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Introducing our latest release by Barcelona based corsican DJ and producer Groenogen, a captivating exploration of the duality between light and darkness.

This EP features four distinct tracks, each representing a unique identity within a syncretic soundscape. Dive into complex chopping and interrogative feelings, as he constructs an emotional journey inspired by the 90s progressive house. Expect electro patterns and dreamy outcomes reminiscent of iconic Italian and German Electro House tracks, all infused with tight grooves and unexpected drops that harken back to the golden era of 2000s Tech House.

All songs written, performed, recorded and produced by Hørd. Originally released by Giallo Disco, 2016. Re-mastered by Alain Paul 2024. Artwork by Elzo Durt.

Second release from Hørd following the Re-Isuuse of 'Focus on Light'
200 copies pressed

Buckle up, electronic aficionados! Queen of Coins is about to drop a six-track sonic odyssey that’s your one-way ticket to Electro, Italo-Disco, and Detroit Techno nirvana. This isn’t just an album, it’s a masterclass in psychedelic dancefloor alchemy, tailor-made for DJs who crave cutting-edge sounds while paying homage to the genre’s founding fathers.

From the slow-burning hypnosis of “Head Tension” to the heart-racing throb of “16K Cal,” this release is a BPM rollercoaster that echoes the spirits of legends like Legowelt, Drexciya, and Francisco. But make no mistake – Queen of Coins isn’t just rehashing the past, the Queen is propelling these influences into the future.

“Bring it to the top” is pure condensed energy, engineered to shake every powerful soundsystem while maintaining an emotional depth that’ll hit you right in the feels. Speaking of feelings, “Damaged Souls” is the track you didn’t know you needed – a poignant electronic love letter to all those “what if” moments that haunt our dreams.

But don’t think for a second that Queen of Coins is all melancholy. “Oreo Cake” swoops in with its irresistible bouncing bassline, serving up a fat slice of low-end theory that’ll give your mind, body, and soul the workout they’ve been craving. It’s a reminder that in the realm of Queen of Coins, the future is bright, and the beat goes on.

Remember the mantra, ravers: Queen of Coins is “Music to grow with Expanding your soul Thriving in Prosperity.”

This isn’t just an album release; it’s a coronation. Long live the Queen of the electronic underground!

Im Wesen der Natur verbunden, zu unseren Füßen grünes Land. Luden wir zu intensiven Stunden, der Alltag wurd aus uns verbannt! Kultur gemacht für bunte Kunden, wir bauen Türen in die Wand! Das Getraute der gewählten Runden trug Familie in den Forstbestand. So kamen geschwind, die Kindgebliebenen, denen’s gleich war – ob Tag – ob Nacht. Geladen zum exzessiv genießen über Bedacht wurd nur gelacht. Barfüßiger Tanz auf weiten Wiesen nur von Panoramen überdacht. Ihr Unikat ist weit gepriesen, da ihr Fest hat pures Glück entfacht.

Berlin based artist TWINS debut album of home produced, world infused
Lo-FI Soul / Psychedelic Pop / Devotional tape recordings
The wide array of sounds pulsing through The Human Jazz reflect the diversity of
Neukölln as well as Denck's extensive library. Tracks like "Some Kind of Space"
wobble and groove, vintage '60s Philicorda organ vamping over the top a la
Zamrock and other East African styles. The sleigh bells and droning keys of
"Anatman", meanwhile, are pulled from the vibes of another African music
explorer: "Alice Coltrane is a goddess to me," Denck says. "I spend so much of my
time listening to spiritual, modal, and free jazz." And as the track ends on a bit of
warped tape, a smoky purple portal rips open, pulling a new world into focus..

The second offering from Mud Trax, a division of MixCult Records is a compilation to remember.

With Dub Tech laid out in all its many forms and moods by a dynamic assortment of rhythms, it is nothing less than exquisitely fresh pop manipulative.The album features contributions from Kirill Matveev, Ataneus, Genning and Etzu Mahkayah. With an electrifying mix of dub's sprawling scope and acid's driving rhythm, even a record that pushes sound the way this one does can come off totally funky.

Kirill Matveev & Wiklauri's Ioli (Kirill's Version) makes for a promising opening, melding into deep dub its ethos of acid, a psychedelic blend that touches the nerves of those who love to dance. Ataneus takes it further on A2 with Napolitaner, a track that is like nothing else: dense, dub-coloured layers of sound, which create a steadily seductive momentum able to steal listeners away into temporal plunge.

On the other side, B1's Red Lights by Genning is at once a punchy piece and a dancefloor phalanx of sound. A work meticulously sculpted by the speakers, yet redolent with natural energy-Geistgemäss.
The journey is brought to a close by Etzu Mahkayah's Cs-137 on B2, hypnotic grooves offering equal parts reflectivity and pumping energy.

Taken together these tracks provide an experience that is euphoric yet absorbing, each not only embodying Dub Tech but also pushing it in new directions.

As the tenth candle flickers atop the torta alla panna, Archeo Recordings play the Uno reverse card, breaking with tradition to give us a gift in celebration of its birthday: the first in a series of exquisite EPs on which the label's favourite contemporaries pay homage to past masters. Each re-polished gem is plucked either directly from the beatific back catalogue of the fine Florentine label or is at least Archeo-adjacent, perhaps a sign of future wonders to come. Like a musical version of Janus, who can be found at the heart of Bertoldo di Giovanni's frieze in the Medici villa, Archeo Recordings will continue to look forwards and backwards to provide sublime sounds for us all.
Pepe Maina officially joined the Archeo family in 2019 with the much-needed reissue of his 1979 masterpiece Scerizza (AR015), but his astounding music has been a constant companion to label head Manu for much longer. An inter-dimensional, multi-instrumental maverick, Maina weaves the frayed edges of prog rock, new age, organic jazz and global minimalism into a shimmering tapestry all of his own. The results are spread across fifty years and almost as many albums, largely self-released and always absolutely untarnished by commercial concerns.
Based in a small village in the hills of Brianza, just north of Milan, Maina translates the beauty of his surroundings into transformative tone poems, and the folkloric fusion of "The Infinite", originally released on his 2014 CD Tales From The Hill, is the perfect example of his practice. It opens with a recitation of Giacomo Leopardi's 1825s poem "L'Infinito" by famed Italian actor Vittorio Gassman. A leading figure in the romantic movement, Leopardi explores the idea of time and space within the natural world, and the peace that comes with an appreciation of the immensity of eternity. Manu, longtime digger and now a burgeoning producer, expands upon the original with tribal percussion, chirping electronics and a spheric bassline, folding Maina's elegant strings and gossamer pads into a new arrangement suited for a slow dance under the stars.
Unless you had a well-trained ear tuned to Italy's avant-jazz scene, chances are your first encounter with innovative flautist Roberto Aglieri came via the 2017 Archeo reissue of hisalmost untraceable LP Ragapadani (AR011). It's a true testament to Manu's digging credentials that he snatched this masterpiece out of the esoteric atmosphere and brought it attention it so richly deserved. A delicate union of digital synthesis and versatile flute - be it soft and silvery or
brilliant and clear - the 1987 album was a shapeshifting masterpiece, replaying scenes from Virgil, Verdi, Visconti and Pasolini with a neon glow. Quintessentially Italian, but uncanny and previously unimagined - Penthouse and Portico perhaps. Powered by a percolating prototechno sequence, cascading keys, hallucinogenic vocal snippets and a variety of tonal timbres from Roberto's reed, "Danza N. 1" long deserved the praise reserved for Jean-Luc Ponty's pinnacle, so many thanks to Manu for our collective introduction. The tall task of reinterpreting this particular paragon falls to Perugian polymath Daniele Tomassini AKA Feel Fly, whose peerless skills as both producer and musician have delighted DJs and dancers alike. Hot on the heels of his diverse and definitive remixes of Tony Esposito for AR027, Daniele delivers a radical rework of "Danza N. 1" perfect for both day rave sunshine and full moon party alike. Enhanced by snapping breaks and a rattling kick, the bassline gurgle emerges as a progressive powerhouse, laying the foundation for the trilling flute and circular keys to cast a psychedelic spell. As the slow-Goa revival picks up pace, this one is way ahead of the pack.
Archeo take us all the way back to the start of its story here - well almost. Though it bore the stamp AR001 (2015), this Radio Band reissue actually hit shelves months after Tony Esposito's "Je-Na' / Pagaia"; a false start perhaps but a true classic all the same. Radio Band were a group of DJs from Florence who all sailed the airways of Radio Fantasy in 1984 and whose one and only release was this super groovy slice of Italo-boogie. Following the example of Milanese DJs Band of Jocks but far surpassing their formulaic funk fizzle, Radio Band employed an intergalactic bassline, cosmic keys and that undeniably Italian style of rapping to deliver a sophisticated party-starter which even found its way to disco deity Ron Hardy. Back to the here and now, and if you've found yourself pumping an ecstatic fist to a supercharged Italian epic of late, chances are its from the mind of the mysterious Radiomarc. Operating on the ascendent Popcorn Groove imprint, this shadowy figure steers his country's lost classics into peaktime territories, finding a sweet spot between late Italo-disco, early Italo-house and contemporary cool. Pushing the tempo with a club-ready 4/4, setting the sequencer to stun and supplementing the original melodies with a series of synth riffs, the mystery producer send this one into orbit. Radio Band - Radio Rap - Radiomarc, the circle is complete.
Few have done more to develop cross-cultural musical exchange than Futuro Antico. A collaborative venture from musician, archeologist and ethnomusicologist Walter Maioli, keyboardist and tonal theoretician Riccardo Sinigaglia and multi-disciplinary artist and composer Gabin Dabiré, Futuro Antico formed in Milan in 1979, combining ancient international folkloric traditions with otherworldly electronics. The result is an arresting melange of Mediterranean, African and Asian instrumentation, mimicked by esoteric synth tones and hypnotic minimalism, which the group perfected on their acclaimed 1990 LP Dai Primitivi All'Elettronica. The meditative and transportive "Pan Tuning" belongs to their largely overlooked 2005 CD only release Intonazioni Archetipe, and has been amongst Manu's most loved tracks from the first moment he heard it. Who else is better placed to reshape this evocative opus into an immersive, transcendental dance floor journey than label favourites Mushrooms Project? The duo sows the original elements into a sprawling fifteen minute fusion of séance and science, at times propulsive with a ritualist rhythm of tuned percussion and crunching drum machine at others drifting off into ethereal ambience. Mushrooms Project continue to push the boundaries of the Afro-cosmic style, and this remix marks a new zenith.

Take cover! It's impossible to get rid of the now legendary Stupeflip Crou (="crew"). Like a two-taste chewing-gum that's been stuck under your trainers since 1994, King Ju is back in force with Sons2ouf!!, an album meticulously selected from hundreds of unreleased tracks and alternative versions accumulated over the years. Always on the fringes of a bloated Game, Ju takes us on a tour of his strange cabinet of curiosities. Far from being a simple collection of sounds, the album is a real creation in its own right in the Stup discography. 'Mock-ups are often better than the final sound, like a sketch that's always more alive than a finished painting,' he explains. Here we find that first draft, bits of stuff not yet digested by the industry. Some of the nuggets are antediluvian, but they sound extremely lively, as if they had been written the day before. In Stupeflip's parallel world, time doesn't exist. We find the themes dear to Crou: childhood, rage, non- violence, the passage of time, a passion for music and nostalgia. As usual, the beat is cut with a meticulous flow, there's no time to take a breath, the Stup just does what it wants, churning out one bullet after another in a fusion of genres and styles that's as distinctive as ever. Specially dedicated to aficionados, the album celebrates 30 years of Le Crou! The Holy Grail for every Stup fan!

DJ Support - Wehbba, Ilario Alicante, Marco Faraone, Paco Osuna, Cristian Varela, Mauro Picotto, Adam Beyer, Richie Hawtin, Luigi Madonna, Joseph Capriati, Eli Brown, Marco Carola and Charlotte de Witte.

Joseph & Indira's ‘Mantra’ is another testament to ARTCORE's ever-increasing weight in Techno and global electronic dance music and features a duo of racy cuts laden with signature sonics from both artists, kicking off with 'Ananda' and its potent classic Techno feel, with a prominent Capriati core of thumping kicks, crisp percussive drive and progressive energy shifts and playful twists, laced with Indira's hypnotic exotic vocal chops and gritty LFO shots.

'Mantra' rounds off the release with an inverted sound transition, leaning heavier into the 'Psy' sound that has seen Indira's notoriety skyrocket. Flooded with undulating low-end movement, creative off-beat flare, shifting rhythmic patterns and uplifting musicality, its immersive blend of darker sounds and spiritually utopian nuances makes for an undeniably unique statement track.

Whilst famed for his endless spree of unforgettable mainstage performances and international club shows, including standout residencies in Ibiza, Joseph Capriati's studio productions have been carefully selected and rare in recent years. With the emergence of their latest studio productions, Joseph and Indira's ‘Mantra’ release serves as a stamp of approval from one of Techno's most respected tastemakers and an insight into the potential of ARTCORE's indelible impact on global dance music.

Parsley Sounds was the glorious debut album for Mo Wax by Parsley Sound. The album was one of the iconic label’s final releases before it closed in 2003 and locating a clean copy has been extremely tricky of late, unless you're flush enough to drop 150 notes on it. Mercifully, the Be With reissue, put together with invaluable assistance from the group, should remedy this situation. It's a lo-fi, bass-heavy, blunted beat treat, warped with heat haze and dreamy soft-psych and has been criminally under-heard for far too long.

As with most cult-like records, Parsley Sounds has many influential fans, far and wide. From Four Tet and Caribou to NTS's modern day breakfast hero Flo Dill, its reputation has only grown in stature. At the time, the notoriously hard-to-please Pitchfork garlanded it with a scarcely achievable 8.8 whilst, just recently, the Numero Group's Rob Sevier described it as a "visionary bit of proto-Salvia Palth (or Steve Lacy)" via a Ghostly International missive.

Parsley Sound comprised super-talented duo Preston Mead and Dan Sargassa. They released an early single (the perfect "Twilight Mushrooms", featured here) on Warp Records as Slum, before signing to Mo Wax. Hidden behind a wall of sound - fuzzy layers of beats, bleeps and symphonic synths - they were convinced they made mainstream pop music. And, in many respects, Parsley Sounds really is a beautiful pop album. It overflows with memorable, gorgeous melodies and inspired songcraft. As the contemporaneous Pitchfork review correctly had it: "Parsley Sounds is one of those rare records that manage to sound modest while frequently pushing the sonic envelope."

Killer opener "Ease Yourself And Glide" is a thing of aching, soft-psych, wonky beat-beauty. A melodic masterpiece, part Crosby, Stills & Nash, part proto-Koushik, it presents a melancholy falsetto, surging bass and blunted lead guitar. As it climaxes, gorgeous strings are ushered in to see us out. Sublime. "Twilight Mushrooms" is up next and it's an acid-drenched, strung-out acoustic-led campfire wonder. Amid layers of tape-hiss and beautiful, sun-dappled strings, its understated vocal track provides a haze of wistful innocence.

The breezy "Spring's Near" is a krautrock-inspired chiming instrumental of heavenly excellence, its warm, skipping, motorik groove and dreamy synths completely infectious. Another total highlight, the technicolour "Yo Yo" initially presents itself as a more abstract, bleepy offering but as it organically swells into ever more beautiful places, with the addition of a choppy insistent drum loop, flute bursts, horns and sweeping strings, it puts one in mind of early Manitoba and Four Tet releases. Shimmering, blissed-out greatness.

The celestial harmonies and glistening harps of the wonderfully beatless, serenely sullen "Ocean House" are very much in conversation with late-60s meditative psych whilst, closing out Side A, the jaw-dropping, lushly experimental effort "Find The Heat" comes on like Arthur Russell meets Brian Wilson. Yep, *that* good.

Side B opens with the warped, bleepy "Stevie", a brief but beautifully wonky, soulful and intricate instrumental. The more upfront vocals that propel the fuzzy "Platonic Rate" have a refreshing swagger to them, the heavy bass and neck-snapping in-the-red beats too much for any system to deal with whilst the guitars and strings have a sweeping, cinematic feel which just beguiles. The slow, urbane soul of "Candlemice" will stop you in your tracks, no matter what you're doing. It carries a delicate sadness, as does much of the album in that classic "down lifting" style we so love here at Be With.

The fuzzing, buzzing "Templechurchmansions" is a searing, soulful dubwise detonation. Heavily stoned with slow-burning jazzy snatches and a tense, moody atmosphere, it's a Tricky-adjacent gem. The album rounds out brilliantly with the ominous instrumental "Neon Breeze" before giving way to the propulsive, almost incongruous punk-funk / disco-dub of secret "untitled" track "Caution", a scratchy, smacked-out groove-fuelled workout with a female vocal dripping with 'tude. Just sensational.

Under the watchful eye - and attentive ears! - of Parsley Sound themselves, the audio for Parsley Sounds has been carefully mastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland.

Preston and Dan always thought the colours on the first vinyl pressing looked a bit "washed out" vis-a-vis the original artwork which was way more vibrant. We feel we've got it popping back to the original intention with the restoration work here at Be With HQ. So with the audio and artwork now approaching completeness after 20 years, this long overdue re-issue could be considered its definitive vinyl release.

The world was a different place in June 2020. Most of us were coming out of a first lockdown and accepting limitations, new fears, and changes in our lives. There was some hope things were going to be better, optimism in the summer, a new beginning. For some, like Molero, it was. He released his first album in June 2020, one he had been working on over the previous years. “Ficciones Del Trópico” felt like a discovery, the synths approached a new world, raw, full of wonder, fresh. It was the sound we needed, the horizon we were longing for.

Four years have passed. Molero spent most of that time thinking about and creating the music for “Destellos Del Éxtasis”. If “Ficciones Del Trópico” lived in the depths of the Amazon jungle, “Destellos Del Éxtasis” releases itself from a physical location/idea and creates upon symbolism and the abstract. The more we listen to it, the more we get lost in how he created music that is shapeless, no angles, constantly morphing, transforming into something else.

Like magic, alchemy, but also like visions, hallucinatory visions, or dreams if dreams could step out into reality. And the more we get lost, the more we are convinced the music from “Destellos Del Éxtasis” is part of us, of our body, present as a permanently passing cloud. It gets into dark places, moving constantly into new ground, testing feelings, emotions and how they gravitate with sound. There’s something different in each track. Like magic. Not magical music (but there’s an argument for that). We prefer music for magic. Ritualistic, celebratory, transformative and increasingly visual. Close your eyes, it will open your perception. Follow the ecstasy, let yourself go. The reward is here.

Repress!

Techno, Disco, Italo, Electronics, House, Library, Cosmic and Ambient frequencies - These are the bedrocks of the Midnight Drive ethos and sound. A label shining a light on overlooked or unheralded creations and respectfully reissuing them for the contemporary audience.

A label that respects and understands the connection between these disparate and sometimes forgotten forms of musical expression and celebrates them. Midnight Drive are extremely proud to reintroduce the world to the sublime after-hours, cult downtempo sounds of Belgian duo Pieter Kuyl and Jan Van Den Bergh aka Mappa Mundi.

Mappa Mundi's sole release 'Musaics' was released on Belgium's legendary USA Import label in 1990, riding on the wave of early trance and ambient house sounds and exploring the same sonic terrain and worlds as The Orb, The KLF, Sun Electric and other like minded outfits. A wonderful swirling collage or mosaic of breakbeats, samples and new-age synth stylings, 'Musaics' is indeed a real trip.

A spontaneous late night studio concoction borne of endless takes and experimentation between Kuyl and Van Den Bergh who both display a deep knowledge and a shared love of different sounds from around the world. The end result is a meditative, sprawling journey that touches on many different styles from languid widescreen techno to frantic drum machine driven machine-funk, all while retaining a feeling of post-rave atmospherics and psychedelia.

This is a very special record indeed, and is somewhat of a lost gem from a very fertile and interesting period in sample based music. Undoubtedly the perfect soundtrack to numerous late nights and early mornings to come, remastered and spread across 2 discs for maximum sonic playback.

Ulrich Troyer has been producing music now solidly for over twenty years within a largely genre free framework, but whilst navigating forms such as avant-garde, techno, leftfield, field recording, electronica, glitch and ambient it is the aesthetics of dub that guide his creative direction. Not really recognisable in an orthodox form as remixed versions of roots reggae songs but in the way sonics are manipulated with space, the application and layering of delay, reverb and echo that fixes his output well within the scope of what might be called futurist dub.

The nearest comparisons to his new album TRANSIT TRIBE can only be established by a synthesis of some of the more adventurous explorations in modern music such as African Head Charge, Jon Hassell, Pole (Stefan Betke), Bill Laswell or even Miles Davis; featuring a diverse selection of artists and friends not only from Vienna and environs but also from around the world, sounds are not so much fused but allowed to float along the continuous flowing tide of warm waves of bass.

Rather than to allow the names of Ulrich Troyer's collaborators be merely listed in the album credits, what they bring to this joyful affair needs to be outlined, albeit briefly: Co-producer credits go to Osman Murat Ertel from Istanbul, who employed a variation on the old foolproof Nick Lowe method for checking out the impact quality of his own sound productions by playing tracks through his car sound system speakers!

Murat is a member of the electro-psych-folk group Baba Zula where he plays electric saz, oscillators and theremin and played a key part in the creative development of the album. Mamadou Diabate, the balafon master originally from Burkina Faso and now resident in Vienna, has developed his own unique technique of playing solos that replicate the sound of three instruments playing in unison; however the multi-talented Mamadou is engaged here on singing and playing the talking drum. From South Tyrol Reinhilde Gamper is a member of the experimental trio Greifer who are bringing the sound of the zither into the twenty-first century using new playing techniques and electronic gadgets. Susanna Gartmayer is an Austrian composer and bass clarinetist specialising in improv and multimedia sound research. Diggory Kenrick has been engaged with creating new dub fusions and also re-energising classic rocksteady and roots reggae classics, renowned for his interventions on flute. Didi Kern is an electronic dance musician and drummer from Vienna with a focus on free improvised music. Hamidou Koita, a singer and multi-instrumentalist, is from a traditional Griot family in Burkina Faso but now resident in Vienna and a regular musical partner of Mamadou Diabate playing drums and calabash. Austrian Lukas Lauermann is both a studio and live musician playing cello, also working on electronic sound design and writing string arrangements. He has recorded extensively and appeared on stage with both Mark Lanegan and Hans-Joachim Roedelius. Martin Mallaun is a Tyrol-born specialist in both the development of the zither in modern music and also as a researcher in the effects of climate change on the vegetation of Alpine ecosystems. After studying classical percussion Flip Philipp is now a jazz vibraphone player and member of the Vienna Symphony Orchestra. Wolfgang Pfistermüller is a member of the Vienna Trombone Quartet and the developer of the incredible bass-trombone Aurora with its uniquely warm and resonant sound. Roger Robinson is a renowned British poet, winner of many contemporary poetry prizes and member of the experimental music group King Midas Sound. Kwame Yeboah is a Ghanaian born UK based keyboard wizard who tours regularly with Yusuf / Cat Stevens, Ms. Dynamite and Pat Thomas.

So contained on the album is an astonishing mix of musicians and instruments: sounds of cowbells recorded in the South Tyrolean alps processed by modular synthesizers and heavy analogue bass synths combined with instruments such as zither, bass-zither, electro saz, flute, talking drum, trombone, cello, marimba, djembe, contra-alto clarinet, Farfisa - all bound together by organic live-drums and dub effects.

‘I Gotta Limit’ was the first new music shared from Matt Berry’s forthcoming album “Heard Noises”.

The track sees Matt trading lines with Kitty Liv, over a Sly Stone-inspired arrangement that is part Northern Soul, part Psych.

With an immediate incredible response for the track among fans - long ahead of the album release in January 2025 - Acid Jazz has decided to make the single available as a limited edition, picture sleeve 7”.

It is backed by a previously-unreleased remix of ’Summer Sun’ by Bond composer David Arnold.

Saverio Celestri is back on RAWAX with another high light release,
coming out in Spring!

Limited 2024 Black Vinyl Repress

Osaka based psych-rock three piece Hibushibire return after a long break, with a new line up and a stunning third album. Produced by Acid Mothers Temple/Mainliner guru Makoto Kawabata who also guests on the album.

Following the successes of their debut album 'Freak Out Orgasm!' (2017), the follow up ‘Turn On, Tune In, Freak Out’ (2019) and two very well received UK tours. The band headed home to Osaka, Japan and then, the pandemic hit.

During this downtime, guitarist/vocalist Changchang decided to create a new power trio. Enter Tetsuji Toyoda (Bass/Vocals) & Aoi Hama (Drums/Vocals). The new trio have spent the last three years writing new music, playing live and honing their sound in Japan, and a short well received tour of Taiwan with Riot Season labelmates Dope Purple. And now finally, Hibushibire mark 2 is born properly.

“Hibushibire has returned after a change of members. A psychedelic, progressive work, suitable for a new beginning"

Entering the studio with Acid Mothers Temple/Mainliner guru Makoto Kawabata in the producer chair (and also as a guest musician) once again, the band recorded album number three, 'Magical Metamorphosis Third Eye’. Makoto also adds some of his own trademark guitar howls throughout the album, perfectly complimenting Changchang’s own growing prowess.

Here the band have taken their trademark psych-rock blasts and blended them perfectly with some more trippy, dare I say sweet progressive psychedelic sounds.

“The idea of this album is based on the theme of "occultism and mysticism". But it's not a serious thing, it's about the things we like (UFOs, pyramids, psychic phenomena, shamanism etc) and we all had fun while making it. In terms of what makes it different from the previous Hibushibire albums, it’s where AOI HAMA's vocals are present. I had wanted to use a female vocalist for a long time, so it was a good feeling!”

Like the band's first two albums, 'Magical Metamorphosis Third Eye’ is very much an album of two halves. Side one again is full of killer shorter tracks, while side two is reserved for a blinding majestic 20 minute epic ‘Ayahuasca Witch Abduction’. Perhaps the biggest musical surprise here though is probably track two, the beautifully mellow tripped out ‘We Won't Go Back To The Past’, which sounds like it’s been beamed straight out of the late 60s/early 70s.

The band also tip a nod to the Beatles psychedelic classic ‘Tomorrow Never Ever Knows’, but with their own twist of course.

It’s clear with the line up changes, Changchang has decided to expand the band's musical pathway, and he’s achieved stunning results.

The band plan to return to the UK and Europe in 2024 to see friends old and new.

Late-night jams in their new studio sees Jazzbois return to their beat-tape roots on Still Blunted

Having established themselves as one of the leading live bands in Europe grooving in improvised jazz motifs and hip-hop beats, Budapest trio Jazzbois return with their fourth LP Still Blunted that sees them touch base with their beat-tape roots.

Now situated in the heart of Buda at their new studio above a club, the Hungarian trio of Bencze Molnár (Rhodes/synth), Viktor Sági (bass) and Tamás Czirják (drums) take a more considered approach to Still Blunted and offer a snapshot into the jams, sessions, and shows they have played over the past year. The new album comes after performing at the legendary Montreux Jazz Festival this summer and will be followed by a European tour in October.

Inspired by contemporaries Domi and JD Beck, Kiefer, Nala Sinephro, and the sounds of Radio Juicy, Jazzbois have been more critical of their track selection for the sequel to their Goes Blunt albums. They’ve ripped up their playbook of producing records in a matter of days and took their time to approach the record through reworking their favourite tracks recorded over the past year.

“We’re trying to keep the same formula but there was a lot of thought gone into the process of making an improvised jam sound like a song. It has to be good in the moment, and we chose the ones we felt were expressive and resonated the most with us musically. We focus on our feelings in the moment and have trust in our own taste and music visions.”

The trio’s new studio has offered them the space and time to get the best out of their creativity. “This new spot is a Jazzbois headquarters. It’s above this club, sometimes there's a DJ playing outside on the street – everyday there's something on and lots of people coming and going. We hang out for the whole day and just record anything or edit.”

Jazzbois are a part of the rich, underground jam scene in Budapest, and those improvised-led sessions have fed into Still Blunted. One of their late-night jams turned after-parties produced sketches for tracks they selected for the album.

“It was the end of a wild night celebrating getting the album done. We’re having a jam and we looked around while we were recording and there was twenty people smoking and drinking around us – half of them we didn't even know who they are. It turned into an open after-party where people were coming to ours from the club. It was very spontaneous and unexpectedly, we made five or six new songs we ended up using for the album.”

The ethos of those unplanned, open jams is something they carry through into their live shows, as they never rehearse so their music can develop freely. Their trusted fourth ‘live’ member DomBeats joins them on Still Blunted adding saxophone to some of the psychedelic-tinged beats, such as on singles Shangri La and Chrome. After recently digging back into 70s and 80s jazz, discovering more hip-hop sampled tracks, and absorbing the breaks and high-energy of footwork and juke, these influences come through strong across Still Blunted.

The footwork sound is replicated in the shuffling, busy drums of Shangri La, with the echoing guitar twang reminiscent of a sample you may hear on an MF Doom beat. “Shangri La was a catalyst for the new album. It reflects on our trip to America and SXSW. We played at this venue Shangri La. The Texan air and sun are in that track.”

Chrome takes on a much more furious style of playing that allows for the drums to cascade and flow along with the pulsating, chromatic bass line, with the synths and saxophone spiralling into an engrossing frenzy. The liquidy keys and synths glides over the bass on Flute Thang, creating a 70s jazz-funk vibe that stands out from the rest of the album.

With hundreds of thousands of monthly listeners across Spotify and Apple Music, they have become a playlist staple that has earned them millions of streams since their debut release Jazzbois Goes Blunt in 2019. As more live dates are booked for the Hungarian trio, Jazzbois continue to transform the traditional jazz trio sound into deep, groove-led beats on Still Blunted.

Dani has spent over two decades evolving as a producer and has established himself as a force to be reckoned with. He's back with a 4-track EP that showcases his versatility, drawing inspiration from psychedelic, progressive, techno, and house influences.

• New album by Hieroglyphic Being features score for abstract animation film.

• Through off-world frequencies and raw primal sounds, ‘Quadric Surfaces’ presents a collection of exploratory left-field dance music.

• 2LP, pressed on black vinyl, printed inners.

• Artwork by Gabriela González.



VIERNULVIER RECORDS presents its new LP release ‘Quadric Surfaces’ by iconic electronic producer Hieroglyphic Being aka Jamal R Moss. It collects the soundtracks Moss wrote for ‘Parellel Spheres’ & ‘Figures in Mynd’, two parts of an abstract animation film by visual artist Gabriela González Rondon. The film premiered in October 2023 during Videodroom / Film Festival Ghent.



In her surreal and trippy gem of analog filmmaking Gonzales draws up whole universes of movement and color that seem to share a spiritual space with likeminded sci-fi writers such as Ursula K Le Guin or filmmaker John Whitney. The soundtrack for this dreamy experiment was provided by kindred soul and psychonaut Hieroglyphic Being.



For over 20 years Moss has been an one-off musical explorer that takes inspiration from House, Industrial, Kraut, Avant-Jazz and Noise to make his spectacularly unique take on radical & psychedelic (dance) music.



VIERNULVIER RECORDS is the Belgian record label by VIERNULVIER Arts Centre (Ghent). The label focuses on music that is unconventional, unafraid to go against the grain. A mix of local and international talent, always linked to visual arts or performances.

We have been fans of Psyk's own imprint non series since the beginning. Now we have the joy to distribute the debut of the infamous Belgian club imprint Fuse by Psyk himself...
Non conformistic techno for the Berghain dance floor! Kristian

The enigmatic Ukrainian label Jerelo presents a 4-track vinyl-only EP by the talented Greek producer Cirkel Square. Each track on the release is like an antique sculpture — exquisite, graceful, and made with attention to every small detail. This comparison is not accidental, as Cirkel Square dedicated each of the four “sinister harmonies” to one of the gods of ancient Greek mythology. The opening track, “Kronos Reckoning”, with its new-age melodies bristling with pathos, carries the spirit of the greatness of the age of Titans, frozen between the dense bricks of a micro-house beat. “Hades Symphony” and "Persephone's Whisper" are inspired by existential reflections, while “Ares Beat” surprises with an inventive pseudo-acid drop.

The Malevolent Harmonies EP features tracks perfect for the dance floor, especially when played on a high-quality PA system. Despite each track's unique style, the EP as a whole is surprisingly cohesive. Just as the mentioned gods in the EP are related to each other, the
tracks share common elements, showcasing the high skill level of the rodub / rominimal producer from Stockholm.

Spanish duo Los Suruba have done it all over the last 25 years, captivating dancers with their blend of House, Minimal, Electro, psychedelic, and deep vibes.

They have established their own network of record labels, with almost 250 releases, Nazca being the latest addition. They’ve also released music on labels like Crosstown Rebels, Diynamic, and Get Physical and have been remixed by international artists such as Solomun, Adriatique, Clarian, and Okain. They describe their music as "Memories of the Future," the motto of their brand Nazca.

As DJs, they’ve performed at the world’s best clubs and festivals, bringing their unique sound across the globe, holding residencies from Ibiza to London, and creating countless underground hits.

They are in top form once again with this latest journeying EP, where Los Suruba and their label Nazca return to vinyl releases, featuring two new remixers for this vinyl edition of the ‘+33 EP’.

Innovative opener 'Dial Banger' is a wonky house sound with wet claps and a gurgling bassline that gets ever more wild. It's a playful cut that teases and pleases in equal measure as the low-slung grooves, string stabs, and unhinged leads keep dancers locked.

'Elegancia La de Francia' is a more experimental house affair with eerie synth leads and freaky filtered vocals, making a dark and menacing atmosphere.
Warm melodies infuse the track with soul and make it perfect for the late-night hours.

First remixer Cristina Lazic launched her own label La Zic, earlier this year. It's a platform that looks to uplift and mentor exceptional female talents next to the Italian's own blend of minimal, deep and tech house sounds. Her fantastic take on 'Elegancia la de Francia' is stylish and stripped back with supple minimal drums and the muted synth sounds bubbling away over punchy kicks.

Romanian artist BRYZ has a refined minimal sound that has established him in the European scene over the last decade. He deals in intricate melodies, pulsating rhythms, and atmospheric textures on labels like Storytellers and Esente Records.

His version of 'Elegancia la de Francia' is silky and deft, with sustained pads locking you into a trance while gurgling bass and trippy melodic motifs add great detail to the rolling minimal house grooves.

Fontaines D.C. kündigen heute ihr mit Spannung erwartetes viertes Album “ROMANCE“ an. “ROMANCE“, das am 23. August über XL Recordings veröffentlicht wird, ist das erste Album der Band mit dem Produzenten James Ford und ohne Zweifel ihr bisher ehrgeizigstes, einfallsreichstes und klanglich abenteuerlichstes Album. Es knüpft an den Erfolg des 2022 erschienenen Albums “Skinty Fia“ an, das in Großbritannien und Irland Platz #1 der Albumcharts erreichte und der Band eine Reihe von Auszeichnungen einbrachte, darunter "International Group of the Year" bei den BRIT Awards 2023. Die explosive Leadsingle "Starburster" läutet die jüngste kreative (R)Evolution von Fontaines D.C. ein. Inspiriert von einer Panikattacke, die Leadsänger Grian Chatten im Londoner Bahnhof St. Pancras erlitt, wird der Song immer wieder durch scharfes und wildes Einatmen unterbrochen. Der treibende Beat und der unerbittliche Text stellen die Selbstzerstörung als Fantasie dar, bevor es einen kurzen Moment ernüchternder Klarheit gibt, wenn das Schlagzeug aussetzt und Chatten vom spuckenden, fast rappenden Gesang beinah in einen Psalm übergeht, dessen Bariton voll und verträumt ist. Begleitet wird der Song von einem filmischen Musikvideo von Regisseur Aube Perrie (Megan Thee Stallion, Harry Styles, The Hives), das die kathartische Intensität des Songs auf brillante Weise einfängt.

The eight track journey begins with Timothy Smith of 90s American darkwave band Lestat along with Pat Berdysz and Mekena Berdysz under their View So Cruel guise, “Corpses” is the blackened offering. A blend of styles and voices coalesce in this bright and burnt work. Colombia’s Ravetop follows, rich textured rhythms support scaling synthlines and distant vocals. Acid squawk and looming menace are the ingredients of Ruksby’s romp before Dragée presents an insurmountable wall of string and reverb in “Chapter VI.” The flip brings old friends back into the fold as well as welcoming new names. Canada’s Red Mass conspires with Lieutenant Freebase with unsettling results while Croatia’s Honored Matres returns with the bent and buckled bars and beats of “Sisterhood.” Diana Berti delivers a powerful psychological soundtrack, “Neptune”, before 80s band Simbolo from Brazil closes proceedings with the absorbing analogue abstraction of “For A Better File.” Eight pieces from far and wide, eight tracks that transcend borders and genre tags.

Home of The Good Groove Records would like to introduce Psalmist Shonda L. English, otherwise known as “The Gospel Diva”.
Every once in a while, an exceptional and incredible talent impacts the music industry and leaves an indelible impression. Shonda is one of those rapidly expanding outstanding musical virtuosos who has done just that in the gospel arena. Home of The Good Groove Records are more than jubilant to be able to announce that the label’s first release will also be Shonda’s first 7-inch vinyl single release.
Her incredible vocal capability transcends and mesmerizes gospel and soul music lovers alike!
Originally a native of Boston, Massachusetts, at a young age Shonda relocated to South Carolina where she grew up and currently lives today. Shonda began singing on the children’s choir at the tender age of three and began playing the piano by ear at the age of five. Not only is Shonda gifted with phenomenal vocal capabilities, Shonda is also a multi-faceted gospel recording artist, song writer, organist, percussionist, choral conductor, composer, radio personality and novelist. She also plays the congas, tambourine, xylophone and the flute. In addition, she is an extraordinary “actress” who has appeared for her 4th time on stage and her 3rd time in a leading role. Her extraordinary gifts and talents continue to revolutionize the gospel music industry.
Taken from Shonda’s digital album release, Travelin’ (from 2023), the 7-inch vinyl release A-side, 'There Wouldn’t Be a Me', is a delightful mid-pacer with a riveting vocal and an instantly catchy melody that grabs your attention and is guaranteed to get any dancefloor flowing. Flip the 7-inch over, and get ready to feel the shivers up your spine as Shonda’s beautiful vocal (and harmonies) create a wonderful soulful gospel groove in ‘Feels Good’ that will elevate the emotions. ….You will not be disappointed.
Shonda’s Motto: “If you never take a leap of faith, you’ll never know how high you can fly.”

'Science, Art And Ritual' is a story of ‘process'. Growing up in Harrow (a then quiet suburb of London) in the 70’s and 80’s from the age of about 10, Kingsuk Biswas aka Bedouin Ascent's ears opened up to sound as he scanned the airwaves. The undeniable righteousness of 80’s dub via David Rodigan’s Roots Rockers shows was the first prominent influence he received, and with punk roots —and his burgeoning record collection— became exposed to the breathless post punk experimentation that followed in the early 80’s sweeping up free jazz, noise, dub and much more. Throughout though, he maintained his fascination with Indian Classical music which was a mainstay in his parent’s house and spoke with the same infinite space as Joy Division's 'Unknown Pleasures', and King Tubby’s Studio dispatches. Through those teens he assembled and de-assembled, knocking about with fellow travellers —punk bands, garage, space rock, noise. Something was happening. On-U Sound, ECM, Factory Records kept him plugged in and sane.

At that time Kingsuk's core studio setup revolved around his vintage Gretsch, Fender Jazz, Moog, TR-606 and rudimentary FX. He added congas, folk instruments, pipes, hand percussion, gongs, and jammed out shards of funk, noise, jazz fusion, electro and ambience into his hungry Tascam Portastudio. By 1987 these had morphed into what we’d now refer to broadly as techno, but the genre didn't exist beyond the reverberating walls of his bedsit, and he hadn’t yet plugged into the global conversation.

'Science, Art And Ritual' was released in 1994 by Rising High Records and was presented as Bedouin Ascent's debut album, although 'Music for Particles' (released in 1995, again on Rising High) was recorded even before —'SAR' sessions span from 1992-1993, whereas 'Music for Particles' were earlier from 1989-1992, with some older 4-track references from about 1986 too.

Weaved in throughout the album are subconscious references to music that Kingsuk heard in the past that still remained within sight as companions. The opening track "Ancient Ocean III", referencing the extinct ocean Tethis, unapologetically channels Tackhead, Colourbox, Mantronix and Lee Perry. The style was also deliberately juxtaposed to the prevailing sound in techno at the time, which had locked onto a rigid form of symmetrical kicks and light snare drums. Elsewhere 80’s soul and funk are frozen and captured in fragile glass lattices. Electric pianos resound throughout, such as in "He Is She", probably a half-memory of 70’s MOR radio from childhood sleepy night drives. A duel between kick drums from three generations of Roland drum machines —TR-808, TR-707 and R-8— is a central theme in "Transition-R", all in conversation, calling and responding. These were not just machines to Bedouin Ascent, but part of an extended family, with heart and soul.

Three decades after seeing the light, Lapsus is proud to present a special 30th anniversary reissue of this
left-field techno gem in a repackaged and redesigned edition. All pressed on a deluxe 3LP marbled vinyl and including a limited lithographic insert print of the original album cover. All tracks have been restored and remastered directly from the original DAT tapes, and the album also features previously unreleased tracks such as "In the Clouds" and "Thru Water" —regularly performed live at that time and produced in the same period as the album sessions in 1993.

'Science, Art And Ritual’ may refer to esoteric traditions in Indian philosophy, but equally embodies the collision of the science, the art and the ritual that is at the core of being immersed in a deep musical journey.

Releasing as a vinyl 45, Bad Night is the lead offering from The Cromagnon Band's new album Mode. This is the band's second LP and the first of theirs to be released on BBE Music. Mode itself is an album of cinematic and psychedelic dark Funk tinged and tinted with Nordic psych/jazz, classical, boom-bap Hip-Hop breaks and riff heavy rock. Bad Night is backed with Quadrant, a stand alone track that won't be on the album, thus making the vinyl single release a unique addition to the music lover's record collection. That said, these are are two tracks which give both a genuine flavour of the forthcoming album as well as the band's own musical influences and heritage as instrumentalists and producers. The Cromagnon Band's recording technique of taking breaks, riffs and melodies from favourite tracks and then improvising from there with completely live jam sessions in the studio allows them to record in their distinct and trademark 'reverse engineering' style. The trio of Drummer Tom Watt, Bassist Lenny Walker and multi-instrumentalist Bert Page work by making music as a team, playing for hours and united by a love of Hip-Hop breaks and psychedelic Jazz/Rock/Funk and classical music. They choose to record only instrumentals which allows space for Bert to weave intricate soundscape with Fender Rhodes, Moog, Sax and Clarinet over the beats and breaks they have written from their improvised jams. Bad Night b/w Quadrant are the lead releases from The Cromagnon Band's new album Mode. They will be released as a 7" vinyl and digitally.

Michael Mayer albums don’t come round too often, which is one of many reasons why his fourth collection, The Floor Is Lava, is a genuine event. It’s been eight years since his last one, the collaborative & released on !K7; its predecessors, Mantasy (2012) and Touch (2004), took their sweet time, too. It’s no real surprise, given the many hats Mayer wears – globetrotting DJ, revered remixer, inveterate collaborator, and boss of both Kompakt and Imara – that his solo productions are relatively sparing. But this also speaks to their quality: Mayer’s name on a record sleeve is a sign of quality, of music that’s both looking to the future and calling back to the past, that balances the imperatives of the dancefloor and the loungeroom, that’s as exploratory as it is functional.

On The Floor Is Lava, Mayer seems to be taking the temperature of both the music that surrounds him (past and present), and the ides of the industry he works within. There’s that iconic album title, for a start. “The album’s mindset,” he says, reflecting on those four words together. For Mayer, it’s partly a critique of the way the industry boxes in both producer and listener, focuses them on genre, on market, on the next new thing: “Being a free minded spirit that transcends genres has become an uphill battle.” A battle worth fighting, though, and with The Floor Is Lava, the result is an album that’s varied, quixotic, idiosyncratic, charming, and deeply, addictively listenable.

Throughout, Mayer finds thrills in exploration and juxtaposition, allowing unexpected things to blossom and giving them their life, their platform, throwing the listener exciting curveballs: “It’s a DJ album by a DJ that’s easily bored.” Either easily bored, or endlessly curious, The Floor Is Lava is rich with ideas. It opens with “The Problem”, which looks back to look forward, embracing the rickety way early house productions threw samples together with gleeful abandon. Mayer mentions Pal Joey, and the scene around Rockers Hi-Fi and their Different Drummer imprint, as reference points, and you can hear that freewheeling spirit throughout.

It’s followed by “Vagus”, a slinky, sensual minimal house number that Mayer describes as his “musical catnip”. The flow of these two opening cuts defines the dynamic of The Floor Is Lava, defining the dialectical drive at its core: thesis and antithesis leads to synthesis, but with a welcome prickliness that means you’re always excited, always engaged. It’s also productive in the way it derives energy from rubbing genres and sounds against each other, in unexpected ways, for maximum musical frisson. There’s psychedelic techno on “Feuerstuhl”, more minimal techno with “Ardor” (Mayer mentions ‘Immer 1’ era 90s minimal as inspiration), slippery, Shepard-tone breakbeat through “Sycophant”, a lovely, lush vocal turn on the poppy “The Solution”.

The album closes with the melancholy “Süßer Schlaf”, where Mayer sets a poem by Goethe to one of his most haunted, moving pieces of music yet, in abstract tribute to a lost friend. It’s one of the most affecting moments on The Floor Is Lava. There’s also an update on 2020’s wild Brainwave Technology EP, with the surrealist glitter-stomp of “Brainwave 2.0” (check out those handclaps!),where Mayer’s thinking about the socio-political precipice of the now: “I’m reading with great interest about this whole complex of how humanity is about to cross so many lines and the implications that the resulting financial and educational inequality will bring.”

That’s The Floor Is Lava: then and now, brainwaves and nerve structures, problems and solutions, genres on fire; the real, the unreal, and the surreal. An album for the easily bored and the endlessly curious. Mayer has the last word, telling us all you need to know about the album’s spirit: “Burning for the cause, being zealous, being addicted to the heat of the night, the exuberant powers of music.”

Michael Mayer veröffentlicht nicht oft Alben, was einer von vielen Gründen ist, warum ‘The Floor Is Lava’ ein echtes Ereignis ist. Es sind acht Jahre vergangen seit seinem letzten Werk, dem Kollaborationsalbum &, das auf !K7 erschien; seine Vorgänger, Mantasy (2012) und Touch (2004), ließen ebenfalls auf sich warten. Es überrascht nicht wirklich, da Mayer viele Rollen gleichzeitig erfüllt – weltreisender DJ, vielbeschäftigter Remixer, unermüdlicher Kollaborateur und Chef von sowohl Kompakt als auch Imara – weshalb seine Solo-Produktionen eher sparsam ausfallen. Doch das spricht auch für deren Qualität: Ein Album mit Mayers Namen auf dem Cover steht für Qualität, für Musik, die sowohl in die Zukunft blickt als auch auf die Vergangenheit verweist, die das Gleichgewicht zwischen den Anforderungen des Dancefloors und des Wohnzimmers hält, die genauso erforschend wie funktional ist.

Auf The Floor Is Lava scheint Mayer sowohl die Musik um ihn herum (vergangen und gegenwärtig) als auch die Strömungen der Branche, in der er arbeitet, zu reflektieren. Da wäre zunächst der ikonische Albumtitel. „Die Grundhaltung des Albums“, sagt er, drückt sich in diesen vier Worte aus. Für Mayer ist es teilweise eine Kritik daran, wie die Industrie sowohl Produzenten als auch Hörer in Schubladen steckt, sie auf Genres, auf den Markt und auf das nächste große Ding fokussiert: „Ein freier Geist zu sein, der Genres überschreitet, ist zu einem steinigen Weg geworden.“ Ein Kampf, der sich jedoch lohnt, und mit The Floor Is Lava ist das Ergebnis ein Album, das vielfältig, eigenwillig, charmant und tiefsinnig, aber auch süchtig machend ist.

Im gesamten Album findet Mayer Freude an der Erforschung und Gegenüberstellung von Stilen, lässt unerwartete Dinge erblühen und gibt ihnen Raum, überrascht den Hörer mit spannenden Wendungen: „Es ist ein DJ-Album von einem DJ, der sich schnell langweilt.“ Entweder langweilt er sich schnell oder er ist unendlich neugierig – The Floor Is Lava ist reich an Ideen. Es beginnt mit „The Problem“, das in die Vergangenheit blickt, um nach vorne zu schauen, und die wilde Art, wie frühe House-Produktionen Samples mit fröhlicher Unbekümmertheit zusammenwarfen, aufgreift. Mayer nennt Pal Joey und die Szene um Rockers Hi-Fi und ihr Label Different Drummer als Referenzpunkte, und dieser freie Geist zieht sich durch das gesamte Album.

Es folgt „Vagus“, eine sinnliche Minimal-House-Nummer, die Mayer als seine „musikalische Katzenminze“ beschreibt. Der Fluss dieser beiden Eröffnungstracks definiert die Dynamik von The Floor Is Lava und den dialektischen Antrieb im Kern: These und Antithese führen zu einer Synthese, jedoch mit einer willkommenen Schärfe, die dafür sorgt, dass man immer aufgeregt und engagiert bleibt. Zudem gewinnt das Album Energie, indem es Genres und Klänge auf unerwartete Weise aneinanderreibt, um maximalen musikalischen Nervenkitzel zu erzeugen. Es gibt psychedelischen Techno in „Feuerstuhl“, mehr Minimal Techno mit „Ardor“ (Mayer erwähnt ‘Immer’ Ära Minimal als Bezugspunkt), gleitenden Shepard-Ton-Breakbeat in „Sycophant“ und einen lieblichen, üppigen Vocal-Auftritt im poppigen „The Solution“.

Das Album schließt mit dem melancholischen „Süßer Schlaf“, in dem Mayer ein Gedicht von Goethe vertont und eine seiner bisher eindringlichsten und bewegendsten musikalischen Kompositionen schafft, als abstrakten Tribut an eine verschiedene Freundin. Es ist einer der ergreifendsten Momente auf The Floor Is Lava. Ebenfalls gibt es ein Update der wilden Brainwave Technology-EP von 2020, mit dem surrealistischen Glitzer-Stampfer „Brainwave 2.0“ (hör dir diese Handclaps an!), in dem Mayer über den sozio-politischen Abgrund der Gegenwart nachdenkt: „Ich lese mit großem Interesse über diesen ganzen Komplex, wie die Menschheit dabei ist, so viele Grenzen zu überschreiten und welche Auswirkungen die daraus resultierende finanzielle und bildungstechnische Ungleichheit haben wird.“

Das ist The Floor Is Lava: Damals und heute, Gehirnwellen und Nervengeflechte, Probleme und Lösungen, brennende Genres; das Reale, das Unreale und das Surreale. Ein Album für die schnell Gelangweilten und die unendlich Neugierigen. Mayer hat das letzte Wort und sagt uns alles, was wir über den Geist des Albums wissen müssen: „Brennen für die Sache, leidenschaftlich sein, süchtig nach der Hitze der Nacht, den überschwänglichen Kräften der Musik.“

For the remixes of her "tarde" single, nina kraviz enlisted an all star remixers team and worked on a psy version herself as well. Nina recorded "tarde" in her bedroom 3 years ago and wanted the song to keep the same intimate feeling as when she recorded it. The result is a dark love song about love so strong, it could almost break you.

A third Punctuality enters the chat; its latest member Maara proclaiming Drama On for Spray’s ever-evolving label. The Montreal maverick cues up a psy-eyed sesh for the ages, 5 wily thumpers shaded sapphic for those enthralled by the mischievous dance.

Since 2021, Maara has operated on an ‘all pills, no frills’ basis. Her prolific run of EPs for the likes of Kalahari Oyster Cult, Step Ball Chain and Radiant Records has cemented her rightful place within the club pantheon of the prog and divine. Spray and his Punctuality cohort reside there also, teasing clubland salvation for those who dare. Maara giddily joins for the ride, offering a gift in the name of Drama On; an EP of direct dancefloor transmissions that map out kinetic paths to sordid euphoria.

The curtains rise as What U Do 2 Me skips, gallops and jumps across theatrical plains, breaking for a titular reflection before reuniting with its ravey chaos. Drama On swings sharper, riding a sleazy donk through a dimly lit groove of pulsating vulgarity. An outright sassier affair celebrates Sigmund Freud’s Big Day Out; an unconscious slip of the hard house tongue that feeds an otherwise techno-driven delirium with wry glee. Give Me Ecstasy eases the tempo while raising the temperature, commanding your gaze with a noxious roller that seductively writhes in sexed-up delight. The house lights beckon, and Not My Web, Not My Problem she retorts with an unforgiving groove thrusting its charged-up rump through a cauldron of salacious murmurs and groans.

It’s Maara’s world, and we’re all just dancing in it.

Dark Entries has assembled a superb collection of covers celebrating 60s garage and soul music by the one and only Patrick Cowley. This LP showcases another side of the great producer's diverse influences, in particular his psychedelic San Francisco roots which can be heard in most tracks. They were mostly written between 1980 and 1982 when he was in prolific form and highlight his virtuosity while paying respects to the music that shaped him. The collection features a reimagined version of Loverde's 'Iko Iko,' a hi-NRG cover of The Doors' '20th Century Fox,' and a haunting take on The Who's "Shakin' All Over." It concludes with a swinging rendition of the Four Tops' 'Baby I Need Your Loving' and is another essential one for the collection.

German beat music at its best! For the first time on 45!
A-side is Funk
B-side is Garage-Psych-Rock
Limited to 300 copies.

Music From Memory is thrilled to introduce Dead Sound, the collaborative project of Marco Sterk (aka Young Marco) and Berlin-based pop-auteur John Moods. Both artists are no strangers to the label; Sterk forms one third of the trio Gaussian Curve, while Moods released the 2022 album ‘Hidden Gem’ with The Zenmenn.

Their collaboration was both planned and spontaneous; Sterk initially reached out in 2022 expressing his desire to work with Moods. The pair finally got together in 2024 to produce ‘Into The Void’, an album that burst into life over the course of a few creatively charged days in each other’s company.

Moods’ dream-like, emotionally charged music wears its heart on its sleeve; its very human vulnerability makes it a perfect match for Sterk’s strong sense of melody and textural sonic visions.

‘Into The Void’ carries these psychedelic traits in its DNA, but they exist layered deep amongst the shadows. Painting on a wide canvas that effortlessly skips between genres, the pair weave anything that inspires them into a truly unique tapestry; a bold attempt to touch at the beyond.

Exploring the space between perception (level of the mind) and the nature of the universe (actual level of reality) seems traditionally like an impossible task. But there’s gotta be a time and a space for the profound and this album invites the listener to go deep, letting go of concepts such as love and opening oneself up to one’s own authentic journey. This transformative force of healing is a central theme of ‘Into The Void’, a path that is lined with light and darkness in equal measure. But, as Moods says, “do not skip the darkness, let that door open and swallow you. And maybe you’ll find, it's not as dark as you perceived at first."

Sleeve art by Michael Willis.

‘Ayo Ke Disco’ (meaning ‘Let’s go to the disco’ in Malay
and Indonesian) celebrates the musical identities
emerging from the newly independent countries in
South-East Asia during the 1970s and 80s.
Soundway general manager Alice Whittington, aka
Norsicaa (DJ), selects 10 deep cuts from local labels,
officially reissued on vinyl for the first time – forming a
snapshot of the vibrant discotheques and live scenes
across Indonesia, Singapore, Thailand, Malaysia, Hong
Kong and the Philippines.

The artists featured here were known for exploring
traditional sounds alongside funk, disco, city-pop and
even political psych-rock, genres that were indicative
of the exciting but often turbulent period. But despite
the post-war backdrop of instability there came
unprecedented levels of economic prosperity. With a
hopeful buzz filling the air, the music scene was helping
lead the way in reshaping the new identities of the
region.
OVERVIEW:
FOR FANS OF:
Sound of Siam compilations, Priscilla Chan, Lovin’ Mighty
Fire compilation, Tanamur City compilation

A1. Album track “Isoma Per Sempre” is a hypnotic deep techno track with an eternal melody dedicated to the producer's own record store.The record continues with “Armonia Solare” (A2) techno loop with an almost irregular progression but that mixes with the drums perfectly. On the B side instead opens “Il Visionario Della Periferia” (B1) with a soft techno mood that slowly rises in a mental growing up where minimalism and psychedelia intersect. The EP closes with “Bangerang” (B2) an ambient piece that unfolds in a hypnotic and positive melody.

RAWAX welcomes Vinyl Speed Adjust to the Family! We are very happy to present you this talented Duo on our RWX-Series on two ep's! This first outstanding release, called "All About Us" will be out first week of July. The second release will be out in September. Stay tuned!