Buscar:mel

For Fans Of: Laibach, Trepaneringsritualen, Ulver, Skinny Puppy, industrialized Dead Can Dance, Celtic Frost. FORGOTTEN SUNRISE is a band both legendary and current; inventors in one era, and innovators in the present day. Celebrating their 30th anniversary this year, the group has evolved and morphed over time into its current formation of Anders Melts, Kadri Sammel, and Jaan Pullerits. A huge part of the Estonian cultural landscape that comprises dark music, Forgotten Sunrise began life as a death metal band in the early 90s, part of the movement that spawned groups such as Amorphis, Beherit, Anathema, My Dying Bride, and Katatonia. As styles converged, and electronics entered the picture, the group incorporated newer techniques and a more industrial approach over time, consolidating their methods into a unique strain they call “OUTDUSTRIAL” – outsider industrial. elu is the first album in the “HALL-ELU-JAH” trilogy. Starting in the middle, the band has an expansive story arc set across 3 albums. In this first presentation of the trilogy, elu synchronizes the classic Death Metal style vocal with ethereal female voice, horror atmosphere, and pounding EBM rhythyms to create 8 memorable and visceral tracks. From high-energy dancefloor-fillers like “Orthotoxic Waste” and “Deep Emoceans” to heavy industrial grinders like “Near Bye” and “iSaid” to the emotional close of “Meating 8:08” into “Elukas”, the album provides a serene metamorphosis, guiding the listener through the many-worlds-as-one experience of Forgotten Sunrise. – Forgotten Sunrise are: Anders Melts – Vocals, bass, guitars, cymbals, djembe, thunder tube, knife and fork. Kadri Sammel – Vocals, bass, keyboards, shaman drum Jaan “Suva” Pullerits – Controlling the arrangements of chaos Ants “Ank” Lill – B(l)ack vocals on “Elukas” Recorded, mixed, and mastered at In Dreams 2020-2022 Artwork by Rene 13 Cover Picture by hellish.cav Executive Producer for Ohm Resistance – Alexandra Portaluppi

Bread & Butter Recordings gears up for their first release of the year, continuing their tradition with a various artists compilation, exclusively on vinyl, that exemplifies the label's commitment to quality and artistic integrity. Once more the label from the U.K. pushes the boundaries of electronic music uniting innovative talent and capturing a unique essence of minimal house.



Leading the record is the Romanian eminence Bryz, crafting a hypnotic journey "Behind Heaven's Doors" with profound melodies and magical atmospheres. On the flip side, the well-known Frenchman Lukea crafts "Euphoria", a track that features a thick bassline and dominant percussion without losing the deep sense of mysticism. To round up the record, "To The Sky" by Romanian Constratti brings an infectious rhythm through an expertly created soundscape for the dance floor.

Julian is back on Subtil Records with Metamorfoze EP Part II, presenting four highly energetic, deep hypnotic cuts.

This EP will enthrall listeners with its intricate rhythms and captivating underlying melodies, pushing further Julian’s research of hypnotic patterns and raw textures.
The former goes first with the deeply stylish tech-house number that is 'Deeper Love', with its bumping drums and goes bass get you in the vibe right off the bat. Next comes 'Subsistance', a minimal house cut that is tightly coiled, vibrant and damn infectious.
Flip this one over and you'll be treated to the brilliant brace of gems. 'Meta' groove with warped deep space sound designs and airy drums that float.
This varied and vital EP is shut down with 'Signs', a mature track that shows Julian's brilliant skills in music production and evolvement as a producer.

Surfaced Trax returns for its second chapter with a solid V.A. compilation. "Sub Sonics Vol. 1" offers four dancefloor-ready tracks full of character.

The 'Sub Sonics Vol. 1' features tracks produced by Parallax Deep, Weirdvin aka Edvin Wikner and Kasvo, showcasing their unique character and talent. Parallax Deep does the honours of closing and opening the compilation with style - 'Submerged' (A1) and 'Sediment' (B2) are two exquisitely groovy, deep excursions full of emotive pads, sub-basses and detailed syncopated rhythms and creative sampling, showcasing their very personal definition of deep techno. Weirdvin's 'Morphing' (A2) is a bleepy minimal techno groover aimed at dancefloor hypnotism - swirling melodies, freaky vocal sampling, odd sonic textures - a recipe for a perfectly wacky dancefloor moment. Kasvo's 'Karura' is a finely creative, dub-infused stroll in a deep, dark forest, where nature's very own sounds are sampled as the perfect rhythm and atmosphere tools, relying on a thumping kick and bassline for total immersion.

twelve.to.zero is back with its second release, signed by Crihan. "While You Sleep EP" finds Alin shaping three slow-burning and hypnotic pieces of minimal dance music brimming with detail deeply rooted in the early years of organic micro-house.

A-side's 'The Visitor' (A1) opens the EP emersed in engrossing, cinematic textures and heavy doses of syncopated acoustic drum samples. Elements ebb and flow on top of a highly minimalistic 4/4 structure, creating a contemplative locomotive composition reminiscent of the a-rpia-r school.
Flip-side's 'Lust' (B1) feels like a continuation of the previous track - driving, mysterious, mesmerizing - bubbling with vocal samples, orchestral textures, and a distinctly subtle micro-house swing. 'The Chase' (B2) closes the EP with a fresh rhythmic flavour: odd drum arrangements and melodic sequences take centre stage, flowing on top of rolling basslines of deeply enigmatic character. Introspective piano chords razor through its swingy rhythmic patterns, folding the sonic space with elegance, proving Alin's innate talent for avant-guard minimal music.

repress !

Since ancient times tribes commanded by shamans were experimenting with rituals in order to inherit higher states of consciousness.

We as descendants from those cultures disrupted their traditions by recording those sounds and reproduce it through a speaker. Although the principle remains intact.

AIROD and P.E.A.R.L. Are two contemporary artists well aware of that culture, as you can here through the 6 tracks of this EP that in good hands can catalice the ecstasy through repetitive drums, deep vocals and grinding melodies.

Every science starts as philosophy and ends as art.
Tribal science, for disc-jockeys and collectors.

Duo Drunken Kong step up for their Drumcode debut.

The residents at Tokyo’s legendary Womb have a distinct sound signature, as dreamy melodic and vocal elements rub shoulders with the pair’s trademark groove-orientated rhythms to create hypnotic techno outings that span the breadth of the genre, from heads down rollers to peak-time pleasure.

Their maiden outing on Drumcode is an inspiring four-track work ‘I Want To See’ that lays down this sonic manifesto, with each track built around different vocal samples used to skilful effect.
EP opener ‘It’s Then’ brings atmosphere in spades, mixing up a chugging bottom end, a sleek synth line and a sublime vocal that simmers throughout.

The title track is another late-night dancefloor affair that shifts between function and fun, as a slick mix of polished grooves and hypnotising melodies build towards a thrilling crescendo. ‘That’s It’ brings peak-time energy against a plump electro backbone and ’90-tinged vocal.

The EP rounds out with evocative ‘Need It’, as a stirring vox and metallic drumlines propel the track forward.

Long Beach legend Scotty Coats links the West Coast eclecticism of Stones Throw to the NYC cool of DFA and Rong to the Balearic gods of DJ Harvey et al. He personally introduced Be With to Ned Doheny 10 years ago and he was immortalised on Smith & Mudd's last LP. And he's the main man behind the mysteriously titled duo Todd Russell & The Dangerous Coats, alongside Erick "Todd" Coomes (Lettuce founder/bassist).

In very real danger of being lost forever, we unearthed two of their private recordings and present them as a double A-Side 12", adorned with S-T-U-N-N-I-N-G artwork, courtesy of Arizona artist Frank Gonzales.

"Playa Larga" is a melodic, mellow masterpiece and is quintessentially Balearic. It's stretched out, low slung, guitar-soaked drum-machine soul music. It's multi-layered and contains multitudes: it builds and builds and builds and mesmerises as it does so. On the flip, "1900 Ocean Avenue" is a super slo-mo, sunbaked drug-chug which is already blowing minds thanks to early leaks of this cosmic, psychedelic detonation.

On first listen back, Erick said to Scotty: “So wait, nothing really happens, I mean nothing bad happens but nothing really happens”. Apparently these tracks were a bit foreign for Erick, musically, because of the lack of structure in the songs.

One morning, years later, Erick called Scotty and excitedly declared: “dude, I get it now!”. He was listening to random music with a lady friend while watching the sunrise in his 1900 Ocean Ave apartment and "Playa Larga" came on randomly. He'd forgotten all about it and said he had to get up and see what song it was because "it was the perfect soundtrack for a psychedelic sunrise over the ocean."

And that's exactly how we came across it, circa 2018, randomly popping up on a playlist while we were busy doing other things. It stopped us in our tracks but, when trying to find any info on iTunes, we were out of luck. It was only years later that we worked out Scotty had sent it to us. Ever since, we've been working on getting this out to you all. It's finally time.

We've only 500 pressed for the world, with many of them spoken for by those lucky enough to be already ITK, so these are gonna fly: be warned!

Scotty is a world class raconteur so we'll hand over to him to explain how these songs came about and why they mean so much to him in the context of his wider raison d'être:

"These were made 13 years ago when I was a new dad and left my job at Ubiquity Records to provide security for my newborn son, Nolan Liam Chai Coats. I became miserable working a job outside of music for the first time in my life and I was laid off 4 months into it. I was left wondering how the fuck am I going to provide for my family?

I lived in Long Beach and Erick lived a few blocks away. I would walk to his house when Jen finally got Nolan to sleep so I could escape my panic, drink some beers (is it beerlearic?) and make some music. He lived overlooking the ocean with the Queen Mary on the horizon, so I guess mellow Long Beach nights unintentionally inspired the music. These songs were the first two songs we ever made and they embody the desperation and hope I really needed at that time. 12 years later, when Rob at Be With expressed an interest in releasing it, we had Erick's brother Tyler Tycoon Coomes play drums on it at Jazzcats Studio in LBC, with Jonny Bell.

Shortly after I was laid off, I discovered The Stepkids. I was blown away by "Shadows On Behalf" and sent it on to Gilles Peterson. He played it on Worldwide the next day. The Stepkids pulled me back into music and made me realize I wasn't prepared to do anything but be involved with music. After I heard their unreleased album, I knew there was something there so I sent it to my good friend Jamie Strong who was at Stones Throw at the time. Jamie passed it along to Peanut Butter Wolf and the band asked me to be their manager. I didn't think I was the right guy for the job but wanted to see them do well so I told them I would help shop their album. Jamie suggested I take his place at Stones Throw, just as he did when he left Ubiquity Records. I always joke that Jamie can call me Scotty Coat Tails because I had been riding his for years.

Wolf told him that "Scotty is a nice guy but has horrible taste in music", which was ironic because he was literally trying to sign the band that I brought him. The Stepkids signed with Stones Throw and found a real manager. 6 or so months later Jamie sent me a note saying "Stones Throw is hiring and you should apply lol". I told him I was going to send my resume and the subject of the email was to read I HAVE GREAT FUCKING TASTE IN MUSIC. I did just that and got a call the next day from their new GM asking me to come in for an interview. When I walked in I was in Wolf's office where I had been 6 months before, signing The Stepkids
deal. Wolf and Jason McGuire were asking me some questions and wanted to introduce me to Jeff Jank. Jank walked in and said "Isn't this the guy that Jamie wanted to bring on 6 months ago?" They confirmed and he threw his hands up and walked out saying "I've seen enough". I got the job. I worked there for 2 or 3 years until I left to join forces with Jamie Strong at his label and stayed there for almost 7 years."

Scotty wanted to use a painting by his good friend, Frank Gonzales, for the front cover image. Frank was incredibly generous in letting us use this one, and Scotty was completely honoured. We think you'll agree, it's pretty striking. Simon Francis carefully mastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this double A-side 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure these previously unheard, recently discovered recordings finally get a chance to shine.

Repress.

Back in 2015, Japanese DIY house pioneer Soichi Terada stepped back into the limelight courtesy of Rush Hour's 'Sounds From The Far East', a Hunee curated retrospective of material first released on his own Far East Recording label in the 1990s and early 2000s. Buoyed by the positive response and renewed interest in his work, Terada went back into studio to record his first new album of house music for over 25 years, Asakusa Light.

Developed over 18 months, Terada tried to recreate the mental and physical processes that led to the creation of his acclaimed earlier work. Those familiar with Terada’s celebrated, dancefloor-focused sound of the 1990s – a vibrant, atmospheric, and emotive take on deep house powered by the twin attractions of groove and melody – will find much to enjoy on Asakusa Light.

“I tried to recall my feelings 30 years ago, but when I tried it, I found it super difficult,” he explains. “I didn’t even know what I thought about myself five years ago, and the mental metabolic cycle seems to be faster than I thought. I tried different methods, including digging up my old MIDI data and composing by remembering old experiences. With the help of Rush Hour, I found some of the light from my heart that I had 30 years ago. I nicknamed the light I found in my heart, ‘Asakusa Light’.”

Produced using the very same synthesizers and drum machines that powered his 1990s work, the album is a joyous, colourful and life-affirming collection of timeless house music that not only recalls Terada’s own impeccable back catalogue, but also that of similarly celebrated contemporaries such as the Burrell Brothers or Ben Cenac (Dream 2 Science, Sha-Lor).

Terada, who has spent much of the last two decades writing video game music, has always had a gift for combining warm, undulating synthesizer basslines and perfectly programmed machine drums with stirring chords, smile-inducing melodies and mellow musical flourishes. It’s this immersive, sun-kissed and tuneful trademark style that takes centre stage on Asakusa Light, an album for the ages.

The set begins with the alien-sounding chords, soft-touch percussion and dawn-friendly warmth of ‘Silent Chord’ and ends on a high via the bouncing string stabs, starlight chords and thickset grooves of ‘Blinker’; in between, you’ll find a deluge of effortlessly feelgood music that’s the aural equivalent of a dopamine rush at sunrise.

There are subtle variations aplenty throughout the album – see the 8-bit lead lines and pulsing electronic textures of ‘Takusambient’, the vintage Tony Humphries flex of ‘Diving Into Minds’ and the effortlessly funky ‘Marimbau’ – but it’s the uniquely atmospheric, vivid and tactile nature of Terada’s loved-up sound that resonates. After well over 30 years in house music, the light in his heart is shining brighter than ever.

Bereits im Kindesalter lernte die junge Sängerin Klavierspielen und schrieb mit acht Jahren schon ihre ersten eigenen Songs. Im Alter von 12 Jahren gewann sie einen Talentwettbewerb, zwei Jahre später erschien ihr Debütalbum „Birdy“, das ihr nicht nur den internationalen Durchbruch bescherte, sondern auch 9x Platin. Zu ihren erfolgreichsten Singles zählt bis heute das Bon Iver Cover ihrer Version zu „Skinny Love“. Auf dem neuen Album „Portraits“ können die Fans sich auf einen neuen Sound der Künstlerin freuen: „Es ist ein Album, das von wichtigen Künstlern der Vergangenheit und Gegenwart inspiriert wurde. Der kunstvolle, jenseitige Pop von Caroline Polachek, Christine and the Queens und Angel Olsen, aber auch die eindringliche, gotische Seite von Kate Bush, das Melodrama von Prince, die elegante Fremdartigkeit der Stimme von Beth Gibbons von Portishead und die Synthesizer-lastige Raffinesse von The Blue Nile“ finden Eingang in das neue Album.

Odd Mob returns with a kaleidoscopic new record ‘Been Dreaming’ and introduces his alter ego GD Vandal. As the first official release under this moniker for Brisbane-based Harry Hope, he sets out to combine the very best of Odd Mob’s banging basslines with the lo-fi, disco stylings that GD Vandal has become known for in his exclusive raw cuts.

Swirling with a mysterious ‘90s-tinged vocal loop, his flair for working a sample is on full display throughout ‘Been Dreaming’, which is both dynamic and determined to get you moving. Propelled forward by energizing percussive grooves and one tasty guitar riff working flawlessly in tandem, prepare to be magnetized to the dancefloor as Odd Mob’s signature juicy low-end takes over.

On the flip, the dance floor warper ‘XTC’, melding industrial leaning sounds with a thumping baseline and hypnotic vocal.

Whether it’s as Odd Mob or GD Vandal, or combining the best of both worlds, one thing is certain: there’s no doubt he knows how to craft an absolute banger.

Die The Hurricanes 12“ Maxi Single „Only One Night“ ist zurück und jetzt in einer aufregenden neuen Version erhältlich.

Diese limitierte Auflage kommt auf farbigem Vinyl und ist ein absolutes Must-Have für Sammler und Fans.

„Only One Night“ ist ein zeitloser Hit, der die Tanzflächen der Welt erobert hat. Mit seinem mitreißenden Beat und den eingängigen Melodien ist dieser Song ein wahrer Klassiker, der auch nach all den Jahren nichts von seiner Energie verloren hat.

Aber das ist noch nicht alles! Diese Neuauflage bietet auch einen exklusiven Remix von Flemming Dalum, einem renommierten DJ und Produzenten. Dalum hat den Song in seiner einzigartigen Art und Weise neu interpretiert und verleiht ihm einen frischen und modernen Touch, der die Fans begeistern wird.

David Byrne & Fatboy Slim’s acclaimed 2010 album Here Lies Love receives its first-ever vinyl release to coincide with a new production opening on Broadway this summer. Here Lies Love is a double-disc song cycle – improbably poignant, decidedly surreal, surprisingly thought provoking – about the rise and fall of the Philippines' notorious Imelda Marcos. It was conceived by David Byrne; composed by Byrne and DJ/recording artist Fatboy Slim, AKA Norman Cook; and performed by a dream cast drawn from the worlds of indie rock, alt country, R&B and pop. Byrne's taste in collaborators is as imaginative as it is impeccable, including Cyndi Lauper (who recounts, to lighthearted disco beats, Imelda's courtship with Ferdinand Marcos), Steve Earle (as the power-hungry Ferdinand), Dap-Kings vocalist Sharon Jones (recalling Imelda's introduction into New York society) and Natalie Merchant (as spurned Imelda confidante Estrella, anticipating the onset of martial law). Along with vocals turns from such stars as Tori Amos and the B-52's Kate Pierson, Byrne works with rising indie rockers St. Vincent and My Brightest Diamond; New York chanteuses Nellie McKay and Martha Wainwright; and dance-music divas Róisín Murphy and Santigold. Byrne himself appears as the voice of imperialistic America on ‘American Troglodyte’, a send-up that wouldn't have seemed out of places in Talking Heads' True Stories.



Byrne originally envisioned this as a musical theatre piece, to be mounted in disco and nightclub settings, reflecting the globe-trotting Marcos' taste for such velvet-roped spots as Studio 54 and Regine's. In 2006, he performed work-in-progress versions to enthusiastic audiences at New York City's Carnegie Hall and the Adelaide Festival in Australia. While plans for a US theatrical production continued to evolve, he delivered this unique recording. The award-winning theatrical production eventually premiered at The Public Theater in New York in 2013, travelled to London’s National Theater for a sold-out run (2014–15), and was remounted at the Seattle Repertory Theater (2017).



Here Lies Love has an effervescent disco feel, redolent of Fatboy Slim's own dance-floor anthems, with warm undercurrents of the Latin rhythms that have percolated through Byrne's recent solo work. The sunny arrangements act in counterpoint to the reality of the Marcos' increasingly repressive regime, reflecting the imagined inner life of the glamour-obsessed Imelda. Explains Byrne, "For me, the darker side of the excesses are, for the most part, a matter of record. A lot of the audience is going to come with that knowledge already. What's more of a challenge is to get inside the head of the person who was behind all of that, and understand what made them tick." Byrne offers no judgment and avoids the obvious – there is no mention of Imelda's infamous shoe collection.



Many of Byrne's lyrics are, astonishingly enough, constructed from actual Imelda quotes, including the project's title, the words that Imelda, now returned to the Philippines from US-assisted exile in Hawaii, would like to have inscribed on her gravestone. In addition to his new liner note, Byrne illustrates the story with archival photos. In a detailed preface, he reveals what drew him to this subject and the bumpy route he took to launch the project and, ultimately, record this album. The booklet is indeed a page-turner, just as Here Lies Love is a wonderfully old-school album that rewards start-to-finish listening. Once again, Byrne – beloved as musician, thinker and bicyclist-about-town – reveals the breadth and singularity of his vision.



The new production of Here Lies Love will premiere at the Broadway Theatre in New York City. Performances begin June 17, ahead of an official opening night on July 20. Tony Award winner Alex Timbers (direction) and Olivier Award nominee Annie-B Parson (choreography) reunite with Byrne (concept, music, and lyrics) and Fatboy Slim (music) to bring Here Lies Love to Broadway, continuing a ten-plus year collaboration on the project. Tom Gandey and J Pardo contribute additional music. Here Lies Love is produced on Broadway by Hal Luftig, Patrick Catullo, Diana DiMenna for Plate Spinner Productions, Clint Ramos, and Jose Antonio Vargas. The staging at the Broadway Theatre will transform the venue’s traditional proscenium floor space into a dance club environment, where audiences will stand and move with the actors. A wide variety of standing and seating options will be available throughout the theatre’s reconstructed space. The producers of Here Lies Love said, “As a team of binational American producers – Filipinos among us – we are thrilled to bring Here Lies Love to Broadway! We welcome everyone to experience this singularly exuberant piece of theatre. The history of the Philippines is inseparable from the history of the United States, and as both evolve, we cannot think of a more appropriate time to stage this show. See you on the dance floor!”



David Byrne’s recent works include the launch of Reasons to be Cheerful, an online magazine focused on solutions-oriented stories about problems being solved all over the world (2019); Joan of Arc: Into the Fire, a theatrical exploration of the historical heroine that premiered at the Public Theater in New York (2017); The Institute Presents: NEUROSOCIETY, a series of interactive environments created in conjunction with PACE Arts + Technology that question human perception and bias (2016); Contemporary Color, an event inspired by the American folk tradition of color guard and performed at Brooklyn’s Barclays Center and Toronto’s Air Canada Centre (2015); Here Lies Love; Love This Giant, a studio album and worldwide tour created with St. Vincent (2012); and How Music Works, a book about the history, experience, and social aspects of music (2012).



Byrne curated Southbank Centre’s annual Meltdown festival in London in 2015. A co-founder of the group Talking Heads (1976–88), he has released eight studio albums as a solo artist and worked on multiple other projects, including collaborations with Brian Eno, Twyla Tharp, Robert Wilson, and Jonathan Demme, among others. He also founded the highly respected record label Luaka Bop. Recognition of Byrne’s various works include Obies, Drama Desk, Lortel, and Evening Standard awards for Here Lies Love; an Oscar, Grammy, and Golden Globe for the soundtrack to Bernardo Bertolucci’s The Last Emperor; and induction into the Rock and Roll Hall of Fame with Talking Heads. Byrne’s work as a visual artist has been published and exhibited since his college days, including photography, filmmaking, and writing. He lives in New York City. In addition to 2019’s cast album for American Utopia on Broadway, Nonesuch has released eight other David Byrne records since 2003, including 2018’s American Utopia studio album and two versions of his musical Here Lies Love.



















q C6. Please Don't feat. Santi White Santigold

The dynamic duo of Komponente & Kurilo from the Ukrainian label Trance Pandemic are preparing for their next sold-out record. This “Defenders” EP is made from tracks, that were made before the full-scale Russian invasion in Ukraine and also it is the continuation of “For A Brave” EP.

The main track of the release, also called “Defenders” is a signature piece for their duo. Moderately slow and calm, that evolves into something bigger around the third minute. The mayhem of sounds with that hell’s bells also. And there’s a little Easter egg at 1:29. If you know the sample – you’ll smile for a bit.

The record starts with “Victory”. Bold, a bit broken at the beginning piece, that is also evolving. This time we’re talking about the structure. The straight one comes after that broken start. “Kharkiv Mnemonic” also has some bells inside, paired with a nice, bubbling acid and a heavenly melody a bit closer to the end. The calmest track on the release.

Last, but definitely not least (the choice for the pick was between these two from the B-side) is “Broken Dreams”. Still can’t get enough of that break that we know lately from Alec Falconer’s release on Art Of Dark (not that lately, to be honest) and a dozen of other tracks. Here it’s hidden a bit in the back, so we can hear another kinda trancey and melancholic melody in full.

Originating with HoneyLuv, made in collaboration with Tuskegee co-founder Seth Troxler, and featuring portions of Paul Johnson’s classic 1998 track ‘So Much’, ’Sex & The City' is HoneyLuv’s homage to one of house music’s greats and an encapsulation of Tuskegee Music’s ethos of honouring the genre’s Black & Hispanic origins. Detroit house legend Marc Kinchen’s interpretations of the track imbues Sex & The City with all the beloved MK touches, from the inimitable drum patterns to the instant-earworm melody.

The release marks the return of the label founded by Seth Troxler & The Martinez Brothers in 2014. In addition to music from its label heads, Tuskegee Music featured artists including Omar-S, Jamal Moss, K' Alexi Shelby, D-Knox and William Djoko before going into hiatus in 2019. The label’s upcoming schedule will continue to focus on its remit of supporting BIPOC artists, through the elevation of new talent and collaborations with some of house & techno’s most important and influential figures.

Water Machine is an office romance between Hando Morice (they/them), Flore de Hoog (she/her), Jimmy Gage (he/him) and Goda Ilgauskaitė (she/her). An unassuming supergroup formed out of Glasgow institutions including Goth GF, Passion Pusher, Brenda and Soursob, their sound careens between punk, country and alt-rock underpinned by the unique quality they call “Raw Liquid Power”.
Following last year’s self-titled demo tape on Gold Mold Records, and fresh off of shows with the likes of Holiday Ghosts, The Cool Greenhouse and The Orielles, as well as a rollicking Viagra Boys afterparty, the four-piece will release their highly-anticipated first studio effort ‘Raw Liquid Power’ on Upset The Rhythm on August 4th.
The EP opens with a menacing, modulating synth melody. Gage’s guitar enters with a mighty bend before breaking into the chugging rhythm of ‘Water Machine Pt. 2’. This timely reminder to refill your water bottle - “don’t be late, hydrate!” less a wellness mantra than a threat - builds to a spacey outro with flashes of the art-punk weirdness of Suburban Lawns. ‘Stilettos’ marches on indignantly with a spiky riff punctuated by Ilgauskaitė’s cowbells. Staccato talk-singing tells a playful tale of stray cats following you home, but belies a darker subtext as the breakdown gives way to paranoid duelling guitars evoking The Fire Engines.


The anti-anthem ‘At the Drive In’ skewers joyless DIY crowds, reminiscent of much-missed Glasgow punks Breakfast Muff. Water Machine’s irrepressible sincerity can’t help but shine through in the final moments though, as jibes about “late night trade potential” give way to plaintive vocal harmonies. Morice tears public transport a new one on closer ‘Bussy’, a First Bus diss track bemoaning precarious employment amidst crumbling infrastructure. “That’s why I’m not on time!” they roar over de Hoog’s frantic, pounding bass, bringing the record to a skidding, screeching halt.

Nomada Records proudly welcomes Detroit's legendary House and Techno producer Gari Romalis with "Detroit Hustle EP"; a four track release where we can enjoy the distrinctive and slinky Deep House and Techno energy that characterizes Gari Romalis' sound.

The A-side starts with "I'm Wonder Luc" a heavy weight opener where Gari catches us with punchy drums, warm pads, infectious sub basslines, catchy vocal samples and deep piano stabs. The following track is called "Floor Anthem (Ghost Mix)"; a nostalgic deep house beauty with Lush chords, chunky beats and catchy melodies.

On the flip Gari goes more deeper and techy with "Float On"; the hypnotic arp and chrod progression, the strong bassline and punchy drums make the perfect track to destroy dancegloors this summer. The B-side closses with the sey deep house sampled track called "Detroit After Dark".

Evelyn spreads her wings and prepares to fly. This is her first offering for the ESP Institute. On side A, 'Tremors' slams together a plethora of seemingly disparate rhythms, organic percussion, field samples, hypnotic chants and a relentless low end punch, that when in full-swing, works some seriously deep sorcery. Contrasting her pounding kick and rolling sub combo are a softer grouping of melodies, soft mallets and muted tones that lay subtly beneath the aggression, skillfully playing with a sense of spatial depth and room size. Its the kind of track that draws you in with meditative bars, concentric cycles that sit ever so slightly off-axis, inducing the mind and body to obsess and regulating its timing, and then drops you into a very intentionally arranged soundstage giving expansive space to explore. On the flip, 'Pregunta' continues this approach of natural versus industrial instrumentation. The consistent machine kick has a powerful but playful tone, the negative space between each stroke evoking a mighty gesture as its note bends in the decay. Set in 3/4, a community of live percussion successively adds and subtracts, each player’s imperfect attack accumulating into a mechanically smeared and addictive loop that toys with peaks a handful of times yet restrains any unnecessary climax for the betterment of a driving groove. Near the end, as the kick and various players mute and the base of the track is given a moment to breathe, its apparent just how layered the production was in the moments prior, as we’re suddenly at home, smitten with the wobbly and lopsided innocence of the foundational percussion. These two songs will push you headfirst into the light.

Following on from the successes of their first two LPs, "Kalba" and "Small Small", Isaac Birituro & The Rail Abandon return with the "Kontonbili EP". A collection of seven tracks that trace the traditional West African roots of their sound whilst adding their unique touch, largely courtesy of Isaac's xylophone, Sonny Johns' folky embellishments and the vocal prowess of powerful Ghanaian songstress Wiyaala.

The lead single "Hado Deeli" roughly translates to "My Rival" and is a vibrant discussion between two rivals, one of whom is always making a fuss about anything and everything, even when things are all good! "Gargar", with its collaboration of xylophone, whistles, Wiyaala's effervescent vocals and relentless groove represents, quite literally, the band's "joining together" for this EP. In contrast, "I Know" sees Sonny Johns takes over lead vocal duties to lament the breakdown of a relationship accompanied by muted horns and Wiyaala's soothing backing vocals. "Nimmbalia" continues in a mellow and reassuring tone before emerging as one of the most uplifting and simultaneously fierce cuts on the EP! The traditional version of "Bawa" - the original take of which can be found on last year's "Small Small" LP - strips things back a little, before culminating in a battle of xylophone, whistles and choir. "Yeri Villa" has a wonderfully laid back, sun drenched feel with some truly beautiful vocal refrains, and finally - only available on the digital version - comes the deeply percussive and trance inducing "Darpeny", rounding off a rather stunning EP from this cross continental outfit.



All tracks feature Ghanaian singer, song-writer, model and actor, Wiyaala. With a strong fanbase in Africa and beyond, "the lioness" made her mark on Wah Wah 45s and BBC 6 Music last year when she featured on the A-listed "Senye", described as "perfection" by Annie Mac and "pure joy!" by Tash LC.





e 05: Bawa (Traditional) feat. Wiyaala

Blending ambient, drone, krautrock, psychedelic, house music elements into a unique sonic universe... that's what Cloudland Canyon is known for! This American experimental music project led by Kip Uhlhorn comes with the release of their new self-titled LP on the always trustworthy Medical Records! The band continues to explore the boundaries of sound and space, taking the listener on a journey through lush soundscapes and immersive textures. Formed in 2002, Cloudland Canyon has released several critically acclaimed albums, including "Fin Eaves," "Lie In Light," and "An Arabesque."

Their recent releases have been produced by Sonic Boom from Spacemen 3/Spectrum. With each release, Uhlhorn has pushed the envelope of experimental pop music, collaborating with various musicians and producers to create intricate and otherworldly compositions. This time around Uhlhorn collaborated primarily with AI to generate and create a compositions that sound like they are meant for an alternate realm where both beauty and suffering are both present, but not at odds with one another. AI has helped Uhlhorn take one step further into the transfigurative looking glass.

The new LP, marks a new chapter in Cloudland Canyon's journey, expanding their sonic palette to include elements of techno and electronic music while still retaining their signature dreamy atmospheres. The album is a journey through a sonic landscape that is at once futuristic and nostalgic, evoking the feeling of driving down an endless highway into the sunset. Past musical collaborators have included some of the most exciting musicians working today, including Sonic Boom from Spacemen 3, Wayne Coyne & Kliph Scurlock of Flaming Lips, David Scott Stone of the Melvins, Unwound,& LCD Soundsystem, Dean & Britta from Galaxie 500 & Luna, and Jody Stephens from Big Star to name a few. "S/T" is a testament to Cloudland Canyon's ability to collaborate and create music that is both innovative and accessible. Whether you are a longtime fan or a newcomer to Cloudland Canyon's music, "S/T" is a must-listen for anyone interested in the possibilities of experimental music in the 21st century. With its combination of analog and digital textures, hypnotic rhythms, and expansive soundscapes, it is a journey you won't soon forget.

As it celebrates its 50th anniversary, Bill Withers' Still Bill remains true to its title – and stands as the greatest male-fronted soul album not made by a singer named Marvin, Al, Sam, James, or Ray. Though the saying "keeping it real" did not exist in popular parlance when Withers released his sophomore effort on Sussex Records, no words better capture the music's approach, mindset, and value. Every facet of Still Bill radiates honesty, truth, and emotion.

These characteristics – along with Withers' strong singing, hybrid arrangements, and deceptively simple songwriting – have allowed the album to endure to the point where it sounds as fresh today as in 1972.

After rising into the Top 5 of the Billboard Album charts and attaining gold status within a year of release, Still Bill has long been evaluated not by sales – but according to its merit, spirit, and agelessness. Included by The Guardian on its "1,000 Albums to Hear Before You Die" list (2007) as well as in Tom Moon's 1,000 Recordings to Hear Before You Die book (2008), its contemporary standing as one of history's most venerated soul efforts eclipses the positive reception it enjoyed in the early ‘70s.

Still Bill walks the same hallowed ground as What's Going On, Call Me, Night Beat, and Genius + Soul = Jazz. Like those landmarks, Still Bill plays with a mix of consistency, effortlessness, and complexity that rewards repeat listening and transcends categorization.

In combining four of the era's predominant styles – Philly soul, sweaty funk, Southern-reared blues, acoustic-based folk – and melding them with standout production borrowed from both minimalist affairs and sophisticated singer-songwriter albums, Still Bill occupies a distinct universe.

Its rhythmic fare is equally laidback and invigorating; relaxing and rollicking; eloquent and muscular; soft and tough. Withers' calm, self-assured voice hovers above it all, doubling as a warm blanket that adds comfort and grace to lyrics steeped in maturity, perspective, and compassion.

Withers' balanced outlook on human desires, needs, and situations stem from his own existence as a former blue-collar employee who believed his time as a musician would soon end. That grounding forever separates Withers from other contemporary soul greats – and stamps Still Bill with a conversational nature and egoless approachability.

"I mean look, I'm really a factory worker," said Withers in 1972. "That's a real job." There's that word again: real. The songs on Still Bill are tethered to modesty and actuality, wedded to a belief in simplicity, and connected to universal truths that link us all – independent of our economic or social standing. No track better exemplifies those principles than "Lean on Me," a feel-good paean to brotherhood and community that hit No. 1 on the pop and R&B charts en route to becoming a mainstream staple.

Withers approaches the plainspoken insight on "Lonely Town, Lonely Street" and heartbreaking vulnerability of "I Don't Want You on My Mind" with similar sincerity and straightforwardness. His proclivity for authenticity extends to the record's other big hit: the sexual, funk-laden "Use Me," which reached No. 2 and reflects the singer's everyman persona. It's an identity couched in keeping it real, the very inclination that ultimately led Withers to retire in the mid-'80s rather than bend to industry pressures or risk credibility.

That commitment to truthfulness and realism helps make Still Bill feel as unaffected as the air we breathe. Looking back on "Lean on Me" years later, Withers said it seemed like "something that was there before I got here" – the kind of song that could be 100 or 10 years old, or one we encounter anew 10 years into the future. The same can be said for every note on Still Bill.

Mesmerising debut release of Soft Traffic, a new family member of the ever classic Sushitech Records.

Meltem is a studio collaboration EP with dub vocalist Prince Morella. Super limited hand-stamped vinyl release!

Tamango Records boss Yaya heads to TRMNL Records as he unveils his latest EP on the imprint, backed by remixes from Salty Nuts head honcho Fabe and label resident Vito.

Heading up his Tamango Records imprint while serving up killer cuts and remixes on Desolat, Moan, Revival New York and more, Yaya is a man in high demand across the globe. With his take on house music bridging influences from Africa to Italy, his percussive-driven and slick sound has made him a favourite for those looking for productions leaning towards the more energetic yet minimal end of the genre. That style is on show once more as he adds a new label to his catalogue. Joining the likes of Djebali, East End Dubs, Ray Mono and Samu.l, late July brings the release of his new EP ‘Para Siempre’ on UK imprint TRMNL Records, accompanied by a slick pair of remixes from Fabe and Vito to shape up the package.

Title track ‘Para Siempre’ is a skippy and bouncy lead effort as crisp drums, a zippy bassline, and warped vocals go to work to showcase a production bursting full of vigour, while ‘Umbrella Corps’ leans towards more organic, rolling percussion arrangements, shuffling rhythms and elastic melodies guide things towards the later hours. On the flip, Fabe steps up for the first remix as he brings his signature groove-led style to proceedings for a swingfuelled slice of funk, before Vito’s crisp take on ‘Umbrella Corps’ closes the show with a final injection of early hours goodness.

Early DJ Support:
Joseph Capriati, Marco Carola & ALISHA

"We find ourselves venturing into the depths of a rugged terrain. In our hands, we hold stones and minerals, each possessing its own distinct texture, weight, and sonic potential. It is through the artistic touch and through the musical instruments that these earthly treasures, once dormant, are awaken to life." — Sara Oswald + Feldermelder

The 3rd collaboration of prolific cellist Sara Oswald and electronic musician Feldermelder evokes captivating sensations that oscillate between impending doom and hope. The albums' sonic journey is highly immersive, transporting the listener from one cerebral landscape to another. The transformative nature of metallic elements being integrated in sustained orchestral tones weaves the sonic tapestry, resulting in a captivating experience for the listeners. The organic sounding — reminiscent of minerals' timbres — brings a touch of brightness and a distinctive edge, while the orchestral harmonic structures lend a sense of grandeur and continuity. The origins of this music remain enigmatic, while the tracks of the album gradually unveil concealed aspects and the hidden truth.
One can step into a realm where melodies are reborn, as Sara Oswald's cello spins tales and emotions burst forth. Nature's eternal splendor intertwines with the essence of music, as she infuses harmonies with the soul of mountains. Vibrant hues come alive with delicate strokes, and cascading notes resonate with a select few. Feldermelder conjures profound echoes that swirl like ancient whispers of the earth's primordial past. He sculpts textures, from fragmented glitches to expansive atmospheres, that warp the fabric of reality. The two musicians merge together harmoniously, blending the acoustic and electronic worlds into a transcendent unity. This fusion of contrasting elements adds a unique and intriguing quality to the music. The cello's warmth merges with pulsating electronic beats, creating a symphony of contrasts and sonic upheaval. Each composition is woven in intricate layers, combining electroacoustic architecture with delicate precision. A subtle balance of chaos and control permeates the music as it meanders through the labyrinth of the mind. The soundscape unfolds like a grand tapestry, distant echoes murmuring like grains of sand.

Trained in baroque cello and advocating improvised music, Sara Oswald is the perfect match for sound artist and electronic musician Feldermelder. She plays solo, composes for film and theatre and collaborates with musicians like The Young Gods, Pascal Auberson, Sophie Hunger and Julian Sartorius. Feldermelder is a polymathic creative whose artistry spans composition, sound design, installation and code. He is co-founders of -OUS and part of Encor.studio, a collective of artists who specialise in creating immersive audio-visual installations. Through his work, he explores the idea of secrecy and its impact on our lives, using music and sound to create a thought-provoking and immersive experience for his audience.

Finally the wait is over. Played for years as an unreleased weapon – not only by Priku - Ave is this kind of track where you just can’t forget the synths. You will still hum them while walking the streets months after. The mighty melody can catch the whole crowd creating memorial moments on the dancefloor.

B1 with „For your love“ is an older track but old is gold, right? It fits perfectly with its house beat and sexy vocals on the B-Side. The track gets even more love on top from Bärtaub with an excellent sounding remix – as usual for their work - completing the Ep as the B2. Thank you guys.

Paul Walter, who definitly defined producing as his lifestyle, runs also Meduka Records and has released music on labels such as Do Easy Records and Neostrictly.