Suche:on land

Strut present the first definitive retrospective of an icon of 1970s and ‘80s soul, jazz and disco, Patrice Rushen, covering her peerless 6-year career with Elektra / Asylum from 1978 to 1984. Joining Elektra after three albums with jazz label Prestige, Patrice had shown prodigious talent at an early age and had first broken through after winning a competition to perform at the Monterrey Jazz Festival of 1972. By the time of the recordings on this collection, she had become a prolific and in-demand session musician and arranger on the West coast, appearing on over 80 recordings for other artists. She joined the Elektra / Asylum roster in 1978 as they launched a pop / jazz division alongside visionaries like Donald Byrd and Grover Washington, Jr. “The idea was to create music that was good for commercial radio / R&B,” Patrice explains. “We were all making sophisticated dance music, essentially.”

Drawing on some of the leading musicians in L.A. like saxophonist Gerald Albright, drummer “Ndugu” Chancler and bassman Freddie Washington and keeping an open minded approach from her training in classical, jazz and soundtrack scores, Patrice’s music was a different, more intricate proposition to many of the soul artists of the time. “L.A. musicians were not so locked into tradition,” she continues. “None of us were accustomed to limitation and the record label left us to take our own direction.”

Early classics like ‘Music Of The Earth’ and ‘Let’s Sing A Song Of Love’ were among Patrice’s first as a lead vocalist before her ‘Pizzazz’ album landed in 1979, featuring the unique disco of ‘Haven’t You Heard’ and one of her greatest ballads, ‘Settle For My Love’. “Although ballads make you feel more vulnerable as an artist because they are often personal, I think listeners relate to that sincerity,” she reflects. By now, Patrice’s records were supremely arranged and produced as her confidence as an all-round writer, producer, arranger and performer grew. Slick dancefloor anthem ‘Never Gonna Give You Up’ and the ‘Posh’ album in 1980 led to her landmark album ‘Straight From The Heart’ two years later. Receiving little support from her label, Patrice and her production team personally funded a promo campaign for the first single from it, ‘Forget Me Nots’. It went on to peak at no. 23 on the Billboard Hot 100 and the album was later Grammy-nominated, while the track became a timeless anthem and popular sample, inspiring Will Smith’s theme for the film ‘Men In Black’ and George Michael’s ‘Fastlove’.

Patrice’s final album for Elektra, ‘Now’ kept the bar high with sparse, synth-led songs including ‘Feel So Real’ and ‘To Each His Own’. It concluded a golden era creatively for Patrice which remains revered by soul and disco aficionados the world over.

‘Remind Me’ features all of Patrice Rushen’s chart singles, 12” versions and popular sample sources on one album for the first time. Formats included a 3LP set and 1CD fully remastered by The Carvery from the original tapes. Both formats include an exclusive new interview with Patrice Rushen and rare photos.

• First definitive Patrice Rushen compilation released on vinyl since the ‘80s
• Includes all of her chart hits, DJ favourites and sample sources
• Official release featuring full interview with Patrice Rushen about her career and music • Features rare photos from her personal collection + some of the photographers she has worked with during her career
• Fully remastered by The Carvery from the original ¼” tapes
• Start of full Patrice Rushen reissue programme from her Elektra era

Experimental black metal from Brooklyn featuring members of Pyrrhon, Krallice, Sigur Rós, The Glen Branca Ensemble, Steve Reich. Recorded by Colin Marston (Dysrhythmia, Krallice, Liturgy). Follow-up to the bands well received 2022 debut Aveilut. The Promise Of Rain, the sophomore album of the experimental black metal band Scarcity, is an embodiment of the hard-to-believe truth that burdens are easier to bear when distributed, a realization Brendon Randall-Myers (conductor of the Glenn Branca Ensemble) grappled with extensively while writing this record. This is a sweat-drenched album about dispersion, about spreading, about the collective relieving of burdens through shared experience: one doesn’t have to go through everything alone. When Scarcity’s debut album Aveilut was written in early 2020, Randall-Myers and vocalist Doug Moore (Pyrrhon, Weeping Sores, Glorious Depravity, and Seputus) never expected to be able to play their songs live. The cathartic experience of playing something that came from a place of isolation out to people in a live setting is the root of the intensity in The Promise Of Rain. The Promise Of Rain begins where the craziest climaxes of Aveilut end, and is the first Scarcity record to include Tristan Kasten-Krause (Sigur Ros, Steve Reich, LEYA) on bass, Dylan Dilella (Pyrrhon) on guitar and Lev Weinstein (Krallice) on drums. Rather than building density with the quasi-orchestral layering on Aveilut, Scarcity challenged themselves to document what five people in a room could do, recording most of The Promise Of Rain in one or two takes, capturing the physical effort and urgency of a live performance. Scarcity forges a completely fresh sound in The Promise Of Rain with their alarming guitar work and melodic arpeggiating, shedding dead skin and breaking ground with sheer vulnerability. The lyrics for The Promise Of Rain were inspired by a trip Moore took to the high deserts of southern Utah in 2023. “To thrive in the desert is an act of abnegation—” he observes, “you do right by the land and receive its gifts, or it does away with you.” The necessity of adaptation is as evident in the desert as it is to the landscape of the human experience. The transformation of ideas and beliefs, the grief of losing relationships that had to end, and the fear involved in forming new ones under the grip of mental illness is conjured over and over again on this panoramic album.

The Fire is the fourth studio album by the American post-hardcore band Senses Fail. Widely looked on by fans and critics alike as one of the band's finest studio album, the record features singles including title track 'The Fire, 'New Years Eve' and 'Lifeboats'. Originally released on October 26th 2010, this new pressing is the first since it's original release, packaged in a hand-numbered sleeve with accompanying lyric insert, and comes complete with bonus track 'Ghost Town'. Released via Hassle Records for the UK/EU in conjunction with Vagrant Records to celebrate their 25th Anniversary. "The Fire showcases an immense growth in both the band's songwriting and arrangements, proving that these scenes stalwarts are not about to rest on their laurels." Revolver "The Fire is proof that Senses Fail consistently toe the line between singing and screaming better than most of their peers." Alternative Press

A holy grail for fans of French boogie, early hip hop, Arabic funk and Balearic bops,"Ettika" has been seriously sought after since Vidal Benjamin found it in the 1€ bin back in 2006. Teasing the ears of the underground via Vidal's 'Balearic Nightmare' mix for Noncollective, copies of the original were soon snapped up completely, and the later adopters were sated by a Blackdisco edit from Alexis Le-Tan (himself gifted Vidal's second copy), which is now also rare as hen's teeth. The fervour for the track is easy to understand. Underpinned by an endlessly buoyant bass groove, chanted female vocals dart out the speakers like a post- modern mantra while synth vamps flare in stuttering stereo.

Middle-Eastern motifs add an air of mystery, but this truly belongs in a dance floor utopia. That the track was the product of a 'back-to-work' scheme aimed at unemployed immigrant youth in Rouen only adds to the appeal. Led by teacher Bernard Guégan, a quartet of students delivered lyrics in French and Arabic inspired by their rejection letters, serving a little social commentary and a lot of funk. If you're mad on Ahmed Fakroun and Shams Dinn, or even those folks in the Bush of Ghosts, then this is a must have for you.

Archeology isn't just about excavation, there should be interpretation too, and in this case it comes from Italian duo Hear & Now and Leeds' The Veteran Delinquents. The former furnish the 12" with two radical takes, the dreamy downtempo stroll of their French Remix - all unhurried percussion, Gilmour-riffing and coastal élan - and the peaktime pump of their Arab Remix, which transports the original vocal into a land of desert new beat and Balearic trance with a little space left for some frazzled fretwork. If you've followed their work with Claremont you know the quality on show.

The Veteran Delinquents, the collaborative vehicle of Leeds stalwarts Craig Christon and Tim Hutton, condense a lifetime of club experiences into their remix, establishing the infectious groove of the original before subverting with chugging bass and winking acid, all augmented with their own slick synth work. The original was an all time classic at Craig's Joe's Bakery nights way back when, and this new interpretation is both respectful and revolutionary.

Much time has passed since the Queer Australian/Italian-Armenian, multifaceted artist, Kristian Bahoudian aka Kris Baha, swapped the parched red earth and searing midday sun of the Australian landscape for the brutalist communist-era apartment blocks and slate-grey skies of former East Berlin. Kris is now a fixture in Berlin’s club scene and has toured most of the world as a DJ & live artist with his own unique production style of cyber industrial, EBM, wave, post punk, and early ‘90s IDM mutations. Remixing some of the scene’s most notable artists such as Boy Harsher and techno pop lord Boys Noize, Kris has garnered respect and trust in the electronic music scene for the last 13 years. To respond to the current AI revolution, Kris uploads himself to the cyber ether through his latest project: GHOSTS IN THE MACHIИE.

Across Dual Timelines —
” GHOSTS IN THE MACHIИE ” unfolds as a sci-fi cyberpunk concept project inhabiting dual timelines. In one, we glimpse a trans-humanist future where human consciousness exists as intricate sequences of binary code, entwined and controlled by omnipresent AI systems. In this coded future, a profound awakening stirs among a select few who manage to mutate the code they were governed by, unlocking memories of their history that was erased by the AI. Through this discovery they realize they can traverse temporal boundaries and utilize this power to send warning messages back in time to their former fully human selves. These eerie missives carry a dire warning for humanity, urging them to rectify the course of society before the relentless march of artificial intelligence deprives humanity of its essence. In this terrifying future, humans are rendered mere specters within the digital expanse, stripped of their souls, to become Ghosts In The Machine.
Collaboration with the future self —
The cyber odyssey unfolds from a unique perspective— Kris’s very own future self (his future ghost): a spectral entity endeavoring to caution its present incarnation against the ominous path it treads, attempting to avert a dystopian future.Sonic Alchemy —
A fuse of cybernetic synth waves, hyper-punk, and pulsating drum and bass laid out against the dystopian, industrial sonic landscape of this grim future “civilization”. Each track recounts a new chapter in the gripping narrative, drawing listeners deeper into their own story and the role we all play as a collective society with the future possibilities of unregulated AI.Recorded in Berlin with software and hardware synthesisers. AI was used to assist me with lyric themes, concepts and ideas. I also used a trained AI model of my own voice as backing vocals in ‘Haunting Me’.ll music, words & concepts by Kristian Bahoudian aka Kris Baha and his future ghost,
GHOSTS IN THE MACHIИE

Legalize Lambada is back and there ain’t no moldy gorgonzola in this Italo homage! Legendary cosmic captain Albion returns to Lambada-land and starts this edit compilation with 'Nucleare', a robotic jam seasoned with Italian vocals which serves as a great intro to the release. Ric Piccolo’s 'Disco teacher' on A2 and 'Alright' on B1 are serious floor fillers, possibly ready to injure part of the Boston dynamics fleet after inducing uncontrollable dance moves. At the end it’s Hysteric’s 'Moment' on B2 that prompts a soulful side of italo for some deep machine learning.

Fractal Void is an avant-garde duo based in Düsseldorf, Germany. Their experimental music blends electronic and contemporary genres located somewhere in the field of musical tension between ambient, drone, halfstep and floor-affine IDM. During their live sets, Fractal Void create vertical reflections by processing sounds through software and interaction with real instruments in every unique musical performance like the Chinese contemporary calligraphic practice Dishu.

Their debut album Elemental Collection unveils a dense and lavishly layered transformation of artificial organic signals, sculpting an auditory world filled with emotive landscapes, overgrown polyrhythms and futuristic elements. Embedded within each track are field recordings serving as the heartbeat of the album. Through innovative and expansive deconstruction, Fractal Void create an energetic and sometimes contemplative experience.

The persons behind Fractal Void:
Back in 2008, their musical journey began with winning a Spectrasonics competition using field recordings of a locker door, that was implemented as a bass synth. Their collaboration was continued as producers of the eight-piece electronic jazz project „Mothers of Guru“.

Marcus Scheltinga is a composer, producer and multi-instrumentalist. Besides studying jazz trombone at the Conservatorium Hilversum and the Folkwanghochschule, he works as a musical director, lecturer and coach in 39 countries around the world. From ZDF sound design to live and studio performances with international greats, his own productions have included such as Grammy winner Larry Carlton and Peter Erskine. Mid-east and Indian inspired, Marcus is a true story teller as a musician and composer.

BORGBORG is a producer and DJ. She moves freely in different styles of electronic music with a focus on avant-garde driving techno, dark hypnotic vibes seamlessly blended with deconstructed beats, noise and timeless elements of IDM. She is a member of About Repetition, a group of artists dedicated to the research of repetition through artistic means, collaborating with a wide range of other collectives across Europe and co-founder of the techno event series „SCHLEIFEN“. 

Celebrate the 30th anniversary of Disney’s The Lion King with the music from the film, for the first time on zoetrope vinyl. Watch the characters from the film come to life while listening to iconic songs including “Circle of Life,” “I Just Can’t Wait to be King,” “Hakuna Matata,” “Can You Feel the Love Tonight” and so much more!

Reissue of Annette Peacock and Paul Bley's "Dual Unity" album, originally released in 1972 on Freedom Records. Hailed as a pioneer and artistic genius by many, this album captures Peacock in her element alongside husband, Canadian jazz genius Paul Bley. Dual Unity is a landscape of aural vision captured on tape in 1970, during their first European tour. For 33 minutes and 21 seconds, the listener is absorbed by other spirits. Using Robert Moog's earliest synthesizers, Bley and Peacock apply the strategic use of silence to indicate its reflective nature with captivating results. A statement of immensity through synthetic minimalism and a milestone in the avant-garde, free jazz movement. Guests musicians: Han Bennink (drums) on "M.J." and "Gargantuan Encounter", Mario Pavone (bass) and Laurence Cook (drums) on "Richter Scale" and "Dual Unity".

After scoring a surprise hit in 2006’s red-hot 7” funk market with their cover of “C.R.E.A.M.,” El Michels Affair quickly turned around another smash 7” double-single of re-imagined takes of the Wu-Tang Clan. “Duel of the Iron Mics” sees the hypnotic piano hook of the “Liquid Swords”-classic elevated to intriguing heights with dramatic strings and Catch the blast of a hype version on the b-side, where “Bring Da Ruckus” is brought to life in imaginative ways not hinted at on the bulletproof original. The raw sample stabs and sub-bass of the stripped-down Wu-Tang stunner are replaced with mind-bending bass notes, and the re-played organ hook turned way up.

Both of these tracks would eventually feature prominently on El Michels Affair’s landmark LP “Enter the 37th Chamber,” celebrating its 15th Anniversary in 2024.

For the thirteenth instalment of the Swinging Flavors catalog, Beat Machine Records presents a gem of pure energy by the talented Kyoto-based producer Naco. Set to ignite dance floors worldwide, this release delivers an electrifying fusion of acid, techno, and breaks, with a rave-inspired twist.

Naco, known for his innovative approach to electronic music, defies convention with his genre-defying sound. Drawing inspiration from Bass, Breaks, and Electro, Naco creates a distinctive sonic landscape that captivates audiences worldwide. Since 2017, he has been at the forefront of the music scene, spearheading 85acid, a label dedicated to showcasing emerging talent from Japan and beyond.

"Wavefunk," the lead track on Swinging Flavors #13, is a testament to Naco's unparalleled creativity and sonic mastery. With its infectious rhythm and hypnotic melodies, the fast-paced percussion and minimal character of the release "Wavefunk" transport listeners to a dimension where the boundaries between genres blur and the energy is palpable.

But the journey doesn't end there. Swinging Flavors #13 also features a remix of "Wavefunk" by We Rob Rave. The Polish duo injects his fresh signature style into the track, taking it to new heights and delivering an unforgettable dance floor experience. Transforming it into a full club experience, increasing the beats, and immersing the listener in a rave-like atmosphere fueled by danceable rhythms and an acid edge that cuts through the dance floor.

Another surprise that comes with the latest Swinging Flavors is 'Pure Water,' exclusively on Bandcamp. Let yourself be carried away by the bouncing sounds that make up this Break-style track, closing an energetic and vibrant release.

Naco's music is really pushing the boundaries of electronic music, inspiring both listeners and fellow artists. With a solid track record and a strong commitment to musical innovation, Naco is definitely going to leave a mark on the global music scene.

Beginning in the 60"s, the small chamber group ensemble became increasingly important in the advancement of jazz, enabling horn players including Sonny Rollins, Joe Henderson, and Ornette Coleman to seek uncharted sonic territories and achieve new levels of freedom without the support of chordal instruments. With a mature, cohesive ensemble sound, the young trio juxtaposes tranquility and space with energy and tenacity across nine original compositions showcasing their stylistic breadth. From the swinging waltz "December" with a melodic contour reminiscent of a jazz standard, the soothing folk-influenced simplicity of "Vent", the intimate lyrical interplay between bass and clarinet in "Duo", to the heavy, propulsive power of the title track, the trio demonstrates fearlessness, listening, and spontaneity in a raw and personal recording that puts each of their distinctive voices in the spotlight. Christian Holm-Svendsen, currently resides in New York, studying for a master of music at Manhattan School of Music. In Denmark he played with, among others, The Danish Radio Big Band, Copenhagen Jazz Orchestra, Odense Jazz Orchestra, Jesper Zeuthen, and Regnfang. Daniel Sommer is an award-winning artist and sought-after drummer on the international jazz scene. Known for crossing the borders of different musical landscapes with a distinctive musical approach, Sommer currently performs with Karmen Roivassepp Quartet, Foyn/Hess/AC/Sommer and recently released the trio album "From Within" with Arild Andersen and Rob Luft on April Records. Mariusz Prasniewski is a Polish double bass player, residing in Copenhagen. A part of the Danish and European jazz scene for more than a decade, the bassist has worked with musicians like Tomasz Dabrowski, Anders Mogensen, and Gilad Hekselman.

For the first time on clear vinyl, Death Cab for Cutie's landmark 2003 Double-LP "Transatlanticism" comes in a gatefold jacket with a beautiful full-size 12-page booklet.

These copies are pressed from the 2023 Ryan Smith re-cut and include a download code containing the album and all of the original album demos.

Established in 2008, the French band The Lumberjack Feedback comprises talented members from diverse musical backgrounds. Their music is all instrumental, characterized by heavy, powerful riffs, two drummers (!) and hypnotic atmospheres, creating a unique dark though melodic sonic universe. The genesis of the band traces back to a shared passion for innovative metal and a desire to create immersive, captivating music. Over the years, The Lumberjack Feedback has honed its musical identity, blending diverse influences ranging from sludge to doom and post-rock. The result is a complex, entrancing fusion capable of transporting the listener to emotional soundscapes. Through their epic music, The Lumberjack Feedback transcends linguistic and cultural boundaries, resonating with audiences worldwide. The band continues to make its mark in the worldwide thriving post-rock music landscape, delivering energetic and mind-blowing live performances that leave no one indifferent. Brown onyx vinyl.

Rising Sheffield five-piece Dearthworms are set to release their debut album Sapsucker; a ferocious yet considered blend of jagged noise, wonk-rock, and a touch of experimental post-punk, in the vein of the Pixies, The Fall, Shame, Gilla Band, Protomartyr, Uranium Club.

Infused with eerie, surreal lyrics, stepping into Sapsucker is to dive head first into a parallel universe populated by snivelling, pathetic men, tales of eroticism, ruminations on death, and even a giant worm rooted in North-East folklore.

The band, who all have a longstanding history of being in various other bands in Sheffield inc. Blood Sport, Amorous Dialogues, Knorke and Stray Bullet, are a by-product of the local DIY space Hatch; a place that has existed as a creative incubator and experimental breeding ground.

Lyndon Hobson’s production captures the tone of the album itself, which is one equally rooted in anxious introspection as much as it is noisy and cathartic outpourings. This is a debut album that is genuinely distinct and singular, filled with varying twists and turns and off-kilter movements.

Black Decelerant is the second installment of Reflections, a series showcasing contemporary collaborations orchestrated by RVNG Intl., recently inaugurated by Steve Gunn and David Moore. Black Decelerant, the duo of Khari Lucas, aka Contour, and Omari Jazz, explores jazz traditions, improvising with synthesizers, guitars, and electronics as a practice laid forth by their musical ancestors. This experience allows for sonic meditations on themes such as Black being/nonbeing, mourning/life, expansion/limitation, and the individual/the collective. The two strive to create a sonic surface which can simultaneously allow Black listeners a place to be still, and to serve as a basis for a movement beyond "the moment." The album's ten compositions configure vast, resonant landscapes with signals, weathers and spirits, suspended in memory and distilled in time. The Black Decelerant machine recalibrates archival relics and acoustic impulses into collages of amalgamated timbres, where harmony exists not without discordance. Across the expansive space of the record, cadent storms of modulated sound ascend beside serene melodic spells. Piano keys and bass lines tumble in free fall throughout the release, accompanied on tracks "two" and "eight" by the spectral trumpet improvisations of Jawwaad Taylor. The duo arrived at their name upon reading Aria Dean's Notes on Blacceleration, an article which explores Accelerationism within the context of Black being or non-being as a foundational tenet of capitalism. Coupled with the record's intended effect, "Black Decelerant" references the music being an invitation to slow down, while hinting at the shared politics between themselves and the artists and thinkers who inspire them.

Prepare to be engulfed in the sonic maelstrom that is The Jonny Halifax Invocation as they unleash their blistering new single "Thank You”. Renowned for their mesmerising forays into extended sun-scorched psychedelic soundscapes on the critically acclaimed albums Açid Blüüs Räägs Vols.1 & 2, The Jonny Halifax Invocation now emerge with a thunderous new proposition in the form of their latest 7" single. A dynamic shift of gears in The Invocation’s sonic landscape, “Thank You” is a two minutes and thirty-seven second explosion of raw, primal energy, a revolutionary last call, an arrow shot of burning malcontent for this time. “Thank You” goes for the kill from the first beat of filthy amphetamine buzzsaw swagger cutting some heavy sonic rug with spiritual forefathers The Stooges and MC5. Cosmic free jazz saxophonic squawks soar, while the preacherman of the apocalypse invites the congregation to question the root of their original gratitude with life or death urgency. Meanwhile over on the flip side, "Gratitude Dub” slows the rumbling groove to a lurching, swaggering rollercoaster ride of hallucinogenic dub exotica just before the wheels fall off.

Discover the incomparable musicality of Peter Kraus with this unique vinyl collection of his greatest hits. Peter Kraus, the legendary German rock‘n‘roll star and variety singer, has had a decisive influence on the musical landscape since the 1950s.

This album is a must-have for all fans and collectors who want to enjoy the timeless hits of this exceptional artist again and again. Rock out to “Tutti Frutti”, “Susi Rock”, “Mit Siebzehn”, “Wenn Teenager Träumen”, and much more.

Archeo Recordings' rewarding relationship with Tony Esposito continues on AR027, as the label provide a remastered reissue of his transcendent fusion-pop masterpiece "Pagaia" alongside a trio of brand new reworks from Perugia's mighty Feel Fly. Whether you're looking for cosmic house, mellow acid, trancey techno or dubby downbeat, these remixes have you covered, and the original remains a true work of art. Available in all good record stores on 12th July as a 50 copy super limited edition on Solid Blue Vinyl (including gadget scarf) and limited black vinyl edition.
50 copy Solid Blue Vinyl Edition (including gadget scarf), and also limited black vinyl run "Pagaia" hails from the Neapolitan percussionist's 1982 LP Tamburo, his first release for the brilliant Bubble imprint. Though the album delights and excites from start to finish, dancing through jazz-funk, Mediterranean pop, slow disco and smooth fusion, it's "Pagaia" which is first among equals. Esposito's nuanced hand drums lay the foundation for Claudio Pizzale, Sara Borsarini and Simona Pirone's wordless vocals, a life affirming chorus which carries us onto the swell of bass, piano and horns which drive the track through four and a half minutes of emotional release. Emphatic and expressive, the track transports the listener into a state of body moving rapture, all driven by Tony's rhythmic fluency. The song found its way into Italian living rooms over the credits of TV show Domenica In, and found its way into club culture thanks to fanatical support from the likes of Daniele Baldelli, who even included it on his first official Cosmic compilation.
Following a string of essential releases for the likes of Internasjonal, International Feel and New Interplanetary Melodies, Daniele Tomassini, better known as Feel Fly, now joins the Archeo family with a trio of contemporary club translations of the killer "Pagaia". The Perugian's "Cosmical Remix" extends that familiar introduction into a deep and DJ-friendly blend of drum and voice, awash with airy reverb and augmented by additional percussion, building through the original piano and bass into the churn of a dance floor wormhole. Driven by an unstoppable sequencer throb, the interpretation skirts the dark side of space before landing in the light of the miracle, those heavenly vocals and lush keys leading the way. The "Instrumental Cosmical Remix", not entirely instrumental, but utterly cosmical nonetheless, sees Daniele serve a tense and tracky arrangement of his first rework, perfect for deep space exploration. Stripped of the joyful exuberance of the original, this variation is a complex blend of shadowy trance idents and the mature techno we'd expect from the likes of François K. Not content with soundtracking either side of the peaktime, Feel Fly serves up a third version, following the Compass Point through a musical map of club-dub to turn out an immersive interpolation of deep bass, spring reverb and stabbing keys that sits perfectly beside the Rhythm & Sound catalogue. Each interpretation is an emphatic demonstration of Tomassini's musical talent, production prowess, and stylistic range, and furthermore a fitting tribute to the lasting genius of Esposito's original.

Italian producer Toto Chiavetta returns to Mind Against's HABITAT with a spellbinding new single titled "My Eyes Are Failing". Off his new EP of the same name, the song is a haunting journey where crunchy textures and hypnotic melodies come together with the refrain, "I think my eyes are failing, but I feel my lungs inhaling," to envelop listeners in a dark, atmospheric soundscape. Featuring the mesmerizing Thom Yorke-esque vocals of Trenton, the new track showcases Chiavetta's mastery over immersive, emotionally-charged electronic music.

Bolstered by b-side single “The Sacred Space” and a club-ready alternative version from Toto himself, plus remix from Echonomist, the new EP rounds out to create a defining statement from Chiavetta. With a growing list of supporters that include industry heavyweights like Âme, Sasha, John Digweed, and Camelphat, to name a few, and previous releases on Innervisions and Diynamic, Toto Chiavetta is poised to make a big impact with this landmark release on HABITAT.

Air is the central element in Antonina Nowacka's third solo album Sylphine Soporifera. The title names an imaginary species and the land they inhabit, inspired by the unreal desert landscape of Paracas and the undulating tree-less hills of the Outer Hebrides, and comes from the writings of Rudolf Steiner, who describes creatures called Sylphs as the spirits of the air, and the Latin word sopor which means deep sleep.

As with all her releases, Nowacka's other-worldly vocals coming as if from beyond the veil, at once haunting, alien and utterly entrancing. "The voice is the most beautiful and resonating instrument,” she says. “When I sing I feel I create a field in between myself and the air in front of me," she explains. "It is not just that I'm singing – something in the space in front of me is happening, and I merge with this sphere.”

She conjures and is inspired by open environments and infinite landscapes: places full of light and air, manifested here in the sound of ocarinas from Budrio in Italy, whistles from Mexico, simple bamboo flutes from Nepal, alongside tremulous zithers, synthetic Hawaiian sounds from a vintage organ and the uncanny wind instrument presets from a 90s synth.

Nowacka’s first album was informed by vocal sketches made in caves in Indonesia, later recorded at a fortress in Poland; she studied Hindustani music in India with vocalist Shashwati Mandal, fell in love with early Cumbia in Mexico and Peru, and has more recently found inspiration in the landscapes of Italy. Hers is a new New Age soundworld that finds its origins everywhere and nowhere. Sylphine Soporifera gathers these sounds, visions and experiences into an album permeated with a sense of hope and fulfilment, that feels like sitting in an enlivening white beam of afternoon sunlight, as dustmotes swirl in the stillness.

After a world-conquering 2023, UK electronic duo Gorgon City continue their next chapter by announcing their fifth studio album ‘Reverie’, out 19th July, alongside the new single ‘All That You Need’ featuring Caroline Byrne, out 4th April


Following the release of lead single ‘Biggest Regret (with Bbyafricka)’ at the beginning of the year and the club-ready ‘You Know It’ last month, the anthemic ‘All That You Need’ is another sign of things to come from Gorgon City’s upcoming summer LP, with a filthy bassline, bouncing synth toplines and distorted vocal melodies that instantly ingrain themselves into your memory

Last month, Chase and Status returned to the limelight unveiling their hard-hitting and trailblazing singles “When It Rains” ft. BackRoad Gee, complete with a Jack McMullen starring, Hector Dockrill-directed cinematic visual and the addictive smash “Don’t Be Scared” ft. Takura. Today, the duo are making a true statement of intent for the year ahead, with the announcement of their sixth studio album, What Came Before. Created by Crown & Owls, the accompanying artwork captures a truly special and magnetic live moment. Speaking on the concept, Crown & Owls state:

“We wanted to create an image that captured the very human compulsion to gather in a dark room and dance and sweat. Such scenes have a different weight to them after they were off the table for a good while, and we were very interested in capturing a moment of collective catharsis in the shadow of a period of history that pushed isolation on so many. We were really interested in the stories of the individuals in the image - what drives them to want to be in that room? The whole campaign kind of works backwards from that moment in the photo really - the intersecting stories of the dance floor, and the sense of freedom and release it brings to the individual. The record sleeve, the single covers, visualisers and elements of the music videos were all captured at this special night - it’s been a joy to work on.”

Landing alongside the album announcement is new single “Mixed Emotions” - a euphoric and recognisably brilliant dose of true Chase and Status energy that landed alongside an incredible video, filmed in two halves and directed by UKMVA-winning Femi Ladi (Pa Salieu - “My Family”). Femi Ladi states:

“On nights out like this, sometimes you just want to get fucked up. Trying to get to that moment, when you’re out of your head and completely in the moment. Sometimes music gets us there, sometimes drugs and alcohol, sometimes it’s a combination of all 3.

I want to connect our camera to the chasing of that high. A visual metaphor for trying to reach that euphoria. Each time she takes a bump, a line or a pill, the camera closes in on her. The closer she gets to that euphoric moment, the closer the camera gets to her.

By the end I want the audience to have an uncomfortable and claustrophobic feeling as our hero goes slightly overboard, a feeling that most of us know but won't dare to admit.”

Consisting of 13 tracks, What Came Before distills 15 years of unparalleled experiences into a bold, invigorating sixth album; informed by global tours, sold out headline shows, five albums, multiple awards, chart success, underground kudos, top tier collaborations and remixes, and, above all else, that unwavering dance floor energy that remains as tangible and transformative now as it has since the very beginning. This pure, unadulterated exhilaration is the glue that binds all of these experiences together, cultivating a legacy of positive vibes, unforgettable moments and the continued progression of British club culture.

For trailblazers Chase and Status, the story is cyclical - a constant process of regeneration and refinement that comes full circle. Everything that came before, from their inception point to now, has brought them back to their essence.

Landing in the wake of their critically acclaimed specialist album RTRN II JUNGLE, and the more recent news of their headlining ParkLife festival this Summer, Chase and Status’s musical return is highly anticipated. After a series of teasers were published on their social media, the duo directed their fans to whatcamebefore , unveiling a plethora of forthcoming Summer festival dates.

The forthcoming album marks the inception point for the duo’s next phase; while on forced hiatus they also went back to square one with their live show. With What Came Before Chase & Status prepare to embark on the next chapter of their illustrious career as a seasoned act ignited by the same excitement

There are certain occasions when you can truly feel the stars align. One of these is when the interstellar voyager of cosmic soul Jimi Tenor finally lands his spaceship at full force on a Timmion recording. In 2024, he will be serving us two spaced out album sessions recorded together with Cold Diamond & Mink. Jimi is no stranger in these space ways as he has operated behind the Timmion scenes for years, furnishing several of the label's artists with his flute and reeds artistry. The first album out is titled "Is There Love In Outer Space?", which begs the question with the force of five extended tracks that are guaranteed to blow your mind to the stratosphere. The pieces are loaded with whooshing and glistening synth noises and span from lofi space funk to cinematic soundscapes. The sweetly floating title track is like some of those galactic ballads that rare soul collectors are spending their pensions on. At the other side of the spectrum, album closer `What Are You Doing?' sounds like Sun Ra sat down at a JBs session, and is straight up meant to get that booty moving. Combined with the raw soul prowess of CD&M, Jimi is able to refine new shades from his already impressive repertoire of talent. Even if you are a friend of his previous work you might not have heard him get down quite like this.

Whisper it quietly, but Andrew Meecham’s ninth album as The Emperor Machine, Island Boogie, may well be the long-serving producer’s strongest set to date. Of course, all his albums ripple with vintage synth sounds, colourful lead lines, dub-flecked electronic disco grooves and lashings of cosmic intent, but this one just feels a little more special. Island Boogie is certainly special. Meecham’s “most personal” full-length to date, it was inspired by his experiences at the Rotation Garden Party – a beloved micro-festival promoted by a group of friends (including sometime Bizarre Inc and Chicken Lips partner Dean Meredith), renowned for the quality of its custom-built Klipschorn soundsystem. “The album’s title sums up the vibe that you get from Rotation,” he explains. “It may be held in a landlocked venue but it gives a wonderful sense of isolation – it is an audiophile paradise.”

Meecham road-tested rough versions of the album’s eight tracks at Rotation 2023, with the feedback and dancefloor reaction guiding the sound and arrangement of the final mixes. Fittingly, Meecham will return to the event to showcase the album at Rotation 2024 this July. Given the inspiration he’s drawn from previous editions of the festival, that will be a very special occasion. Musically, Island Boogie offers the most fully functioning and expertly constructed expression of The Emperor Machine sound yet, a style Meecham describes as “electronic cosmic disco-boogie”. It’s a sound that takes cues from early ‘80s NYC punk-funk and dub disco, vintage electro, proto-house and left-of-centre synth-boogie, but one that’s instantly recognisable to those who have followed Meecham’s career over the last three decades.

Island Boogie also sees Meecham continue his blossoming working relationship with Severine Mouletin, whose stylish and distinctive vocals previously graced his popular ‘Dance Por Amor’ and ‘Your Own Style’ singles. Here Mouletin features on four tracks: the acid-flecked retro-futurist wave-boogie of ‘La Cassette’ (featuring additional percussion by Rupert Brown); the infectious, bleep-sporting headiness of recent single ‘Devoilez-Vous’; and the squelchy analogue synth-funk of ‘Wanna Pop With You’ and ‘Vas-y-Le Chat’. Meecham also finds space for a cover of Fox’s 1976 pop-rock classic ‘S-s-s-single Bed’, one of the Stafford-based artist’s all-time favourites. His version, featuring headline-grabbing lead vocals by Michelle Bee and guitar from Dave Atherton, re-imagines the track as a subtly Chic-influenced slab of infectious electro-pop rich in kaleidoscopic synth sounds, sing-along choruses and shuffling drums.

The instrumental foundations of the classic Emperor Machine sound come to the fore on the album’s three other cuts. There’s the jazz-funk-flecked warmth of the LP-opening title track; the sparse squelches, bleeps, TB-303 style bass and brightly coloured electronics of ‘Walk The Dog’; and the exotic, slow-motion cosmic electronica of ‘Cha Murrah Etem’, a warm but poignant affair dedicated to his late father. Heady and intoxicating, with hints of Balearica and digital reggae, it offers a fittingly beautiful and tactile conclusion to Meecham’s most expressive and accessible album yet.

Weniger als ein Jahr nach ihrem Album „Through and Through“ kehrt Baby Rose mit „Slow Burn“ zurück, einer Sammlung von Songs, die ihre Klangpalette von progressivem R&B zu einer raueren, reichhaltigeren und weitläufigeren Linse amerikanischer Musik erweitern. Hier behauptet sich Rose nicht nur als einmalige Sängerin, sondern auch als formidable Songwriterin, die die Punkte verbindet, an denen Muscle Shoals auf Psych trifft, Psych auf Jazz, Jazz auf Americana, und die richtigen Musiker bringen alles zusammen. Produziert von BADBADNOTGOOD, fanden Rose und die Band eine sofortige und scheinbar endlose Quelle der Inspiration; was als Einleitung begann, wurde zu einem Tag, zu einem Song, zu einer Nacht, zu „Slow Burn“. Baby Rose war bereits eine kraftvolle Performerin - sie kann die Bühne mit Robert Glasper teilen, ohne in Schweiß auszubrechen, oder einen epischen Film wie Creed III, für den sie den Abschlusssong sang, mit stählerner Zuversicht beenden. Als Rose sich das erste Mal mit BADBADNOTGOOD traf, war sofort eine Verbindung da, und gemeinsam nahmen sie die Leadsingle "One Last Dance" gleich bei diesem ersten Treffen auf. Es war Roses erster Freestyle-Song, und er brachte entscheidende Teile ihrer Vision auf den Punkt. "Ich wusste schon immer, dass es neue Räume und Sounds gibt, in die ich vordringen kann", erklärt Rose. "Ich war schon immer an verschiedenen Sounds interessiert, die diese raueren Texturen einbringen." Während die Geschwindigkeit ihrer Zusammenarbeit Rose begeisterte und überraschte, waren das Potenzial und die Endergebnisse es nicht. "Wir haben uns schnell bewegt", sagt sie, "und es war wirklich wie ein Wasserhahn. Sobald wir “One Last Dance“ hatten, wurde klar, dass alles fließen würde." Die Songs auf „Slow Burn“ wurden zum Teil von Roses Erfahrungen inspiriert, die sie auf den Fahrten zwischen den Wohnorten ihrer Familie machte: dem Lärm und Chaos von DC und der ruhigen Landschaft von Carolina. Rose drehte die Musik auf und ließ ihre Gedanken schweifen, um Raum für innere Monologe und imaginäre Dialoge zu schaffen, die man sonst vielleicht nicht zu hören wagt. Diese Momente haben etwas Verträumtes, und sie schwelen auf Slow Burn: Erinnerungen verlieren ihre Realität, Gefühle ersetzen Geschehnisse. Der Titeltrack zum Beispiel setzt sanfte, schlendernde Drums gegen Roses lyrische Wiederholungen, während sie diesen Erinnerungen - manche leben, manche fühlen - mit geduldigem, beharrlichem Verlangen nachspürt. Das herausragende "One Last Dance" kommt als Liebeslied getarnt daher, ist aber eigentlich eine Ode an eine verlorene Freundschaft und ein imaginärer Traum von einem weiteren Tag wie in alten Zeiten. Die Realität verschwimmt wieder mit dem Gefühl, der Gesang geht in ein Wiegenlied über, und BADBADNOTGOODs Bassist Chester Hansen bringt diese traumhafte Qualität in einen schleichenden, vorsichtigen, aber liebevollen Unterton. Tatsächlich haben die meisten Songs auf „Slow Burn“ dieses schleichende, schattenhafte Gefühl, als würden sie auf Zehenspitzen daherkommen: intim, aber ein wenig gefährlich, zärtlich, aber ein wenig geheimnisvoll. So vollständig und überzeugend dieses Werk auch ist, Slow Burn weist auf einen größeren, höheren Aufstieg in Baby Roses Zukunft hin.

There are albums that tap into the very heartbeats of rhythm, melody and intricate sound design, pulsating with every musical note. This is the case of 'Séptimo Sentido', the new album by Buenos Aires-based producer Seph.

Sebastián Galante aka Seph is no stranger to these realms; with almost two decades of experience under his belt, he has established himself as one of the leading talents in the Argentina techno scene and as one of the most intriguing minds in alternative Latin American electronic music. His productions have found a home in cutting edge labels such as Insurgentes –a platform led by the DJ and producer from Medellín (Colombia) Verraco, and sister label of TraTraTrax, which has reduced gaps between the Latin electronic scene and the rest of the globe– or his own label Aula Magna Records. He has also fostered collaborations, among which stands out his project Oscean alongside Andrés Zacco, a project that was recently released on the legendary Berlin label Tresor.

In his new album 'Séptimo Sentido', Seph exhibits superlative production skills and masterfully showcases the widest palette of the braindance sound, that intersection where countless genres and sub-styles can coexist. Here we hear echoes from the mid-90s that revive undeniable references of early IDM; but with a renewed form, under a fiercely contemporary new skin.

At the core of this intriguing album, we find an artist whose devotion to experimentation takes his rhythmic and melodic obsessions through vibrant magical-techno-urban landscapes, where radiant colors and mutating forms collide in a bold and imaginative sonic journey.

'Séptimo Sentido' hails from the prism of perception, beyond the five senses and a step further than instinct, hunting for mysterious resonances with the cosmos; like a space portal inviting us to float a handspan above the ground.

Land Of Talk emerged from the ethereal landscapes of mid-aughts Canadian indie rock with their 2006 debut Applause Cheer Boo Hiss. Led by Elizabeth Powell, they have spent the last 18 years carving their own path through the music scene, captivating audiences with their emotive soundscapes and raw vulnerability.

The EPs brings 2009's Fun And Laughter and 2021's Calming Night Partner together on vinyl for the first time, combining two distinct chapters in Land of Talk's sonic journey while offering fans a unique perspective on the evolution of their sound.

Fun And Laughter showcases the band's early experimentation with texture and tone. From the shimmering guitars of "May You Never," to the haunting melodies of "A Series Of Small Flames," each track exudes a sense of youthful energy and introspection.

Calming Night Partner is an equally mesmerizing collection of songs that delves into themes of longing and redemption. With tracks like "Leave Life Alone," and "Something Will Be Said," the EP showcases Powell's continuing evolution as a songwriter and lyricist.

This release represents more than just a collection of songs; they are a testament to the band's unwavering commitment to their craft and their unyielding passion for storytelling through music. As they continue to push the boundaries of their sound and forge new paths in the indie rock landscape, one thing remains certain: the echoes of Land of Talk will linger on, resonating in the hearts and minds of listeners for years to come.

SHHE, Scottish-Portuguese sound artist and producer Su Shaw, is releasing new mini-album, ‘DÝRA’, on July 19th via One Little Independent Records. The ambient project took form during a self-directed artist residency in the Westfjords of Iceland, influenced by the tranquillity of the Dýrafjörður fjord. Immersed in a distinct landscape with quietly monumental surroundings, Shaw began documenting her experience of the environment through field recordings and environmental data captured across several geographical locations.

‘DÝRA’ is an exploratory and mesmerising durational piece, evocative in its construction, inviting listeners to imagine their own space and scale within a landscape. Reflective, textured, and pensive, with expansive synths that further showcase Shaw’s deftness in sculpting immersive and introspective soundscapes.

Dýrafjörður is a 32-kilometre-long fjord in the Ísafjarðarbær municipality, in the Westfjords of Iceland. Shaw originally embarked on a 10-day residency in 2018, during which the village experienced an immense storm, hindering her schedule. Shaw explains, “It was my first visit to Iceland, and I’d made myself a meticulous itinerary in advance, which included recording at the summit of some of the peaks in the fjord. When the storm arrived after only a few days, it made any kind of travel challenging – so partly out of necessity to be able to continue developing the project, I began recording my immediate surroundings instead – attuned to incidental sounds from around the village and fluctuating weather states – and I quickly built up an archive of the environment”.

'Gemelo' is the new album from songwriter and pop auteur Angélica Garcia. Its title is a reference to the twin self – the idea of a second, more intuitive self within. It’s a vibrant, prismatic hybrid-pop record that soundtracks a journey through the different stages and forms of grief. Angélica explores its inherent loneliness, beauty, and tension, eventually finding liberation. 'Gemelo' also expertly deconstructs facets of universal themes like religion, spirit, heritage, womanhood, and ancestral veneration.

Born in East LA with Mexican and Salvadoran lineage, Angélica embodies the essence of contemporary America, a cultural landscape continually evolving through its fusion with rich Hispanic influences. In a reflection of modern America itself, 'Gemelo' also marks Garcia’s first album sung almost entirely in Spanish, inviting listeners to reconsider what they think an American record can be.

'Gemelo' was produced by Carlos Arévalo of LA-based rock band Chicano Batman, his first time working in such a role. Sequenced with extreme intent, the album progresses from a delicate, tender entry on Side A which serves almost like a meditation, to the visceral intensity of Side B, which immerses into the difficult, at times terrifying work of healing. With growth and exploration like wind behind her, Garcia arrives at her clearest and most fully realized vision of self on 'Gemelo.'

'Gemelo' is the anticipated follow-up to her 2020 breakthrough 'Cha Cha Palace,' which featured on several year-end lists and brought Angélica to NPR’s Tiny Desk.




[d] Ángel [eterna]

Sweet soul and sentimental music has never really gone out of style, and in the particular cases of the innovative wave of 1950's filin era Cuban boleros, or 1960's Nuyorican street soul, they both remain a thriving beacon of timelessness and universality, capturing a particular style of breezy Caribbean romantic music that has stubbornly thrived in the tough concrete landscape of New York City.

Perhaps there is some love in the heart of the city, as the new ensemble La Triunfadora has managed to tap into something of significant substance on their debut recording, Clasicos Sentimentales Para Una Nueva Generación. Co-produced by band leader Benjamin R. Juliá and renowned talent William Holland aka Quantic (recorded and mixed at the latter's Selva Recording studio in Brooklyn), the group has managed to capture the essence of this reemerging style of classic music, while further injecting their own inspired vision of experimental and psychedelic arrangements.

On A-side display for this debut 7-inch release on Names You Can Trust are two canonized Cuban boleros from maestro composer and guitarist Cesar Portillo De La Luz, stacked together in an old school continuous medley, and transformed with lush orchestration that has the talented musicians sparkling behind the duet of lead vocalists Candace Camacho and bandleader Juliá.

The B-side jumps from 1950's filin into Ralfi Pagan's iconic 1969 latin soul masterpiece "Hijo De Mama." Once again La Triunfadora peppers in just enough exquisite arrangements and musicianship to transform the original into something fresh, yet still guided from an analog sensibility, and ultimately performed with a familiar romanticism that these classic lovers' songs have managed to express over the decades to different generations.

Gary Bartz, a titan of the saxophone, has left an indelible mark on the jazz landscape through collaborations with luminaries like McCoy Tyner, Art Blakey and Miles Davis. BGP's selection of 'Celestial Blues,' featuring the soulful vocals of Andy Bey, encapsulates the essence of spiritual jazz, epitomizing Bartz's musical strength. Paired with 'Gentle Smiles (Saxy),' famously sampled by A Tribe Called Quest, this release offers a glimpse into Bartz's multifaceted artistry and enduring influence on contemporary music.

KEYS has just completed their second album, “The Grand Seduction”. This all-keyboard band is the brainchild of singer Jake E (Cyhra, Amaranthe and others) and keyboardist Mark Mangold (Touch, Drive, She Said, Michael Bolton, Cher, Paul Rogers and others) with Emanuel Bagge (Sweden’s Got Talent Finalist) on additional vocals and keys, Irwan Fabrien (noted keyboard guitar sound designer) with help of drum gurus Alex Landenburg (Kamelot, Cyhra and others).

Featuring live performances with three keyboardists and a huge battery of keyboards, this ambitious band brings keyboard and instrumental prowess to new heights while playing songs that run the gamut from scathing progressive melodic forays to catchy and melodic rock anthems …and Jake’s award-winning voice (Burrn Vocalist of the year 2020). Previous KEYS album also featured guest keyboard additions by Charlie Calv of Angel and others.

Though songs are first and foremost, this band shows the versatility of keyboards in this day and age. These artfully crafted songs are ripe with scathing synth, organ and “guitar” pyrotechnics, dazzling time signatures and drumming, bombastic choruses and “guitar” riffs (played on keyboards with the now available plug in’s that perfectly emulate guitars). As Mark and Jake are first and foremost award winning songwriters, they never lose sight of the composition and melodies, though couched in the very signature and hard to pigeon hole sound (isn’t that the whole point?) of this band and Jake's 4 octave vocal range.

2024 Reissue

US soul and rare groove outfit Heaven Sent & Ecstasy are a mysterious duo who only made this one record, but boy what a record it is. It first came in 1980 and has a weird sub title, but that doesn't detract from the gloriousness of the music. Some of its tunes were included in the soundtrack of Scrolls, The Book of Life and this is the first time it has landed on vinyl after a 2006 CD reissue. There are intricate moments of r&b pain, soaring jazz-funk grooves that will make any dance floor move and more raw funk jams driven by hard hitting kick and angular guitar riffs.

Big Thing - The band continued to explore different styles and culminated in Big Thing which was released in 1988. The album was a reflection on the musical climate which was changing towards the late 80s and had a more experimental and electronic approach compared to earlier Duran releases.

Nearly a decade after their last album, Lilacs and Champagne picks up right where that record, Midnight Features Vol. 2: Made Flesh, left off. With bizarre excursions into pillowy, sentimental made-for-TV music - and children's choirs incanting the blackest dread-filled music the band has conjured to date - Fantasy World is both transcendent and traumatic. Despite sharing two founding members of Grails (multi-instrumentalists Emil Amos and Alex Hall) Fantasy World only peripherally resembles their core group. Lilacs & Champagne have exaggerated their early record's implications and accelerated their mercurial rearranging of music history by deftly incorporating live instrumentation and samples with equal amounts of deference and disregard. Previously existing primarily in a realm adjacent to instrumental hip-hop (J Dilla, Clams Casino, Madlib), Fantasy World exposes Lilacs & Champagne's deeper lineage as playful tape-collage culture jammers in the vein of legendary sound satirists, Negativland and Severed Heads. It embraces the effect of a child entering a dollar store: the immediate euphoria felt upon discovering the seemingly endless aisles piled impossibly high with novelty toys, utensils, party decorations, and toiletries eventually gives way to the overwhelming realization that they're actually just a tourist in a perilous mountain of colorful garbage. From those mountains, Lilacs & Champagne mold monuments to curiosity and confusion.

TIPP! :)

For the latest Cognitiva release the label present the 4th release of their Point of View series which focuses on dance floor-oriented sounds, this time they invite the marvellously talented Dr. Sud to deliver a wondrous, jazz laden odyssey, which entices as much as it delights - with some expert remixes to boot….
Dr Sud is the main alias of Gregorio Marigliano, an Italian music maker who was raised in Berlin. Marigliano’s music revolves around the principles of Jazz-meets-Dance music, drawing up the rich tradition that has come before in bringing a high level of musicality and ingenuity within his tunes. Moving fluidly between rhythms and feels, as Dr Sud he captures the imagination with thought provoking and captivating sequences, striking a fine balance between depth and danceability. Harmonies and groove play a key part within his music, such as was highlighted on his 2023 EP ‘Heading South’, coming courtesy of the Q1E2 imprint. This record really highlighted his profound abilities and deep set affection for instrumentation but also mood and tone, and it left many waiting for his next release with baited breath.

‘Point of View 4’ continues forth with the supreme feels that permeated through ‘Heading South’, with the key movement onwards being the inclusion of some killer remixes from Gary Superfly, Broke One, Turbojazz and Reekee. Two original cuts, ‘Breakfast Sun’ and ‘Desert Wind’, lead Sides A and B respectively, and do much to help create a distinctive balance and bookend kind of feel to the record. ‘Breakfast Sun’ begins with a wondrous polyrhythm to get things going, a lone vocal sample thrown in for good measure, and before long we are joined by some delicate but hyper precise melodic features. The slow drawn out chords contrast superbly with the short sharp stabs, acting in accordance with the drums, with the first breakdown providing space for the keys to really flourish and take over. The breakout back into the core rhythm allows for a lead synth line to emerge, and provide those bountiful feels we were all yearning for. The remixes do much to add flavour and some diverse alternative perpectives on the original, with the Turbojazz/Broke One remix taking things in a house-y leaning direction, with the hats and kicks shifting the rhythmic perspective towards sun kissed horizons. The Gary Superfly remix however takes things into a much more cosmic space, with a punchy acid line weaving within the underbelly of the track, providing that late night dance feel for club land scenarios.

On the B Side, ‘Desert Wind’ kicks things off, and once again the drums here start us off in a winning space. The groove is so delicate, poised and perfected, and when the first breakdown arrives the chords come into view, and its glorious to say the least. This track focuses on a much more smooth melodic sequence, with a greater emphasis placed on the lead line, but its just as impactful and soulful as the EPs opener. Delicate waterfall style keys shift in and out of view, providing an overall picture of sonic beauty that we can get behind time and time again. To wrap things up, the Reekee remix of ‘Desert Wind’ comes into view, with this track again moving into dance floor realms with a swinging garage beat that feels unstoppable, shifting and moving between the lines with a joyous ease.

Dr Sud may be a producer to keep a keen eye on, with this latest EP certainly doing that sentiment a great level of justice. This EP provides not only two beautiful original cuts from the man himself, but some imaginative remixes that honour the originals and provide us with an record that will linger long in the memory. For home use, down by the rivera, or in the club, this one has the lot…..

2025 Repress

SHDW & Obscure Shape invite Invexis for his first 12" in almost 20 years as the German live act and producer returns to Mutual Rytm for his impactful EP, 'Odyssey'.

With an ethos of merging the past with the present and future, harnessing classic techno influences and shaping them into the sounds of tomorrow, SHDW & Obscure Shape's Mutual Rytm imprint has become an exciting home for rising talents of note and established artists to shine a spotlight on the genre. However, the next release on the label welcomes a long-awaited return from Georg Kohler, aka Invexis. Known for releases such as 'Kalibreur' on Salpeter Records and 'Chiffre' on Planet Rhythm Records, with further releases via Compound and Kazumi, the German talent crafted and shaped his own sound within the techno landscape in the early 2000s. Returning with his first EP release in close to two decades, late December welcomes a return to Mutual Rytm, following on from the inclusion of his track 'Elektronenwind' on the label's 'Federation Of Rytm I' release, as he delivers a selection of dynamic, melodic and driving techno offerings across 'Odyssey'.

'Silhouette' opens the package with authority as spirited drums and spiralling synths take hold of a twisting and turning lead effort, with 'Non Return To Zero' building a spiralling groove via frantic yet measured percussion, sweeping melodies and funky stabs. 'Red Storm' opens the B-side with a more up-front production combining harsher metallic tones with relentless drive and crashing hats, while 'Body Impulse' utilises dubby stabs and eerie atmospherics to balance light and dark. The title track 'Odyssey' closes the vinyl offering, with a euphoric and rapturous production harnessing resonant chords, looping drum grooves and elated leads to bring things to an impressive crescendo and deliver a record that will remain in the ears of listeners for a long time. As always with the label, digital purchasers are treated to an exclusive track as Kohler combines zig-zagging grooves, refined synths and off-kilter glitches and bleeps across digital exclusive 'Transition'.

ReKab's Cyborg Romance EP is a sci-fi journey into the realms of electronic music, featuring the producer's talent and versatility in full effect. The title track, 'Cyborg Romance,' with the angelic synths and a symphonic homage to artificial intelligence, is pure space sex. The mid-tempo electro beats offer a lush, euphoric experience that blends an 80s vibe with futuristic sounds. 'Minimal Mind dives deeper with deep bass hits, soft Detroit keys, and a melodic, soothing atmosphere. There's a poignant and gentle touch to this track, adding depth to ReKab's sonic landscape. On Side-2, 'Twisted Space' takes listeners on a trek through deeper, dub-infused chords, evoking images of space travel and exploration. The track has a techy undertone and a fast-paced rhythm that adds to its cosmic feel. Closing things out is 'Downtime,' an acid-tinged symphonic electro piece that adds a darker, more serious tone to the collection. Overall, Cyborg Romance shines with ReKab's ability to explore different styles and moods within his music, demonstrating a varied style palette. The balance of dancefloor focus and deep listening is a winning combination. Drawing comparisons to electro legends like E.R.P., Cignol, and Carl Finlow, ReKab maintains a techno aesthetic rooted in the UK-Detroit second wave sound. This record is Hot! Hot! Hot!

Stereometrix is given the responsibility of taking care of the first release from the new label Tread A Measure and boy does he come through. His cultured Fall EP is a deep exploration of liquid techno landscapes that draw on cosmic energy, psychedelic colours and evolving synth patterns to melt your mind whether in the club or at home. There are downbeat and melancholic cuts like 'Fall', serene and soulful percolators like 'IO' and twisted sonics for afterparty freakouts like 'A2', while 'Glitch' is a collage of ghostly sounds and warped pads to close out this top-class EP.