music.”

“For me it’s a personal thing,” he says. “I want to reflect on what Greek music and culture offer the world. How can music from the Aegean to Epirus and from the Ionian Islands to Crete, meet and speak to the hearts and minds of musicians and audiences from different parts of the world, different traditions and backgrounds?”

To that end, Tora Collective draws on regional characteristics, as Klampanis explains: “Every region has a strong identity. In Epirus the clarinet is more prominent and the music has this slow, groovy, meditative vibe. The islands are lighter sounding, Macedonia is groovier, faster tempos and energetic dances. Music from Asia Minor or Istanbul is more sophisticated. Greeks often refer to Istanbul as ‘Poli,’ from Constantinopoli, so the songs from there are called ‘Politika.’”

There is magic in the clear and consistent voice of Areti Ketime throughout Tora Collective, as can also be said for the supremely voice-like articulation of Giorgos Kotsinis on clarinet. Ziv Ravitz, on drums and electronics, also plays a pivotal role as coproducer: “He added so much in the orchestration,” says Klampanis. “His knowledge of electronics, all these non-acoustic sounds and keyboards, treatments of the acoustic instruments, it’s all because of Ziv. He brought a new perspective on the whole thing.”

The string element in Tora Collective is also strong: in addition to Klampanis’ bass there is Thomas Konstantinou on oud and the traditional Greek laouto, as well as Kristjan Randalu (the pianist in Klampanis’ Irrationalities trio) providing an anchor and bringing Klampanis’ inventive arrangements into harmonic focus. Additional guests appear: Alexandros Arkadopoulos on clarinet for “Disoriented,” Laura Robles on percussion for “South by Southeast” and trumpeters Sebastian Studnitzky and Andreas Polyzogopoulos on “Milo Mou ke Mandarini” and “Hariklaki,” respectively. (“Milo Mou” is slated as a post-release bonus track.)

Using traditional Greek music to discover a common new voice, the project aims to build dialogue, spark creativity, cultivate respect for the past, pave a path forward, discover a new musical storytelling powerful enough to reach and touch audiences in many countries. This is an experiment that bridges worlds: the east and the west, the traditional and the modern, the nostalgic and the forward-looking, using the power of music and improvisation.

Analogue Attic presents Bush Bash, the second album from Carla Oliver's solo ambient project, Badskin.

The album consists of 8 textural meditations, composed with layers of evolving pads and acoustic instrumentation.
Analogue Attic fans will recognise Badskin from appearances on Albrecht La'Brooy and Alex Albrecht records, or from her masterful live performances at their events.

Naarm/Melbourne underground rock enthusiasts will recognise her from bands such as Soda Eaves or Michael Beach.

Noise To Meet You presents hand in hand with Univac, Ivna Ji, Francois Dillinger, Lloyd Stellar, UHF, and Cosmic Lydén its 8th release, “Antarctica Station 4”. The darkest reference so far paying tribute to a masterpiece by one of the most influential artists within the global electronic music scene, The Thing by John Carpenter. A heterogeneous compilation that melds the nostalgic and sensitive side of electro with its most powerful nature.

PLEASURE ZONE PRESENTS - CESARE VS DISORDER - FISRT RINSE EP (12")
LIMITECEDITION - BE FAST

MixCult presents LO-FI sublabel CRYSTAL MUD focused on limited edition lathe cut 7" & 10" discs.

Dub Techno Music in Dubplate Culture. Highly Exclusive.

Fly Me To The Sun is a breathtaking German library gem from the hallowed Coloursound label. Originally out in 1983 it features two Polish composers, Andrzej Marko and André Mikola. If outré synth-funk is your thing, you need this record.

Almost blindingly luminous with positive vibes and radiant optimism, Fly Me to the Sun is a collection of funky, sun-dappled compositions for synthesizer and live instruments like drums, bass and guitar. A dope blend of beatbox driven future jazz and electro pop.

The wonderfully sleaze-adjacent opener "Dhamma" includes some grandiose piano chords amid floating ambient sounds a la Steve Hillage with slick drums entering the fray at a languid pace. "Circulation" sounds like Bowie ran into Chaz Jankel during an extended stay in Los Angeles, the Thin White Duke emerging out of a studio at 6am, bleary-eyed and clutching this filthy, bleepy instrumental of sonic smut. "Magic Scenery" is as delicate and astounding as the title suggests, a deep ambient movement conjuring halcyon images of rolling fields with abundant fauna and flora; acid-tinged visions of intense colour and natural beauty. Cool, slo-mo breaks adorn the strutting melancholy of “Longing for Tomorrow” and “Nocturnal Flowers” to close out Side A.

Skip the title track, which opens up Side B, and head straight to “Birth of a Butterfly” for a slice of creeping digi-dub-soul niceness. This should've been front and centre of that Personal Space compilation a decade ago. Raising both the tempo and the temperature, “Riding on a Sunbeam” continues in the mesmerising cosmic funk style before "Osmosis", one of the clear stand-outs, presents a fine vintage synth solo over a mellow funky rubberband beat. The closing track, "Solar Heating", warms things up with slapped bass and bold drum machine beats and the synth lends Sci-Fi vibes to the dark dub-funk-reggae rhythm.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Fly Me To The Sun comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

Emotionally, crafted by Brainislave Zivkovic and Andre Tschaskowski in 1986 for Coloursound, is arguably the most beautiful library album ever produced. A start-to-finish masterpiece of powerfully melodic music for reflection and introspection. It is, indeed, deeply emotional.

Branislave Zivkovic handles the majority of Side A. Opener "Morning Light" evokes exactly that feeling, with a gorgeous and plaintive acoustic guitar solo combining with alto flute to stunning effect. Its immediate counterpoint, "Sundown", in no less arresting but brings with it an after-dark drama of almost Lynchian proportions, again drawing upon guitar and flute but with a slightly more melancholic, even sinister edge, also calling to mind Ry Cooder's score for Paris, Texas. It truly captivates when the strings arrive. Remarkable.

The reflective cello solo with swelling strings at the heart of "Pastoral Walk 1" ensure this track is aptly titled, with parts 2 and 3 adding more agitation - via keys and percussive elements - to great effect. "In The Garden 1" presents an elegiac cello solo whilst its second part elevates the romance. The four-part "Soft Thoughts" suite invites further introspection via reflective alto flute and guitar. Fans of The Durutti Column will need to seek this.

Andre Tschaskowski enters proceedings with three tracks at the end of the Side A. All of them aces in the pack. "Grief", whilst sorrowful, uplifts in its second half through beautiful keys. Equally hopeful are the two-part "Personal Mood" sketches, both dreamy exercises in optimistic ambience.

Tschaskowski controls the entirety of Side B. "Woodland Mood", with its pastoral flute and cor anglais and "Reminiscence", with its classical, emotional strings, both beguile. The piano and strings-heavy "Sentimental View" suite is one of the most beautiful, atmospheric things you will ever hear, particularly its second part. "Moonset 1" with it's wonderful Joe Pass-esque guitar is tense yet easy, the beauty elevated further with the introduction of strings and horns. The more restrained "Moonset 2" is pared back to its divine, sweeping essence and should surely have been sampled by now. To close out an album of almost impossible refinement, the brief 2-part "Emotional Tension" salvo brings both increased stress before resolving itself and the LP with a piano motif and atmosphere of serenity. Blessed relief.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Emotionally comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

Roe Deers presents his fascinating debut full-length Salt Town Boy, a leftfield collection of wild sonic tales filled with dusky moods and punk attitude. The first LP to be released on Good Skills, the label Roe Deers runs with BDHBTS co-conspirator Titas Motuzas, the album brings together tracks produced in his Vilnius studio over the past six years. It also features a series of unique storytelling vocal contributions from an international list of friends and colleagues.

Roe Deers is a Lithuanian-based project led by Liudas Lazauskas. A regular at Vilnius institution Opium and a key member of the city's fertile scene, he's long been breaking the rules of genre in his explorations of the uncharted territories of murky electronic music, releasing on labels like Omnidisc, Turbo, Nein Records and Throne Of Blood.

The Salt Town of the album's title is Druskininkai, the Lithuanian spa resort where Roe Deers grew up and first began DJing at a venue run by his parents. The breadth of styles and moods he was exposed to from an early age can be heard across these 12 intriguing tracks, which blend elements of beat science, electroclash, post punk, italo, krautrock and EBM into a deliciously intoxicating brew.

The skewed motorik pulse of opener and lead single 'Trident', featuring apocalyptic intonations by French-Canadian lyricist C.A.R., sets an offbeat, ominous tone that prevails for the rest of the album. Vocal contributions from Israeli producer Niv Ast ('Late Night Tale'), Norwegian troublemaker Sex Judas ('Rodeo King') and Berlin-based singer Aquarius Heaven ('Walking Down The Streets') each bring out the moods - vampish, febrile, industrial - that permeate Roe Deers's textured, percussive productions. At the album's centre are two tracks that point to the past and possible future of the Roe Deers project: first, 'Theme' features French post punk band Order89 in a compelling disco-noir moment that recalls his earlier club EPs; then, regular collaborator Palmes Ziedas provides Lithuanian vocals for 'Tarp Raudonu Sviesu' ('Between Red Lights'), a frenzied howl of a track that fits an entire film score into its short three minutes.

The instrumental pieces on the album have their own stories to tell, from the dusty dive bar meditation of 'Flying Carpets' to the paranoid proto-techno pulse of 'Celebrity Theme' and the 11-minute cyclical epic 'Never - Ending -'. As the last moments of cinematic closer 'Fin' play out, we realise that our trip down the twisted paths of Roe Deers's beguiling sound world is coming to an end; but we also know that to go back in again all we have to do is press play.

The « In Jazz » collection proudly presents its new voulume dedicated to the unique artist Björk.
Rediscover the gretest songs of Björk reworked by the Jazz scene.
A selection of the nicest covers of « Venus As A Boy », « Army Of Me » or « Human Behaviour », iplayed by Viktoria Tolstoy, Julia Karosi, Gretchen Parlato, Eric Legnini...

The lyrics of the tracks of "IV:LETVM" revolve around death, war, forces of nature and superstition as well as rituals. This consistently heavy lyrical content is matched by the instrumental brutality of the nine tracks. The quartet from Giessen in Hesse presents itself on its new album exclusively martial, destructive, and evil. Song titles like 'War Dreams Of Itself', 'Lessons Of Darkness', 'Certain Death', 'Suffering' or 'Sadness' point the way ¬– no coincidence that the band’s official logo consists of an axe and a mace. DEPRAVATION cultivate a resounding style mix of black and death metal with a crust side to it, which is served fiercely and lingers bitterly. Exactly this is what the group is after since their first release "I:PRAEDICTVM" in 2012 succeeded by "II:MALEDICTVM" one year later. Following 2020's "III:ODOR MORTIS", "IV:LETVM" marks the second album for LIFEFORCE RECORDS. After more than ten active years, in which split records with ANCST and SLOWLY WE ROT were released, DEPRAVATION enter the scene without the pretense of following current trends or living up to any particular genre. "IV:LETVM" is the expression of diverse musical influences and above all one thing: relentlessly extreme. "IV:LETVM" was recorded at Red Tape Company by Simeon Lauber in Gießen. Nikita Kamprad (Der Weg Einer Freiheit/Ghost City Recordings) is responsible for mixing and mastering.

Polish Jazz holy grail - never before issued free jazz, improvised suite from the legendary Polish jazz trumpeter Tomasz Stańko Quintet. Astigmatic Records presents the first part of Wooden Music, a conceptual project created by the maestro and his legendary quintet, which has been stored in the archives of Radio Bremen for 50 years.

Dubquake Records presents “Hold Strong”, a new collaboration between O.B.F Sound System and Jamaican singer Mikey General! Following the release of the emblematic title "My Sound A Danger" published in 2014 at the end of the album "Wild", the collaborations Mikey General / O.B.F had remained until this day of the order of the dubplate despite a few studio sessions very productive. With the release of this new single, recorded Yard Style in 2018 at the "Dog Ah Bark Studio" at Nazamba, O.B.F is catching up with time.
Rub-a-dub atmosphere on riddim O.B.F, brassy roots influences and text of struggle: "Hold Strong" follows the good recipes that made the success of the JA / Geneva collab. The tune available on 7 inch with its dub version comes in an original cover that highlights the work of the Ivorian up-cycler artist recognized under the name of Saliou Gnambode. Hold Strong!

Dublin-based producer Moving Still further blends both his Saudi Arabian and Irish heritage on 'Kalam Hub', a triumphant new EP that marks the fifth release on CWPT/Cooking With Palms Trax. Following a series of 12” edits and original productions that have put his sounds in the record bags of DJs including Hunee, Nabihah Iqbal and Esa Williams, 'Kalam Hub' presents an ambitious expansion of the Moving Still sound, delving into his identity and background to open up imaginative, universal new corners for club culture.

This potent musicality is immediately evident from the first notes of 'Kunafa King'. Taking its title from a traditional Arabic dessert, analogue midi sounds deliver a skewed take on the traditional Saudi rhythms of the artist's youth, before expanding into a wistful diversion for any self-respecting dance floor. It's a trick Moving Still pulls off again on the pulsing 'Hayati 89', which transforms from a traditional aesthetic into a blistering, neon-tinted Italo banger, the kind of track designed to compliment an accelerated spin in the car gracing the eye-catching cover of ‘Kalam Hub’, a collaboration with the artist alongside Manchester-based graphic design studio, Dr. Me.

Concluding the record's A-side, the rhythms take a trippier turn for the duration of 'La Titasil Feeya'. Translating to “don't call me!” and making sonic reference to teenage years immersed in rock, metal and general angst, it unfolds as something akin to Middle East-tinted techno with a formidable kick drum, before exploding in colourful, organic breakbeats. Immediately on the flip, the sense of wonder returns in a sonic mirage for 'My Bosa Is For You', weightless rhythms blending with an electric organ and charming, lightly psychedelic breakdowns.

Further sonic tricks fall from Moving Still's delicately-tailored sleeves on 'Haram Odyssey', where an almost impossibly tight bass line provides the function for contrasting synthesis and unpredictable percussion, drawing parallels between the sometimes confusing aspects of the artist's dual-cultural life as a child, through to the music he makes as an adult. Fittingly, the record concludes with ‘Kalam Hub', a triumph of minimalist percussion and traditional instrumentation that pays tender tribute to the Moving Still's grandmother, translating simply to “Love Talk”.

Houseworx presents another hot 4 tracker of DAWN AGAIN from Australia. After his fullminant debut on HW026 we are more than happy to release the next EP of this talented guy.

repress!

3x12'' Re-issue of this Drexciyan masterpiece that was previously released on Supremat. Now including the tracks that were only available on the CD version when the album first came out in 2001.
If the late James Marcel Stinson left anything in his wake it's certainly the staggering amount of beauty he produced over the years. Tresor Records prepare to re issue a slice of that beauty on October 10th.
Thematically, 'The Opening Of The Cerebral Gate' saw Stinson shift away from the grand narrative of the Drexciyan saga, instead exploring a sub-plot of esoteric concepts revolving around internal, mental and psychedelic tropes. Musically, it presents the electro genius at the height of his game.

2023 Repress

In between the re-releases of the two legendary Drexciya albums released on Tresor in '99 and '01, the Berlin techno institute is proud to re-present Transllusion's 'Mind Over Positive and Negative Dimensional Matter' the 12' single which originally accompanied the album 'The Opening Of The Cerebral Gate'.

Produced by the late James Marcel Stinson and released in 2001 via Supremat, a short-lived sub-label Tresor dedicated to a more abstract and experimental electro sound, both releases were conceived as the second part of the so-called Drexciyan Storms - a whopping stack of seven albums by the Detroit pair released under different monikers within a single year (the Tresor album 'Harnessed The Storm' being the rst).

This phase marks a groundbreaking time for the duo, their cosmos breaking wide open, right at the dawn of a new technological era in electronic music production. All this is deeply reected in Transllusion's rst album and single.

Thematically, 'The Opening Of The Cerebral Gate' and 'Mind Over Positive and Negative Dimensional Matter' saw Stinson shift away from the grand narrative of the Drexciyan saga, instead exploring a sub-plot of esoteric concepts revolving around internal, mental and psychedelic tropes. Musically, it presents the electro genius at the height of his game.

Endearing Montreal-based trio Afternoon Bike Ride announce their forthcoming second album "Glossover", set to be released via Friends of Friends. Consisting of Lia Kurihara (vocals, guitar, programming), David Tanton (vocals, guitar, drums, programming), and Éloi Le Blanc-Ringuette (vocals, keys, drums, programming), Afternoon Bike Ride is a lo-fi folk trio providing a comfort zone in audio form. It"s in the name. When all three artists are together, their chemistry culminates into one organic and lush sound. Sonics that feel natural and freeing, as if fireside with a handful of microphones and instruments and toys. The band has released a series of cohesive projects where field recordings blend with ambient, acoustic, folk, and pop. A cauldron of genres they stir during each song. With precision, Afternoon Bike Ride presents a soothing sound all their own, one that continues to expand and deliver with each new release.

The third compilation (of four instalments) in the Various Artists catalogue of Pi Electronics is hitting physical and digital stores around the globe on the 10th of February 2023.

The concept of releasing artists, who performed at Pi parties (2014-2019) along with musicians who stood close to the label before and during its activity, gathers 18 tracks to the Limitation Compilation.

Music by New York City industrial legend Adam X, Swedish master mind producer Peder Mannerfelt and Irish Techno figure, Eomac (also one half of Lakker) finally takes its place on the label catalogue, along with tracks by the electro side of Italian born producer, Alessandro Adriani and the sound-aesthetic of UK hailing musicians, Slave to Society (formerly AnD ) and Sam KDC.

Berlin artists Alekzandra and Interviews appear with a synth leaning piece, and a hypnotic, broken techno contribution respectively.

You can also meet the sound of Tel Aviv's finest electro duo TV.OUT on this release, which also includes a rare collaboration track by Ireen Amnes and Gramrcy.

Finally, 'Limitation' presents music by Greece affiliated acts of different backgrounds: from the dreamy guitars of Monochromatic Visions and the ambient/drone of Devika, to the broken beats of Zevla and the rolling techno of Thanos Hana; Not to mention the textures of noise band Phallucipher, the industrial slo mo techno of Thessaloniki's, Archaic Intellect, and the noise-techno of label founder, 3.14.

A crossroad of different genres and production styles is offered in the formats of Double Vinyl Sampler, Double CD and digital for this compilation, titled "Limitation".

I'm in it. The music on Coast doesn't beckon, it purely compels you closer through sheer insistence on its existence. insist in sist ins ist i nsist insist 'Spiral' presents full gorgeous tones, timbres and textures. Round throbs like the lighthouse spins of light, very orbic. orbic orb ic orbi c orbic 'Later' is distilled even further. It makes you stand up, announcing itself not with some cry or bang but with a style of momentum rarely encountered: inviting yet insistent. ins orb ist ic ent

Andrew Choate

Mike Majkowski is a double bassist / music-maker from Sydney, based in Berlin. Active across a wide range of experimental music since the early 2000s, he has released music with numerous projects. Coast is his twelfth solo recording.

As 2022 concludes, Marcel Fengler opens a new career chapter with the announcement of '10 Years IMF', an inspiring compilation that marks a decade of his influential label Index Marcel Fengler. A "heart project" two years in the making, the work showcases 12 cuts from artists across the generations exclusive to the compilation, and in-line with the imprint's ethos, unites established and emerging artists.

At the same time, true to Fengler's own vision, it presents productions that span the full breadth of the techno genre - whether it be funky, elegant, industrial, atmospheric or broken beat, right through to the harder techno variety, '10 Years IMF' stands as Fengler's personal manifesto of techno and the artistic possibilities of the genre.

Each record includes a 10 Years special collectors item.

An official reissue, with the original gatefold jacket and the original large booklet reproduced. Pressed on 180 gram vinyl, with side D etched. Sweden's Tribulation have been one of the most innovative bands working in metal in the new millennium. Their third album The Children Of The Night (2015) saw the band leap even further from their death, black and thrash metal origins and add hints of psych rock, prog and classic rock into the mix. Pitchfork called it "a sprawling, compulsory tale that doesn't turn dull. ... There is no way to arrive at a consensus artist who will satisfy everyone, but The Children Of The Night comes close." Svart Records presents, in conspiracy with Century Media, an official reproduction of the original 2015 double LP, that has already become a rarity.

An official reissue, with the original gatefold jacket and the original large booklet reproduced. Pressed on 180 gram vinyl, with side D etched. Sweden's Tribulation have been one of the most innovative bands working in metal in the new millennium. Their third album The Children Of The Night (2015) saw the band leap even further from their death, black and thrash metal origins and add hints of psych rock, prog and classic rock into the mix. Pitchfork called it "a sprawling, compulsory tale that doesn't turn dull. ... There is no way to arrive at a consensus artist who will satisfy everyone, but The Children Of The Night comes close." Svart Records presents, in conspiracy with Century Media, an official reproduction of the original 2015 double LP, that has already become a rarity.