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LP + 7". Portland indie rock band charts novel sonic territory, exploring resilience of the human spirit in the aftermath of tragedy and trauma, over 5 years in the making. Conceived in the wake of a worldwide quarantine, the entire West Coast being on fire, and the horrific murder of one of the band's own - then recorded, finished, and now released in defiance of it all. Harnessing all that of chaotic change and catastrophe, the band took it all as an opportunity to boldly blaze some new trails for themselves, carving out new sonic territory by exploring everything from spacey Fusion-Funk bass Moogs and Hip-Hop drum machines, to New Wave-ish synths and flourishes of Samba, Blues, Soul, and Sunshine Pop - all while still delivering the goods that Aan fans have come to know them for: to-die-for melodies, inebriating primal belt-along therapy, and face-melting guitar solos. For Fans of Unknown Mortal Orchestra, STRFKR, Pixies, Dungen, Grizzly Bear, TV On The Radio, Stereolab and Modest Mouse.

Jamwax proudly presents the reissue of Laurel Aitken’s iconic 1966 single, showcasing two R&B dancefloor gems: Last Night and the soulful classic Don’t Break Your Promises. Originally released on the Rainbow label in the UK, this 7-inch record captures the essence of Aitken’s versatility and his pivotal role in bridging the Jamaican and British music scenes.

Last Night draws direct inspiration from the sounds of The Mar-Keys (1961) and Georgie Fame (1966), reflecting the influence of R&B rhythms on Aitken’s work. This release marked a milestone in his career as he gained increasing popularity in the UK, particularly among the mod and skinhead subcultures.

As for Don’t Break Your Promises, it is a cover of Milson Luce’s 1956 release on the Argo label. The song was already a hit in Jamaica, having been licensed the same year by Dada Tewari on his Downbeat imprint. Following Aitken’s rendition, the song inspired several Jamaican covers, including versions by Dandy (1972, Trojan), The Chosen Few (1973, Studio One), and John Holt (1973, Bunny Lee).

Nicknamed the "Godfather of Ska," Laurel Aitken was born Lorenzo Aitken on April 22, 1927, in Cuba. He moved to Jamaica at the age of 11 and became a central figure in the development of ska during the 1950s and 1960s. Before shaping the emerging ska sound, he recorded mento and calypso, laying the foundation for his groundbreaking contributions. His prolific recording career in England included numerous singles on legendary labels such as Blue Beat, Pama Records, and Trojan Records. Aitken’s legacy as a pioneer of Jamaican music and his influence on British subcultures firmly establish him as a key figure in the global evolution of ska and reggae.

Originally released in 1966
Licensed courtesy of Cherry Red Records Limited

The VA saga continues with the sixth edition and holds 4 previously known artists and mainly new appearances on the label. A melting pot mixed of 12 flavored cuts with a modern take and classic orientated approach on techno.

The first HR101 mission is complete. Five masterful sonic weapons with a hi-tech edge, for clubs, warehouses and the great outdoors.

From the spitting lead line, elevating stabs and hands-in-the-air spirit of title track "Love Generator" to the surging rave techno of "Flawless Victory" on the a-side, HR101 traverse the past through a razor-sharp, modern production sheen. "Watch The Collapse" on the flip is a muscular 303-fused offering where grinding bass, breaks and alien frequencies detonate over ominous vocal proclamations. Venturing into more 808-dominant territory, acid rules once again on "Code Breaker", this time over a succession of rich sci-fi keys and morse code. Closing the EP, HR101 go head to head with their birth moniker Human Rebellion for the dark electro funk of "Nocturnal Beings", guiding us to a suitably otherworldly end destination.

Embarking on the next Vargmal chapter with 'Bacchanalia', the new EP from Italian-born, Londonbased producer Andrea Bonalumi, better known as Big Hands. Across three original tracks and a remix by British producer Al Wootton, 'Bacchanalia' moves through hypnotic grooves exuding primal energy and forward momentum, blurring the lines between percussive techno intensity and
subterranean bass vibrations.

Opening with 'Bacchanalia I', Big Hands lays down the foundation with a rhythmic drive where each beat shifts and evolves within a dense, organic framework, capturing the raw energy of live modular electronics. The journey continues as 'Bacchanalia II' shifts focus toward heavier, low-end vibrations, where intricate layers of bass and rhythm interplay in tension-filled dialogue that builds
intensifying energy.

'Bacchanalia III' offers a moment of reflection, pulling back the energy to reveal a more sparse and atmospheric landscape. It's a fitting progression that offers a glimpse into Big Hands' more introspective side, balancing the EP's momentum. Al Wootton's closing remix of 'Bacchanalia I' amplifies the raw percussive energy while adding his signature touch of spaced-out echoes androlling rhythms bringing the release full circle.

Studio, the influential project of Swedish musicians Dan Lissvik and Rasmus Hägg, presents their legendary 2006 debut in remastered form, in partnership with Ghostly International. Available in limited edition "Fog Machine Vinyl", CD, and cassette. "One of the finest pieces of electronic music you'll hear this year.” - The Guardian (2006). Included in year-end best-of write-ups by Pitchfork, FACT Magazine, and Rough Trade. Physical copies have long been out of print for West Coast, and the album has also been notably absent from most streaming services until now.

“Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik of Gothenburg's influence on West Coast. Some called Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside.

West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afrobeat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet’s record of its initial impact is all but fossilized from a bygone blog era, while its sound is simply untraceable to any one moment in music.

Outside of three 7” releases, they’d keep the music to themselves for several more years. In 2005, Hägg remembers, “We got our degrees and were kicked out of our studio spaces so all these recordings were just piled up. A year later we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion.” In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, Dj Mozart, and Baldelli as reference points.

“The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the 90s.” In the afterglow of the record’s 2007 reception, Studio receded from view, clouded behind a mountain of remix requests (including one for Kylie Minogue that saw release) and label bureaucracy. “It’s easy to wish we would have done some proper recordings of our own instead,” Hägg reflects. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing

For roundabout a decade now, The Lavender Flu has been pumping their inimitable, underground group-sound way past all manner of lesser modern muck, moving only and always as their varied inspirations prompt them. As players, Chris Gunn, Ben Spencer, and Scott Simmons remain open to where any given moment might take them, which has resulted in thrilling experiences both live and on record at every turn. Tracing The Sand By The Pool, their latest album for In The Red, finds The Flu firing at their most crisp and direct, a full-band collection of meander-free hits triumphantly captured to tape by the lads themselves. Moments will tug, others will stun, but there can be no doubt this new communiqué is their mightiest. The record unfolds from “Within,” born out of a Kiwi brightness that is methodically guided through a series of near-crashes and sly, inward moves, spotlighting the key pillars of the band’s songcraft and tailored to convert the uninitiated. Gunn’s guitar work continues to fascinate and marvel, boasting too many moments of both melodic sweetness and violent shattering to detail here. Their cover of the hangmen’s “I’m Gonna Love You” capably inverts Suicide’s menace to a hopeful, romantic sheen. Of critical note are a pair of guest contributions from The Spatulas’ Miranda Soileau-Pratt, who lends vocals to multiple songs including the deceptive 80s dosed pop of “Snail On The Map”, and The Tube Alloys’ Shelby Jacobson, who takes lead on a cosmos-injected cover of Fleetwood Mac’s “That’s Alright,” as well as “Patron Eyes (Cocoon 2069),” the most vicious, smashingly punk moment the band has unleashed to date. From the jump to its final rest, the album is boundless and full of gifts.

"From the remote reaches of Haparanda, Sweden, Häxkapell presents a black metal masterpiece that resonates with the eternal rhythms of nature and the cyclical dance of life and death.

“Om jordens blod och urgravens grepp” (‘Of earth’s blood and the grave’s grasp’) is a powerful blend of black metal, folk, and atmospheric darkness, interwoven with classical and progressive influences. Traditional instruments such as the violin, viola, willow flute, and hand drum infuse the music with ancient, primal energy. The lyrics, crafted through subconscious writing, serve as a conduit to the mystical and otherworldly.

The album was engineered, produced, and mixed by Oraklet. Drums were recorded at Nordvis Ljudstudio, with the remaining tracks laid down at Studio HMH. Mastering was handled by Tore Stjerna at Necromorbus Studio.

Founded in 2015 in the northernmost part of Scandinavia, Häxkapell is the creation of Oraklet, who embarked on an inward journey to explore the philosophical, spiritual, and mystical aspects of existence. Following the 2016 demo “Om sanningen,” Häxkapell released their debut album, “Eldhymner”, in 2021.

On “Om jordens blod och urgravens grepp”, Häxkapell’s music evolves much like the earth itself: slowly, imperceptibly, yet ever-changing. It reflects the cycle of birth and bereavement, with death and life beginning anew as earthen folk melodies murmur ancient slumbers into dawn. Oraklet channels these profound truths into lyrics and music."

Boytronic was founded in the early 80’s in Hamburg by Holger Wobker (aka Bryllyant Berger) and Peter Sawatzki. At the beginning, under the moniker of Kapitän Sehnsucht, they were in charge of making the soundtrack for some seedy sex shows on Hamburg’s famous ‘Mile of Sin’. After a while, the boys found that not so satisfying and, through it was a well-paid job, they decided to leave hoping to break into the world of pop music as Boytronic. They already had some demo songs that got the attention of Mercury Records. The first single “You” was recorded highly influenced by the sound of New Order and Patrick Cowley. It didn’t go very well at the beginning. It was just a moderate club hit, but soon after they got lucky and performed “You” on a German TV Show. Just after this, sales reached 80,000 copies in the first week and had a major hit in the German charts reaching position 10. This sudden success was followed by the recordings of the debut album “The Working Model” that was finished in only fourteen days and released at the end of 1983. “The Working Model” is considered as one of the best techno-pop releases coming from Germany in the 80’s. An album more than 40 years old and still sounding so fresh and authentic.

Limited edition of 400 copies on black vinyl with gatefold sleeve, A2 poster and sticker. Includes all tracks from the original album plus some classic remixes of “You”, “Diamonds and Loving Arms”, “Trigger Track” and “Bryllyant”.

Die zweite LP des Duos aus Megan Louise und Johnny Jewel (Chromatics) wurde in LA und Palm Springs, Kalifornien, geschrieben und aufgenommen. Inspiriert von der ultralebendigen Welt der 1970er Giallo-Filme schrieben Desire den Soundtrack ihrer Träume mit ihren Lieblingsinstrumenten: Minikorg, Jupiter 8, 909, Mellotron, Simmons Rhythm Modules, String Machine, D-50, Fender Rhodes. Während House-Rhythmen die Grundlage ihrer Erzählungen bilden, ergänzen pulsierende Synthwave- und Daytime-Drama-Seifenopern die Farbpalette des Albums. Gesungen wird auf Englisch, Französisch und Koreanisch, was der Mischung noch mehr Dramatik verleiht. Durch all das hindurch gibt es den Optimismus des Kompasses der wahren Liebe, der uns durch all das Chaos navigiert, das das Leben zu bieten hat.

"Future Bubblers" ist Teil des Gilles Peterson-Netzwerks, wird vom Arts Council England unterstützt und fungiert als Startrampe für aufstrebende Künstler mit einem kooperativen Modell, bei dem die Einnahmen direkt mit den Künstlern geteilt werden und ihnen so geholfen wird, ein nachhaltiges Einkommen zu erzielen. Die neueste Ausgabe "Future Bubblers 8.0" verschmelzt auf eklektische Weise die Welten von R&B, Soul, Funk, Rap und elektronischer Musik in ihren vielen Formen. Mit dabei sind z.B. die psychedelische Space-Soul-Band Shadeemus aus Leicester, Sängerin/Produzentin t l k aus Bristol mit ätherischen Klanglandschaften, O.K Asanda aus Manchester mit seinem einzigartigen Alt-R&B/Soul-Sound und Sängerin Joiisol, die R&B, Neo-Soul und Electronic-Jazz mit Vintage-Samples mischt.

"CQQL Records is a “sequel” to the timeless production ethos of the 80s and 90s: a time when labels truly invested in production, artist development, and put out releases that still influence today’s generation of producers, djs, dancers, and collectors. We’re continuing the story of boogie, AOR, funk, house, soul, r&b, and more, and further developing the themes we feel are classic and need to live on while making sure that each project fits its own lane and style. We’re fond of analog sounds and gear, releases produced on physical media, and paying homage to djs, collectors, and the musicians themselves: an homage but never a replication."

Introducing "Stop 2 Quit," a captivating new deep, jazzy, and lo-fi house music 12" compilation EP that delves into the art of sonic escape amidst the overwhelming noise of modern life. Featuring a hard-hitting lineup of producers — Darone Sassounian, Jamma D, and Jarren representing Los Angeles, Roche in Portland, and Morris Mobley in Nancy, France — each track serves as a remedy to the relentless barrage of messages and distractions that flood our minds.

Allumynd emerges from the shadows with a project that feels as though it has been excavated from the farthest reaches of electro history.

Fresh from a summer spent deeply immersed in analog gear, Allumynd's debut album delivers 8 raw and electrifying tracks that capture the essence of an era yet speak boldly to the future. Each track, recorded live, surges with an intense energy and is crafted with both mechanical precision and an emotional undercurrent.

Steeped in the legacy of pioneers like Drexciya and Cybotron, the album pushes forward with an unmistakably modern edge. The result is a sonic journey that captivates, paying homage to the past while redefining what electro can become.

An ingenious musician with a harmonious sense of melody, French pianist and composer Maxence Cyrin releases Passenger, his 9th album, composed and performed entirely on the piano. With influences ranging from Ryuichi Sakamoto and Brian Eno to Philip Glass and composers such as Erik Satie and Frédéric Chopin, this album weaves together ambient, minimalism and neo- classical music. This time around, the artist has sought to convey his emotions and ideas in a more intuitive and spontaneous way, even keeping improvisations such as "Under A Glass Bell" and "Dive" recorded during a residency in Brittany. Maxence Cyrin is one of France's most internationally acclaimed pianists.

Einige nannten Studio, das Projekt der schwedischen Musiker Dan Lissvik und Rasmus Hägg, "das fehlende Glied zwischen The Cure und Lindstrom", Pitchfork hörte Durutti Column und Can, als das Duo sich als Teil einer sich locker entwickelnden Szene entfaltete - zunächst neben dem Label Service (Jens Lekman, The Whitest Boy Alive) und später Sincerely Yours (The Tough Alliance, jj) - und den Boom der 2010er Jahre an der Schnittstelle von elektronischer und psychedelischer Musik, angeführt von Indie-Größen wie Caribou, Four Tet und Darkside, vorwegnahm. "West Coast, ihr bahnbrechendes Debüt aus dem Jahr 2006, fängt eine ferne Romantik der Balearen ein, die auf Krautrock, Disco, Dub und Afrobeat trifft, mit Pop-Lyrik aus dem New Wave, modernisiert von zwei Göteborger Kunsthochschulabsolventen. Sie zitieren DJ Screw, J Dilla und Joy Division sowie fühe 80s Live-DJ-Sets von Beppe Loda, DJ Mozart und Baldelli. Damals auf Vinyl gepresst in limitierter Auflage über ihr eigenes Information-Label und bis heute auf den meisten Streaming-Diensten nicht zu finden. Im Nachglühen des Albums im Jahr 2007 verschwanden Studio hinter einem Berg von Remix-Anfragen (darunter ein Remix für Kylie Minogue, der veröffentlicht wurde) und der Bürokratie des Labels. Eine erweiterte Version des Albums erschien unter dem Titel "Yearbook 1" auf CD und erreichte Platz 23 der Pitchfork-Jahresliste der Top-Alben des Jahres 2007. "West Coast" landete schließlich auf Platz 57 auf der "Best Albums of the Decade"-Liste von FACT Magazine.

Far From The Maddening Crowds is the debut studio album by Chicane. It is highly regarded as a seminal release in the trance music community.

"Offshore", the earliest song produced and released, is also among the best-known of Chicane's tracks; aside from single sales and being a major dance club hit, resulting on its inclusion on what has been said to be over 100 compilation albums. It has also been featured on TV programs and movies.

The long-awaited new album by the Belmondo
Brothers, their first in a decade.
Renowned internationally for their collaborations
with such luminaries as Milton Nascimento and
Yusef Lateef, trumpeter Stéphane Belmondo and
his brother saxophonist Lionel - the most famous
jazz siblings in France - celebrate their artistic
reunion.
The brothers salute their masters and synthesize a
quarter of century of musical adventures via a
series of new original compositions.
Featuring songs inspired and dedicated to Wayne
Shorter, Bill Evans, Yusef Lateef, Woody Shaw
and their late father Yvan.
Featuring the great Belgian Eric Legnini on piano
and a tight and full-bodied jazz quintet.
An original mix of modal and spiritual jazz with
hints of classical liturgical influences and ethnic
vibes.
For fans of John Coltrane, the Blue Note albums of
Wayne Shorter, Bill Evans, Freddie Hubbard,
Yusef Lateef, Herbie Hancock, Jacky Terrasson,
Lili Boulanger.

Eigentlich sollte 2024 für HÄMATOM ein unbeschwertes Jahr voller Highlights und unvergesslicher Momente werden. Die Band wollte auf der Erfolgswelle weiterreiten und ausgiebig ihr 20-jähirges Jubiläum zelebrieren. Doch all die Vorfreude - all die Pläne wurden im August 2023 vom Schicksal auf`s Bitterste zerstört, als plötzlich und völlig unerwartet WEST, Freund und Bassist der Band, starb.

In der darauffolgenden Zeit der Trauer wurde HÄMATOM schnell klar, dass man WESTs Verlust nur gemeinsam bewältigen kann. Um den Schmerz zu verarbeiten begab sich die Band ins Studio, schrieb einen herzzerreißenden Abschiedssongs und nutzte diese musikalische Arbeit schließlich als Startschuss für ein noch größeres Vorhaben: WEST mit dem neuen Album "FÜR DICH" das größtmögliche Denkmal zu bauen.

In den Folgemonaten stellten HÄMATOM alles auf den Kopf. Zum ersten Mal in der Bandgeschichte arbeitete man mit zwei Produzenten: Hannes Kelch und Julian Breucker verliehen dem neuen Album eine auffällig moderne und catchige Note, ohne die typische HÄMATOM Härte zu verlieren. Aus unzähligen Demos entstanden 14 Songs. Songs, die von Trauer und ihrer Verarbeitung erzählen, die aber auch Freude, Neuanfang und die Lust auf ?s Leben ausstrahlen. Bereichert werden mehrere Lieder von diversen, teilweise unerwarteten Features, die erst in den nächsten Monaten bekanntgegeben werden.

"FÜR DICH" - 3D PopUp colored Re-Vinyl:
Um der Besonderheit ihres neuen Albums Ausdruck zu verleihen und die Vinyl-Edition von "FÜR DICH" einzigartig zu machen, holten HÄMATOM den weltbekannten PopUp-Künstler Simon Arizpe ins Boot. Gemeinsam mit dem NewYorker entsteht in den kommenden Monaten ein noch nie dagewesenes Schallplatten-Kunstwerk, das den Betrachter beim Aufklappen der Vinyl in eine, aus visuellen Erinnerungen der letzten 20 Jahren kreierte HÄMATOM Welt, mitnimmt. Auch das musikalische Herzstück ist eine absolute Besonderheit, da jede Schallplatte durch die Verwendung von recycelten Vinyls zu einem farblichen Unikat wird.

LP limited to 500 LP copies. Nina Garcia ’s first solo record widely available via international distribution. Nina has collaborated with artists like Stephen O’Malley, Sophie Agnel, Fred Frith, Antoine Chessex, Louis Schild, Leila Bordreuil, and supported for bands like Sonic Youth, SUNN O))). After a decade of performing concerts under the Mariachi guise, Nina Garcia has finally unveiled her unique approach in Bye Bye Bird, her first album under her name. Bye Bye Bird is her second solo album. With no pretence or demonstration, the album is a captivating blend of chiaroscuro, melodies, and raw emotion. Nina Garcia’s album takes on an almost documentary-like quality by adopting a simple approach to gesture and sound recording. It offers a candid portrayal of a moment, a lack, a state, and a breathtaking energy. With ostinato as her only credo, Nina Garcia’s music is an experiment in freedom, where the peaks answer the abysses, and the power of movement and the emotion of sound serves as her compass. From very short (01:28) to never very long (07:34), the eight tracks that make up this set explore a moment, a space, a mechanism, an intention or a way of doing things. As a common feature of almost all these pieces (all but one, the last), Nina Garcia explores a new technique. She adds to her instrumentation, reduced to the essentials (a guitar, a pedal and an amp), an electromagnetic microphone which, when held in hand, makes it possible to listen in on the exact zones where the vibration of the string creates a sound amid vast spaces of silence. The guitar is unplugged, and the body/instrument relationship changes in dimension. In this series of variations, you can get caught up in masses of noise seen from very, very close up, evocations of melodies in the making, feedback on ridgelines, pulsations that hold their own, modulations weakened by exhaustion and harmonic bursts that hint at better days to come. Neither hopelessly chthonic nor beatifically ethereal, Bye Bye Bird is a sum of musical pieces that make a whole and give voice to echoes of what has been, the presence of what is and the hope of what will be, a record movement in the form of flight and salvation. Since 2015, Nina Garcia has been researching and creating around the electric guitar, halfway between improvised music and noise. On numerous stages in Europe and North America, she has played occasionally with Stephen O’Malley, Sophie Agnel, Fred Frith, Antoine Chessex, Louis Schild or with Luke Stewart and Leila Bordreuil’s Feedback Ensemble, in addition to more regular formations in which she participates, such as the ensemble Le Un, mamiedaragon, Autoreverse (with Arnaud Rivière), duets with trombonist Maria Bertel and percussionist Camille Émaille, and the installation piece De Haut En Bas, De Bas En Haut Et Latéralement (with Christophe Cardoen, Jennifer Caubet, Etienne Foyer, Anna Gaïotti and Romain Simon). “Nina Garcia has been actively moving the art of noise guitar into surprising and intriguing new spaces. She has been at it for some time now, a bit of a secret weapon all the while hiding in plain sight. As I listen to her music and ruminate upon seeing her perform it brings me to a realization which I have with very few musicians: the ego inherent in making art can be transcended through a purity of direct action. At least that’s the feeling I have when experiencing Nina’s music which comes across as serious and radical and wholly engaged in the moment of its creative impulse.

Pluhm is the main project of Lucio Leonardi, Sicilian musician based in the north of Italy. This time with “Distanze e Solitudini”, amidst emotional ambient drone distortions, he narrates about the distances existing among human beings. Distances that make us lonely, even when we are apparently close to one another, the psychological distance can be so abysmal that we feel abandoned.

Born and raised in Argentina, Morita Vargas is an experimental artist and producer based in Buenos Aires. She manipulates her voice through reverbs, delays and whispers, singing in a self-invented 'language'. The sound of Morita’s voice is a portal into her thriving, dreamlike world brimming, shimmering and beating with unrefined natural sensations which stimulate something primordial yet strangely contemporary.

As far back as 2014 she began work on her first productions - early sketches which later became the basis for ‘8’. It all started off as voice memos on her phone (recorded while roaming the streets and riding the trains of Greater Buenos Aires). Later on, Morita introduced various instruments into her vision: kalimba, harmonica, keyboard, flute, tambourine, chajchas, and cajón. Composed and performed from that period until its original release in 2018, ’8’ features 10 original voice-led compositions that in scope recall evocative portraits of synthesized landscapes and rainforests, attuned to a vibrant modern pulse and enchanting vocals. Morita Vargas “8” has achieved a kind of polyphonic soundscape which evokes unfamiliar realities through voyages within and between the realms of ambient and experimental music.

In numerology the number 8 symbolizes the transition between heaven and earth, the illumination of our infinite capacity for various metamorphoses. Tackling ideas of transformation, mutation, cyclical processes, death, creation, melancholy, and joy, the album you are holding is a monumental and deeply personal statement. You are invited to walk barefoot down the mystical path and indulge in the process of spiritual expulsion and renewal that is ‘8’. The path lies along the route of infinite meanings, somewhere on the border between dream and reality.

Alkisah Versi Hitam is a radical deconstruction and reimagination of Indonesian duo Senyawa's most recent album Alkisah by Hamburg's Marc Richter aka Black To Comm. The original album was released to critical acclaim in February of this year as a decentralized release on a multitude of labels from all corners of the world, Germany’s Dekorder being one of them. Richter is now completely reinventing the original album from scratch by doing an almost Teo Macero-level production job here, cutting up the originals and (re)constructing new material from scratch.

Arcane chants and vocal cut-ups, fierce freeform percussion, grimy No Wave collage, monochrome drones exploding into multicolour streams, unearthly psychedelic Noise and sheer sonic mayhem, warped discordant rhythms between moments of calming beauty - it's never easy to digest but the outcome is both ecstatic and transcendental - never sounding anything less than a fully formed singular album.

A special cassette version of the album will be released by Jordanian label Drowned By Locals.

BLACK TO COMM is the moniker of Hamburg composer/musician Marc Richter who is creating intricate multi-layered collage based works for labels like Thrill Jockey, Type and Dekorder. His 2019 album "Seven Horses For Seven Kings" revealed an increasingly angry, transcendental and fearless approach, attaining new levels of urgency through noise, volume, rhythm, repetition, atonality and beauty.

Jogjakarta’s SENYAWA embody the aural elements of traditional Indonesian music whilst exploring the framework of experimental music practice, pushing the boundaries of both traditions. Their music strikes a perfect balance between their avant-garde influences and cultural heritage to create truly contemporary Indonesian new music. Their sound is comprised of Rully Shabara’s deft extended vocal techniques punctuating the frenetic sounds of instrument builder, Wukir Suryadi’s modern-primitive instrumentation. Inventions like his handcrafted ‘Bamboo Spear’; a thick stem of bamboo strung up with percussive strips of the animal skin along side steel strings. Amplified it fuses elements of traditional Indonesian instrumentation with garage guitar distortion. Sonically dynamic, the instrument can be rhythmically percussive on one side whilst being melodically bowed and plucked on the other.

They have collaborated and performed with many notable musicians such as Stephen O'Malley of Sunn o))), Otomo Yoshide, KK Null, Keiji Haino, Rabih Beiani, Trevor Dunn, Greg Fox, Arrington De Dionysus, Melt Banana, Damo Suzuki and Oren Ambarchi.

MC Fats was a beloved figure in the drum and bass community, known for his smooth vocals and infectious energy on the mic. With a career spanning over two decades, he collaborated with some of the biggest names in the genre, including DJ Hype, Calibre, Alix Perez, and of course the multi genre chart topping Chase & Status!

Sadly, MC Fats passed away in March 2023, leaving behind a legacy of incredible music and unforgettable performances. But his influence lives on, and his music continues to inspire and uplift fans around the world. One of MC Fats' final releases is a new single called Anytime, in collaboration with Drum and Bass legend and producer partner Cool Hand Flex.

As one of Suburban Base original artist roster we were delighted to welcome them ‘back home’, and Fats was excited to see the reaction and plays the Anytime was already gaining. Having discussed with Flex, his dear friend and long-time collaborator, we together feel that it's appropriate that this release goes ahead as a tribute to our brother.

The track features MC Fats' signature soulful vocals, layered over Flex's classic jungle beats and modern production techniques. The single also includes an incredible remix from up-and-coming producer FreezeUK, adding a stunning version to the package which is already gaining maximum play nationwide.

Anytime is a testament to MC Fats' enduring talent and passion for Drum and Bass music. It's a reminder of the joy and energy he brought to the scene, and a tribute to his unforgettable voice and spirit. As we mourn the loss of MC Fats, we celebrate his incredible legacy and the impact he had on the Drum and Bass community.

His music will live on, inspiring new generations of artists and fans alike. Don't miss your chance to own this essential piece of Drum and Bass history - pre-order your copy of ‘Anytime’ now, and join us in celebrating the life and music of MC Fats.

ANYTIME will be released on vinyl & digital formats April 2023

While 1995's Washing Machine LP moniker was a thinly-veiled jab at the corporate aesthetic ("no, you cannot turn Sonic Youth into a household appliance brand", the band even considered changing its name to Washing Machine but settled on the album title instead), their major label relationship was indeed a curious buzzpoint of talk on the street after their intake to DGC in 1990. It wouldn't be fair to say that this state of existence propelled the band to reinforce its independent mindset by releasing a series of opaque-looking, French-language-dipping, highbrow-looking releases on their own that focused on the more abstract improv/compositional side of the band; in all truths they had been heavily steeped in self-releasing spillover material prior to that. But after a pressure pot of the early 90's indoctrination into a new operational mode for the band and its visibility, and the forces around it attempting to shape their direction, it seemed like a good time to create a strong show of radical concept.

The Anagrama EP became the first in a series of the SYR label's Perspective Musicales releases seemingly cementing Sonic Youth's connectivity to an increasing public awareness in experimental composers of the 20th century (French or otherwise). The irony was that many of those original avant composers being rediscovered by the indie audience (Partch, Neuhaus, Reich, Messaien) often found themselves on major labels anyway! So, perhaps this reverse approach was a necessary concept/comment given the music biz climate of the 90's. Regardless of how apples and oranges fell in Xenakian probability/theory, it was clear that both Sonic Youth's stature in progressive music, aided by now unlimited taperoll time thanks to a home base studio downtown established after their Lollapalooza stint, gave the band plenty of trailblazing time for their self examination of untraveled avenues.

"Anagrama" unfolds into nine minutes of delicate textures, starting with thick drone segueing into moments reminiscent of the post-crescendo flutter/comedown of "Marquee Moon's" trail-out; Thurston, Lee and Kim's guitars all circling round each other taking delicate pokes and stabs before drifting into some post-rock rhythmic moves tapered with delicate percussive guidance from Steve Shelley. "Improvisation Ajoutée" reaches further out into dissolve with whirring oscillations, guitars hissing and clanking radiator-style in a short blast format that continues into "Tremens" and a spooked-out landscape of gelatinous notes snaking up slowly. The sparseness of attack is colorful, textures emit and linger, silent spots shine, all flanked by tasteful drumming that provides the thread to all the abstraction. Shelley's approach here is interestingly sideways to any kind of usual rock action, it's tempered, mutant and metronomic simultaneously. The finale track "Mieux: De Corrosion" is a real pedal-palatte showcase. Here, Plutonian guitar wash flanges upwards to buoy a myriad of colorful eruptions of amp-spuzz, chopped up tone blasts and general confusion. Out of the blue, some metallic one-note choogle kicks in and threatens to explode into some Judas Priestly motion, before it all sputters into aural glass showers, clang, and finally a ferocious wave of more flange hiss that crashes down on a dime.

This initial foray into SY's Perspectives Musicales series continued onward with releases featuring other co-conspirators, peaking with the ambitious 2CD Goodbye 20th Century that finally connects the band into full-on interpretations of other composers' pieces (as well as displaying their own new ones). The whole series is not so much an outlet for another "side" of the band, but a run that went hand in hand building new approaches of songcraft onto their own, more overground direction which included Jim O'Rourke (who hopped on during SYR3), adding additional density to A Thousand Leaves and other LPs of his era. Fans of the '86 Spinhead Sessions as well as the recently-exhumed later jams of In/Out/In will take in the sounds of SYR1 with glee.

This release marks the return of Martini Special to the Blakamix International label. Being known for releases including the 'Cry Over You' LP, and tracks that appear on the Ragga Culture & Heartically compilations and singles, including 'Ghetto Life', 'Baby Mother, Baby Father' & 'Vigilante'; he has teamed up with Mixman's son and upcoming producer Mali Blakamix to bring forth this crucial 7” single.

On Side A Martini sings 'Crisis', a concise song outlining the issues of living in these modern times. Side B has Mali stepping up to the mixing board, unleashing a unique, authentic dub mix; showcasing his mixing capabilities.

Those that have enjoyed both Martini's and Mali's previous releases are sure to enjoy this collaboration. Look out for more from these two in the future.

From the pure Guinean tribal rhythm mixed with a collection of poems by Justo Bolekia, to the purest traditional jazz, to the hip hop & Neo-Soul that so characterizes the 90’s and 00’s. Omar seeks to mix old with modern, mainstream with underground, carnal with mental and the energy to move the skeleton, mix the relics of black music and transport them to 2022, where even today greater injustices continue to be noticed. and social and racial differences.

On this album, Omar Alcaide chooses to trick very varied collaborations, and take the album from the perspective of producer, composer and lead guitarist, even though there are some songs in which he sings. At his side, Juan Arance helps produce, compose and write most of the pieces that make up this album. It has collaborations such as Juanito Makandé; a flying soul, DORA; young promise, daughter of Bimba Bosé, Bubby Lewis; bassist for Snoop Dogg or Stevie Wonder, among others, Aqeelion; rapper and singer from Los Angeles, he shared with Erykah Badu or Dr. Dre in the 90’s.

The last great African rock LP from Nigeria's post civil war underground. Be Nice to the People was recorded in 1977 by Fela producer Odion Iruoje as he chased the runaway success of high school band Ofege. The Western world was in the throes of peace, love and flower power as Nigeria descended into civil war in 1967. The rock scene that developed during the following three years of bloodshed and destruction would come to heal the country, propagate the world-wide ideal of the modern Nigerian, and propel Fela to stardom after the conflict ended in 1970. The members of Question Mark were children when the Nigerian civil war ended and by the time they recorded their only album in 1977 they were college students, chasing rock n' roll dreams as Afro-beat turned to Afro-disco. Theirs is a fiery reminder of a once vibrant scene

A long-lost vinyl album is back in stock: for the last 20 years, Kosmischer Pitch by Jan Jelinek, originally released in 2005 on ~scape, existed only as a digital download. Right on time for the 20th anniversary the remastered album is available again on vinyl. The digital version includes two previously unreleased pieces from that period.

What the press said about Kosmischer Pitch back in 2005:

“For Kosmischer Pitch, Jelinek draws from the obsessed-over rock produced by his German countrymen in the 1970s. (…) Trance-inducing repetition is constantly modulated by variations that hover on the threshold of audibility. (…) one of the more remarkable bodies of work in electronic music.” - Pitchfork

„Like the cosmic compositions it delicately references, Kosmischer Pitch is proof that the higher and lower pleasures can triumphantly combine.” - The Wire Magazine

“ The old Jelinek approach can also be heard on the new album - not least the “Pitch” in the title, which, as Martin Büsser explains in the info sheet, refers specifically to Wild Pitch House, generally to manipulation/exploitation of the sense of time - but there are striking differences: clear vintage synth, guitar and drum sounds, very subtle club references.” - Groove

“t's impossible to know how many layers of sound Jelinek has stacked up on any of these eight tracks, but each one seems to take on a shadowy, ghost-like life of its own as it morphs across time and space. Minimalist, yes, in a way, but thick as a wool rug.” - AllAboutJazz

Faszinierend, energiegeladen und hypnotisch! Prepared - ein freigeistiges Trio, das in kammermusikalischer Besetzung unkonventionell und instinktiv Tanzimpulse weckt und den Hörer in einen tranceartigen Klangraum entführt!

Ein Pianist, der auf dem Flügel unablässig hämmert, klopft und zupft. Ein Klarinettist, der in den Tiefen seiner Bassklarinette mehr Bass als Klarinette spielt. Und ein Drummer, der wie eine gute Schallplatte immer weiterläuft und die Grooves fortwährend im Kreise dreht.
Drei Münchner Jazzmusiker, vereint in Ihren Gegensätzen. Wo der eine mit Quadro Nuevo argentinischen Tango, der andere mit Dreiviertelblut "folklorefreie Volksmusik" oder der dritte mit Moop Mama deutschen Hip-Hop spielt, lassen sie in ihrem neuen Projekt Prepared gemeinsam zyklische Motive und raffiniert geschichtete Muster in minimalistischen, aber höchst virtuosen Kompositionen zu einem faszinierenden Gesamtkunstwerk verschmelzen. Als hätte man Jonny Greenwood, Dawn of Midi, Nik Bärtsch und Steve Reich in einen Topf geworfen.

Line-Up:

Chris Gall • prepared piano
Flo Riedl • bass clarinet
Christoph Holzhauser • drums

The Recording: Für eine "state-of-the-art" immersive Musikproduktion wurde die Musik "live" in einem Raum ohne jegliche Overdubs aufgenommen. Dieses Album wurde mit erstklassigen 3D-Aufnahme- und Mikrofonierungstechniken für Dolby Atmos aufgenommen und von renommierten Toningenieuren gemischt und gemastert.
Recorded by Kseniya Kawko at Kyberg Studio, Munich, mixed by Kseniya Kawko at MSM Studio, Munich and mastered by Christoph Stickel at csmastering, Vienna

Format: Schwarzes Vinyl inklusive Downloadkarte

Since its release in 2009 The Pains of Being Pure At Heart's self-titled debut has attained the status of a modern indiepop classic, and even more crucially a record that continues to have an impact well beyond the indiepop scene. As one of the key bands in Brooklyn’s late 00s guitar music revival (alongside Crystal Stilts, Grizzly Bear, Vivian Girls, Frankie Rose and others) The Pains paid tribute to everything from C86 to early Slumberland, Sarah and Creation label pop, but with a distinct American flavor drawn from groups like Smashing Pumpkins and The Pixies. This, their debut album, is a brilliantly confident blast of fuzz, melody, tunes and buckets of youthful enthusiasm that was immediately recognized as something very special indeed. Preceded by 3 effervescent singles the album exploded immediately, going places that indiepop records and bands rarely do (like TV appearances on Carson Daly's and David Letterman's shows) and leading to several years of constant touring and the further release of two more well-received albums. Now, on it's 15th birthday, we're happy to bring this crucial album back for a new generation of pop fans, this time on beautiful light blue vinyl with pink and purple splatter. A fitting tribute to a modern indiepop classic.

Cannonball Adderley Quintet in Chicago is revered among jazz aficionados as an essential document of late 1950s hard bop

It captures two of the greatest saxophonists in jazz, Adderley and Coltrane, at a time when they were both at a creative peak. The album is a vital recording from a golden era in jazz, featuring a rare and electric partnership between two saxophone giants. Its hard bop foundation, infused with hints of modal jazz, places it among the most important recordings of its time. The album was recorded the February 3, 1959 during a time when Adderley was playing as part of Miles Davis' group, and it captures the quintet during a pivotal moment in jazz history. On Cannonball Adderley Quintet in Chicago, you can hear Coltrane at a transitional stage, balancing between his earlier bebop style and the modal, more avant-garde approaches he would later pursue. His interaction with Adderley is fascinating because it blends his dense harmonic language with Adderley's more traditional, bluesy approach.Cannonball Adderley had been recruited by Miles Davis in 1957, joining what would become one of the most influential jazz groups of all time. Adderley's style was deeply rooted in the blues, and he brought a strong sense of soulfulness and swing to the Davis group. While Davis' style was often cool and restrained, Adderley's alto saxophone was the opposite: robust, fiery, and emotional. Adderley's command of the instrument was remarkable, and his ability to balance technical prowess with a highly accessible, bluesy feel is on full display throughout Cannonball Adderley Quintet in Chicago . His solos are expressive and lyrical, often imbued with a sense of joy and exuberance. This makes for a perfect contrast to Coltrane's playing, which at this point was becoming more dense and harmonically complex

2nd pressing on 2xLP Black Vinyl with Starlight Sparkle Vinyl 2nd pressing comes with a 2x7" EP on Transparent Yellow & Magenta Vinyl Please Note: "quality of sparkle vinyl comparable to vinyl with metallic effects" Sparkle / Starlight: Large silver particles Carefully designed, beautifully remastered and loaded with new ways to play - "Risk of Rain" is back and better than ever! Dive into the iconic roguelike full of unique loot combinations, enhanced with new Survivors, overhauled multiplayer, fan favourite content from Risk of Rain 2 and more! Ten years after "Risk of Rain" was released into the world to become a true classic, the game was revived in November 2023 as "Risk of Rain Returns" to reconnect with its fans and be discovered by those who didn't realise what they were missing. Time to give the iconic game soundtrack an update as well, isn't it? Creator Chris Christodoulou gives an insight on his work as well as the extensive and luxurious new vinyl release that comes with some remarkable extras: "Can you believe it's been ten years already? It seems like yesterday that I was sitting in my small bedroom/studio in front of an aching computer writing the music for `Risk of Rain'. And here we are, ten years later, returning to it to, adding to its musical compendium. What an unexcepted, magnificent journey! With this very special release we're celebrating both, the 10-year anniversary of `Risk of Rain' and the release of `Risk of Rain Returns'! This modular album contains the entire Risk of Rain soundtrack remastered and the four new tracks written for `Risk of Rain Returns' (with contributions from special guest musicians Damjan Mravunac & Maria Papageorgiou). Daniele (art), Kevin (Black Screen Records) and I worked very hard to make this complex release a reality and we are extremely proud of it! We hope you enjoy every aspect of it as it is a labour of pure love! Finally, a very special thanks to all of you who have carried this music across the past decade! You have my love, Chris

2025 Repress
Mike Parker, one of the most respected and innovative artists in techno, presents his debut release Cyclic Intonations on Sonic Groove with a monster three cut collection of TB-303 infused songs.

Included in this acidic burner of a release is :

- Atom Soldiers, an unearthed, thought-provoking acid gem recorded in the late 1990s

- Signal 303 features Mike dusting off his TB-303 to create an incredible new gem.
- Resonator (Adam X Pumped Up Edit), Originally released on Defective Records in 1997 and fetching a fortune on Discogs. Adam adds a heavier bass kick drum to one of the best acid tracks ever, ensuring it fits seamlessly into any modern day techno set.

If you love acid techno, this release is a must-have!

Die 10 Tracks auf CHAOS, dem ersten LUCKYME® Release der Londoner R&B-Künstlerin TYSON (Tochter von Neneh Cherry und Cameron McVie) wurden von ihrem Jugendfreund Oscar Scheller (Lady Gaga, PinkPantheress, Shygirl) mitgeschrieben und produziert. Das symbiotische Songwriting der beiden am selben Tag Geborenen erweitert den düsteren R&B und modernen Soul ihrer Vorgänger, dringt tiefer in die UK Basskultur (Breakbeats, Street Soul, Trip-Hop) vor und inkludiert eisigen 80er Synthpop und weitläufigen 00er R&B. Der Leadtrack "Grunge" featuret Wu-Lu (Warp Records), das Vinylformat enthält 3 exklusive Instrumentals.

TYSON ist seit Jahren in der Londoner Musikszene unterwegs und die Tochter der legendären Künstlerin Neneh Cherry und des Produzenten Cameron McVey (Massive Attack, Portishead, All Saints, Sugababes), die Schwester der Sängerin Mabel und Grossnichte der Jazzlegende Don Cherry. Ihr verschwommener, melancholischer Gesangsstil brachte ihr Kollaborationen mit Undergroundgrössen wie Dean Blunt, Leon Vynehall, Ezra Collective, Coby Sey und rRoxymore ein, auch ist sie auf Joy Orbisons Album "Still Slipping Vol. 1" (2021) zu hören. TYSON wurde von The Guardian als "One To Watch" gefeiert und erhielt starken Radiosupport von Annie Mac, Benji B, Lauren Laverne, Mary Anne Hobbs, Jamz Supernova, u.v.a.

Recorded 1979 at Pathway studios, an eight-track studio in Islington, North London, this is an album of inventive, timeless electro-pop. Mastered from the original analogue tapes, the album still sounds incredible thanks to Foxx’s minimalist approach, which was partly inspired by his experience of watching Lee “Scratch" Perry produce records at Island Records’ studios in the 1970s. Engineer Gareth Jones - who later worked on some of Depeche Mode’s finest recordings - also proved to be a fantastic collaborator and innovator on this record.

John Foxx:
"I was in retreat from bands, touring, etc, mightily convinced that electronics were the future, and reading too much J.G. Ballard. I lived alone in Finsbury Park, spent my spare time walking the disused train lines, cycled to the studio every day and wobbled back at dawn, imagining I was the Marcel Duchamp of electropop. Metamatic was the result. It was the first British electronic pop album. It was minimal, primitive technopunk. Carcrash music tailored by Burtons.”

2025 Repress

With Moving Pressure 02, Rene Wise allows us to dip into a psychedelic undercurrent, yet maintaining a very grounded mentality. Its an effortlessly rolling type of minimalism, but lets be clear; its a type of minimalistic spirit backed up by a rich, kaleidoscopic sound design. MP02 is an immersive batch of mystical dance floor journeys which, in four steps, navigates the realms of gaseous sound design to more subaquatic dynamics, working with a palette of serpentine rhythms that pull us into his distinctive, subtly hypnotic world.

A1 Silo Cybin opens the release with the artists unmistakable kick drum pattern, the heartbeat of his sound. Theres a trippy, swampy energy here, enhanced by robotic vocals and broken claps that weave polyrhythms into the track. The minimalist core pulses with playful energy, while detailed textural elements softly emerge like a waves bubbling foam. Up next we have Complicated, which offers a more minimalist composition, yet injected with rich rhythmic structures. Small circular modulations swirl in the background, filling the air with a delicate yet persistent energy, while his signature vocal snippets further enhance the groove. On the B side, Rough Escorts taps into a brighter psychedelic dimension, conjuring the ethos and trademark of Moving Pressure as a whole. Listen closely a fine connection to Wises previous work on MP01 shines through, maintaining the sonic coherence of the project while pushing further into a lush space. B2 Bleep Police, dives into dystopian bleep territory. Here, the artist strips techno down to its essence, intertwining bleeps with percussion into a hyper rhythmic whole.

A living organism composed of intricately layered sonic structures. A variegated interplay of texture and rhythm. Multi dimensional sound. Welcome to Moving Pressure 02.

Kacy Hill, US-Singer/Songwriterin, Produzentin und ehemaliges American Apparel-Model mit sechsstelligen Followerzahlen bei Instagram und Spotify, veröffentlicht ihr viertes Album BUG auf Nettwerk. Es folgt auf das 2017er Debüt "Like A Woman" auf Kanye Wests GOOD Music sowie zwei Alben im Eigenvertrieb. Das 10-Track-Album auf ockerfarbigem Vinyl enthält die Singles "No One", "Listen To You" und "You Know I Love You Still" sowie Kollaborationen mit Nourished By Time und Donna Missal.

"The Sheila Divine is an American, Boston-based rock group. Critics compare their sound to the band's own heroes, mainly the early 1980s post-punk. The band is most often noted for its loud/soft musical dynamic and Aaron Perrino's soaring vocals, screaming in key one moment and howling a falsetto the next. The band has a large die hard fan base in what is often called ""the three Bs"": Boston, Buffalo, and Belgium. Their first full-length album New Parade was released in 1999. It received critical praise from local press and spawned the college radio hit Hum.

New Parade is available as limited numbered edition of 500 copies on black clouds coloured vinyl"

Diese neue (!) Compilation vereint klassische Radiosessions der TVPs, den Meistern des DIY-Post-Punk und Indie-Pop. Die Doppel-LP enthält zwei BBC-Sessions aus den 80er Jahren, die bei John Peel und Andy Kershaw aufgenommen und ausgestrahlt wurden, sowie ein sehr rares WMBR-Set von 1992 mit Coversongs von Buzzcocks, Raincoats und Daniel Johnston sowie bisher unveröffentlichten Songs (und als digitaler Bonus die WFMU-Session von 1993). "Catchy hooks and schoolboy wit are in abundant supply." Pitchfork Die großartigen DIY-Fähigkeiten der Television Personalities und ihr liebenswertes, klappriges Auftreten haben sie auf so manchen subversiven Trip geführt, sowohl auf Platte als auch bei Live-Auftritten. Aber es war das Radio, das sie zum ersten Mal der Welt vorstellte, in einem Wirbelsturm wiederholter Airplays. John Peel ließ Außenstehende überall in TVPs alternative Welt eintauchen. Und auf dem Höhepunkt des Punk parodierten sie bereits die neue Revolution, ihre Single ,Part Time Punks" wurde zu einem Peel-Hit, und die Nachfrage nach weiteren Songs führte schließlich zu einer Session im Jahr 1980. In den 80er Jahren war Daniel Treacy so zu einem begnadeten Geschichtenerzähler gereift, der die moderne Welt aus seinen eigenen, verschwommenen Blickwinkel beschrieb. Seine Songs waren liebenswert, sofort identifizierbar und witzig, klare, scharfe Beobachtungen von oft magischer Tiefe. Treacy wurde zu einer Inspiration und unverzichtbaren Alternative des üblichen (auf der Insel nicht soo schlechten) Radioprogrammes, eines Mediums, das die TVPs zum Ende der 80er Jahre so gut wie aufgegeben hatte. "Tune In, Turn On, Drop Out" fängt den Weg dieses Pilgers ins Pop-Nirvana ein, ein psychedelisches Wunderland, das von dunklen und grüblerischen Momenten gezeichnet ist. Gehört wie durch ein knisterndes, Vintage-Transistorradio, welches vielleicht sogar unter dem Kopfkissen versteckt ist, so dass diese Skizzierungen der Gesellschaft ganz nah und intim Daniel Treacy's Psyche zeigen. Limitierte Doppel-LP, klassisch schwarzes Vinyl, Linernotes, gratis DLC mit Bonustracks!

Black Truffle is thrilled to begin 2025 with a rare solo release from Konrad Sprenger, alias of elusive Berlin composer-producer-instrument builder Jörg Hiller. A prolific collaborator, Sprenger has worked extensively with icons of American minimalism such as Ellen Fullman (with whom her recorded the gloriously eccentric song album Ort) and Arnold Dreyblatt (as a core member of the Orchestra of Excited Strings since 2009), as well as releasing their music on his impeccably curated label, Choose. As an instrument builder and installation artist, he has overseen the creation of a computer-controlled multi-channel electric guitar and, with Phillip Sollmann, a modular pipe organ system designed to be reconfigured from space to space.

In much of Hiller’s work, a scientific approach to acoustic phenomena co-exists with a pop sensibility and a sly sense of humour. Nowhere is this unique combination more in evidence than in his slim body of solo work, beginning with the startling diversity of instrumentation and compositional approaches heard on the short pieces of Miniaturen (2006) and Versprochen (2009), followed by the more single-minded exploration of the computer-controlled electric guitar on Stack Music (2017). Set brings together these various strands of Sprenger’s work into a wildly infectious, playful epic, performed by the composer and the mysterious Ensemble Risonanze Moderne. On the LP’s second side, we are also treated to a guest appearance from longtime collaborator Oren Ambarchi, on whose recent solo releases Simian Angel and Shebang Sprenger has made key production contributions. Ambarchi’s signature stuttering, swirling harmonics weave through a sparkling assemblage of electric guitars, acoustic instruments, percussion and electronics—though, given the deft use that much of Sprenger’s recent production work makes of midi-controlled sampled instrumentation, it’s anyone’s guess where the acoustic ends and the digital begins here.

As soon as the needle drops on the first side, we are inside a musical world that Set will inhabit for its 33 minutes: sparkling guitar harmonics and palm-muted notes, tuned percussion, crisp electronic drum hits, flashes of horns, and untraceable bursts of synthetic sound are arranged into a skittering polyrhythmic framework calling up the detail-rich percussive constructions of contemporary techno filtered through the pointillism of the post-serialist European avant-garde. Behind this shifting mist of particulate sound, winds and strings sound out held chords, reminiscent of Arthur Russell’s Tower of Meaning in their epic yet seemingly aimless drift. The relationship between elements is mysterious, appearing both carefully considered and almost random. Though never straying too far from where it begins, as the piece moves along, it spotlights increasingly bizarre instrument choices (shakuhachi and steel drums, anyone?) as well as momentary liftoffs into motorik propulsion. Set is a fascinating, mercurial thing: at once propulsive and fragmented, essentially static in form yet ever-changing in detail, unabashedly egghead in its construction yet sure to get the feet tapping.