Cerca:pure rhythm

If you feel like motoring down the highway at 100 miles per hour breathing in pure rock n roll exhaust then look no further– Rowdy is here to kick out the jams and rev up with their self-titled debut LP Rowdy! These seasoned rockers are dealing out a heavy dose of song-forward classic garage punk that sounds like a mixed bag of Joan Jett singing for Teengenerate and Roky Erikson and The Aliens covering Oblivions. This is no surprise as Rowdy is formed by members of legendary Austin band Hex Dispensers and Scotland's Goldie Dawn, (Hex Dispensers, major contributors to the Texas garage punk scene). Rowdy’s sound runs the gamut with catchy 77 punk tunes like “All in My Head”- with its huge chorus, anthemic doo-wop tinged songs like “Fine Mystery, and bluesy garage rippers like “Cost Of It”. The recording is raw and punchy, dripping with overdriven twangy guitars, a steadfast, tight rhythm section, and blown out vocals. This record is pure rock n roll madness! Pop this Rowdy on in your headphones, shotgun a Steel Reserve, and you’ll be on your motorcycle doing donuts on your highschool principal’s lawn in no time.

A1 Northern Lights
Darkly, tense tones take center stage as Northern Lights kicks the LP off, introduced with an eerie synth before classic, striking old school breaks that aficionados will recall from the likes of John Bs Secrets drop, chopped expertly by our Spatial duo to create a quietly vengeful beat pattern with heavy kicks and a unique stuttering detail. Circling menacingly around the mix we are treated to swathes of choral detail, subtle vocal samples and shimmering ambience..

A2 Sunset on Mars
Showcasing the strengths of both producers through a delightfully rich atmosphere, Sunset on Mars opens with soothing echoed effects that ooze a welcoming sense of wonder. Delicate in composition yet still packing a punch, the breaks sit over a sumptuous deep sub bassline which carries our journey through simple key melodies, vivid mood-changing synths superbly to create a pure, wholesome atmospheric bliss.

B1 Totality
Dominant hats and cymbals surf the peaks of the mix early in Totality, detailed old school breakbeats quickly seizing our attention constructed with an effortless attention to detail. A stark, thick atmosphere is carved from a broad backdrop of sound blending vocals and synths, enveloping the listener with a dense, bleak soundscape that develops continually as the breaks roll on with memorable intent.

B2 Reincarnation
A deeply evocative, interstellar intro opens Reincarnation, generating images of lonely spacewalks with trademark Spatial aplomb. The vibe continues through a barrage of heavy analogue amens which crush the mix, edited with a chunky, commanding panache. The listener can picture pillars of isolation and thundering defiance dancing in duality as the elements weave their way fluidly throughout.

C1 Seraphim
Into an intense, epically atmospheric piece next as Seraphim channels the spirit of yesterday for a journey into the souls core via scene-trademark Hot Pants breaks, a moody 808 bassline and swirling atmospheric pads, melodies & synths. Layered with detailed FX demanding repeated listens to soak it all in, Seraphim is a special track which will take over your setlist and the journey home.

C2 Prism of Light
Sit back and relax to another slice of classic atmospheric bliss with Prism of Light, opening with a DJ-friendly hi hat intro before melodic synths generate an instantly unforgettable late-90s vibe. Hot Pants breaks drive us forward with a wondrously simple yet effective mix of 2 step and double kick edits, as blissful ambient washes and vocal hits are drizzled over the mix. Delightful.

D1 Harmonic Function A uniquely constructed beat pattern guaranteed to move you opens Harmonic Function, building up from rushing cymbals and hats intertwined with a fantastic crunchy, metallic half-time snare. Throw in a slew of mournful melodies and blanketed pad work around the mix and youre left with a superbly laid back yet danceable piece from ASC & Aural Imbalance, continually innovating in their music as ever on Spatial.

D2 Fade to Grey
Old school rhythms are on the agenda as our duo close out the album with a tense, meandering exploration through space, circling the planets through mellowed out beats before a layer of dense, analogue breaks are added to the mix as the atmosphere escalates. Exquisitely programmed vocals provide texture and feeling, while an understated bassline rumbling on below, completing a timeless collage of sound.

Words by Chris Hayes (Spatial / Red Mist)

After two highly acclaimed EPs and a number of collaborations, singer, songwriter and melodist Enchantée Julia opens a new chapter in her career with ONZE, a debut album with a carefully matured groove on which she blazes a trail in France, between neo-soul intentions and R&B inflections. Or the art of grooving a French language that's not always all-terrain, of marrying a certain lyricism inherited from chanson with the rhythmic and melodic codes of contemporary soul with Anglo-Saxon roots.

Such is the promise kept by Enchantée Julia on this album, recorded between south-east France and the Noble studio in Paris - where sound engineer Clément Caritg (Luidji, Lala &ce, Lossapardo...) helped meticulously shape the sonic identity of the 11 tracks, 8 of which are produced (or co-produced) by the young and highly visible multi-instrumentalist LaBlue. With her pure, celestial voice, set against sophisticated arrangements, she recounts her most intimate emotional torments in an unvarnished yet poetic way.

Less than a year after Botanical Illustration takes patience and Skill EP, Giovanni Natalini aka CO-PILOT, comes back on Simona Faraone’s label, New Interplanetary Melodies, with the Green Machine album, which is its natural prosecution: inside it we also find the three tracks previously published by the same label in audio cassette format only (NIM001- MC).

Green Machine is a concept album, which takes up and develops the ecological issues already treated by the artist in his previous work, namely the increasingly tricky dichotomy between nature and machine and the harmful impact of humans on it.

The A side opens with the already published Botanical Illustration takes patience and Skill (A1), an 8 minutes suite in which the powerful Live drum breaks are perfectly combined with synths and vocal samples, transporting us to the tops of exotic mountains, to continue with the ecstatic Himawari (A2) that sounds like a “desert session” made on Mount Fuji, for a result of pure musical mysticism and finally, Mother Love Nature pt.1 (A3), a track that takes us back to more familiar territories, winking at the most experimental British trip hop of recent memory and Mother Love Nature pt.2 (A4) characterized by a background of modular synths and nature sounds effects that precede Giovanni’s powerful drums, underlining once again this perfect fusion of organic and synthesized sounds.

Side B opens with the psychedelic choruses of Dancing Like Fela (B1) supported by synthetic arpeggios and a frenetic drumline sounds like a breakbeat. Continuing along this side, we come to the unsettling use of vocal samples on the beautiful Halo (B2), the ethereal and danceable art-pop of Lost You - In Translation - (B3) to conclude with the evocative Playing the Zurna in Ulan Bator (B4), a track with a pressing rhythm and elegant arrangements that once again underlines Giovanni Natalini’s mastery in mixing sounds and suggestions that are apparently far away but that always find the right place.

Green Machine sounds like a valid attempt to finally find a “solid” balance between humans and nature, but it also demonstrates how the continuous mixing of sounds is the most effective way to escape from the homologation that is increasingly widespread in contemporary society.

On this new LP Harry Bertoia shows why he may have been the first industrial musician. Bertoia often referred to his sound sculptures as a "collaboration with industry" and on this LP Bertoia is intentionally creating heavy, rhythmic music he described as "mechanized," "mechanical" and "factory like."

Recorded in 1971, percussion and repetition emulate the pounding rhythms of machinery on this unique pair of conceptual Bertoia compositions. Bertoia utilizes innovative performance techniques to create new sounds unheard in his ouevre. Even in the busy factory of Bertoia's mind, distant stillness rises up as Bertoia exhibits the massive amount of control he possesses over his many looming sculptures.

"Mechanization" is just one of the many sonic directions Bertoia took while composing and recording between the late 1950's and his death in 1978. He documented all of his ideas and directions in notes accompanying the hundreds of tapes discovered in his barn.

Bertoia's recordings are as much a celebration of sustained tones, intervallic relationships, healing vibrations, deep listening and shimmering harmonics as Indian Classical music, singing bowls, The Well Tuned Piano or Benjamin Franklin's glass armonica. Through these rich harmonics and pulsing pure tone, Bertoia was able to more clearly articulate his inner spirit than he could with sculpture alone – a point he made himself many times in interviews.

Harry Bertoia first came into artistic prominence in the late 1930s and his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, were soon modernist furniture classics. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a greater logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

In 1997 a CD compilation called Calambre Techno was released in Spain which included a track called Utopia. Its producers were two Spanish brothers who had been making electronic music since 1991 under the name INTRO. The track of the compilation was a remix of the original included in the Ep Intro - @Utopia from 1994. @UtopiaRemix is a simple but perfect Techno-Trance anthem, Retro-Psychedelic but futuristic, one of those timeless tracks that always sound original despite its 30 years. Now UFC is proud to re-issue this techno-trance gem on vinyl as its eighth release accompanied by remixes from current producers of different visions.

About the remixes; The duo The MFA give us their '94 On The Floor Remix', a perfect “hit” to hear at dawn where they perfectly combine IDM, Indie-House and Experimentalism. Spanish producer Promising/Youngster presents 'Electric Shock Remix', a titanic version of the original remix where powerful Electro rhythms collide with Experimental and Futuristic IDM.

In the case of Brassica we left the way free to experiment with the original remix and he gives us his 'Psytalo Remix', a perfect fusion of Techno, Breaks and Psychedelia, originality in its purest form as this producer has accustomed us to in all his productions. To close the Ep, we find 'FutureCosmicalAscension Mix' by R.I.P. Bestia, truly a different version that is difficult to include in a specific style where the main melody is progressively guided towards a state of euphoria.

Original Track Produced by Intro: Francisco & Nacho Sotomayor. Liscensed with permission of Absolute Ambient (ES) 1994

The debut recording from the duo of multi-award-winning Scottish author David Keenan and Bruce Russell, the guitarist from the greatest underground rock band of the late 20th century, New Zealand’s The Dead C, was recorded live in Christchurch, NZ, as part of the WORD festival in August 2023. A series of live improvised settings that pair readings from Keenan’s monolithic and critically-acclaimed modernist masterpiece, Monument Maker (White Rabbit 2021), with guitar and electronics from Russell, the music takes off on the kind of post-VU fantasy of punk-primitive free music posited by Russell in projects like A Handful of Dust while expanding on Russell’s no-technique blues w/scalpel sharp riffs and aformal blats of pure electricity that match the religious eroto-mania of the text. Keenan reads w/shamanistic intensity and with a sonorous, incantatory rhythm, while Russell conjures the very ghost of the book straight out of the air. Think the early Patti Smith/Lenny Kaye spoken word/guitar jams informed by religious painting, Bach cantatas, Pierre Reverdy, Goya, Charles Olson, Arthur Doyle and Rudolph Grey. Features full colour photography by musician and artist Heather Leigh taken in-situ during the writing of Monument Maker in France in 2018. Bruce Russell is a practitioner in sound, who for forty years has been a member of The Dead C and A Handful of Dust. He mixes rock, electro-acoustics, noise and improvisation in equal measures. Also directed two of New Zealand’s vanguard independent labels, Xpressway and Corpus Hermeticum. His solo guitar practice reconfigures the blues as a form of improvisational auto-destruction. He is also a writer and his next book is titled ‘Rock’n’roll: my part in its downfall’. David Keenan is the author of six novels; This is Memorial Device (Faber & Faber) which won the London Magazine Prize for Debut Fiction and was shortlisted for the Gordon Burn Prize; For the Good Times (Faber & Faber), which won the Gordon Burn Prize and was shortlisted for the Encore Award for Second Novels; Xstabeth (White Rabbit), which was shortlisted for the Dublin Literary Prize; The Towers The Fields The Transmitters (White Rabbit); Monument Maker (White Rabbit), which was a Rough Trade Book of the Year; and Industry of Magic & Light (White Rabbit). Edna O’Brien has said of him “I sometimes think David Keenan dreams aloud. His prose has the effortless, enigmatic, unsettling quality of dreams… reading him feels like being cut open to the accompanying sound of ecstatic music.”

Coming together as Raz & Afla, Raz Olsher and Afla Sackey converge worlds through their dynamic fusion of electronic and traditional African rhythms, forging a path that is as bold as it is innovative. Rooted in their deep-seated passion for music and cultural exploration, they seamlessly blend their distinct musical backgrounds to create a unique sonic landscape that captivates audiences worldwide.

Raz Olsher is a visionary producer and composer known for his boundary-pushing electronic soundscapes, bringing his expertise in blending diverse musical elements to the duo. His meticulous attention to detail and penchant for experimentation form the foundation upon which Raz & Afla's sound thrives.

Already part of the Wah Wah 45s family with his band Afrik Bawantu, Afla Sackey is an esteemed percussionist and vocalist with roots tracing back to Ghana. He infuses the duo's music with rich traditional African rhythms and melodies. Afla's virtuosity on percussion instruments and his soulful vocals add a visceral, organic dimension to their compositions, creating a mesmerising auditory experience that transcends cultural boundaries.

Together, Raz & Afla defy genre limitations, seamlessly weaving together electronic beats, Afrobeat grooves, and intricate percussive textures. Their music resonates with a deep sense of cultural authenticity and a forward-thinking approach that pushes the boundaries of contemporary music.

Following on from their critically acclaimed full length debut The Cycle, and its subsequent remix project, their sophomore LP, Echoes Of Resistance, finds the duo remaining committed to exploring new sonic territories and creating music that speaks to the universal language of rhythm and melody. Once again, they invite listeners on a journey that celebrates the beauty of cultural exchange and the power of music to inspire and unite.

From more politically conscious cuts like the singles What's Going On? and We Taya, and On Da Phone, which deals with addiction to social media, to dealing with more personal and social issues on songs like ENo Be Me and Ano Be Mumu, Raz & Afla's music is something for the mind, body and spirit, as well as the feet.

There are moments of pure euphoria and unadulterated joy too though, as tracks like Mon Ni Fere, Voodoo Zeezee and Baby Moo inspire elated, tribal dance floor pleasure, and there's still time for a little, good old fashioned loving as Shikor Shikor conjures up the raw emotions of care and affection whilst delivering a hypnotic beat and instantly irresistible vocals from Afla Sackey.

With a growing discography that includes critically acclaimed releases and collaborations with musicians from around the globe, Raz & Afla continue to carve out their place in the international music scene. Their electrifying live performances are celebrated for their energy and the profound connection they forge with audiences, making every show a vibrant celebration of musical diversity and harmony.

Chita, the third album proper by Japanese guitar pop trio Usurabi, is their most elegant, stylish confection yet. Over the past four years, Toshimitsu Akiko (vocals, guitar), Kawaguchi Masami (bass) and Morohashi Shigeki (drums) have been recording, playing live, and releasing songs of rare melodic warmth, centring Toshimitsu’s unique musical vision, where melancholy and joy can co-exist, a split-second flick of her wrist switchblading the guitar from languorous sweetness to overloaded rock action.

Chita expands on the smartly sculpted pop and rock songs found on their previous albums, Remains Of The Light (2021) and Outside Of The World (2023), while infusing the music with more of the rough- housing energy that also coursed through the live CD, Once In A Red Room, they self-released in January 2024. There’s still a through-line, of course, that connects the music here to Toshimitsu’s earlier groups, Doodles and Animone, but Chita feels more deeply like a sussed, sharp take on the crumbling edges of sixties psychedelic folk and rock: the harmonica that blasts through the opener, “Bansho”, is pure Dylan in effect.

One of the many smart things about Usurabi, though, is that they never feel beholden to the historical moment. Soon after “Bansho”, we encounter “TurnOff”, a lush pop song that turns on a dime, with Toshimitsu tearing fuzztone notes from six strings that are like a more folk-reverent Kaneko Jutok. And there’s something about the guitar and bass riff that doubles through the thrilling two-and-a-half minutes of “Hakanonaka” that’s a dead ringer for the Only Ones. Flip the record, and things get more expansive, the spindly jangling of the title song spiralling ever inwards, before the sweet, sugary rush of “Kanata” resolves to the martial rhythms that pulse through “Aseranai”, winding the album down to its poetic, becalmed resolution.

2024 Repress
For Frenzy's third release, and the first solo release, the Uruguay-based William Arist is introducing us to his world of 'tribal techno'. Hailing from the city of Montevideo, this Southern-American-born artist already is a talent to watch overseas. Through their like-minded vision of electronic music, William bonded strongly with our Amsterdam-based Frenzy crew over the last couple of years. This warm connection evolved into Frenzy 03 - showcasing pure dance floor eclecticism that only William can deliver, including two remixes by no other than VIL and rising star Kenji Hina aka Alarico.

The A side instantly kicks off at full good vibe-throttle with two productions that reminisce about those iconic Love Parade moments during the very first days of rave culture. Balancing on the edge of house and techno, 'Chaka Chaka' loops the listener into a straight sense of movement. With rhythmic drums and uplifting vocals, 'Days' feels like stepping into an after hour dance-floor at the beach while the morning sun rises through the exotic vegetation. On the B side, William leans towards a more hypnotic sound. With a great tempo and a dark yet subtle mood, 'Tero' sets the tone for those murky clubbing moments where the boundaries dissolve and bodies merge. Slowly climbing out of the deep, 'Gultural' stays on the same energy level while adding dubby hints and a taste of freshness.

To top it off, the release is provided with two remixes that leave no room for interpretation. Portuguese producer VIL turned 'Chaka Chaka' into a true peak-hour beast while Italian multi-talent Alarico shows his versatile skill set with a speedy house remix of 'Gultural' under his Kenji Hina alias.

This tape contains a recording of a live of NPLGNN recorded at Human Razzmatazz (Barcelona) on March 2023.Everything you hear it comes from two Korg Electribe EMX1 +Pioneer DJM900 NXS + Traktor.

To describe the sound it makes sense to bring back what was thepress release of “Sigma/Tau” the first record of NPLGNN releasedin 2014 on Where To Now? (RIP): “NPLGNN creates a less pampered style of body music, stripping away the usual signifiers such as melodies and basslines to create something more utilitarian, brutal and pure.

This is the pre-babel language of dance music - it's cadences are rhythmic and its meaning is comprehensible to all on an innate, primal level.”Ten years later this tape makes those words still remarkable to describe the sound of the Neapolitan head. Among a bunch of unreleased sounds you can go through all the NPLGNN recent records for LavaLava, Youth, Hundebiss and its own lathe cuts series dubbed here and there with vocal cuts intersections.

Coming off like the rude son of early ‘00s breakcore heroes, quotingthe Manchester Boomy heads, NPLGNN delivers a 45 mins mutant soundsystem recording. It's acid dancehall punk, amorphed ragga riddimz, or whatever you want to call it. 100% dancefloor melting .Ask Aphex Twin for a couple of IDs

Twenty years ago, mclusky released their third album, The Difference Between Me and You Is That I"m Not On Fire via Too Pure. In the years since, their legend has only grown, proved by their recent sold-out tour dates. Alternative Press described them as "a smash up between the scabrous rock noise of the Jesus Lizard and the jagged rhythms and open spaces of Gang Of Four". Originally produced by the late, great Steve Albini, this reissue has been remastered by his close friend and Shellac bandmate, Bob Weston and is pressed on 180gram black vinyl.

ZEKE ist eine Punkrock- und Hardcore-Institution, die 1992 in Seattle gegründet, immer noch aktiv ist. Sie machen das, was sie am besten können: lauten, schnellen und schweren Punkrock mit einem Hauch von Blues. In Anlehnung an Motörhead brachten ZEKE aber ein gewisses Punkrock- und Hardcore-Element in das Genre, das viele Bands nach ihnen aufgegriffen haben.
RPM Online schrieb, „Zeke sind wirklich, wie keine andere Band auf der Welt“ und „It's not fast, its fucking hypersonic hardcore“, während Maximum Volume empfiehlt „... they are the kings of the underground.“ Vive le Rock aus Großbritannien freut sich, dass „das Quartett dem Brexit den Stinkefinger zeigen wird“ und auch das Ox Fanzine aus Deutschland bestätigt: „Sie sind in Topform, so wie wir sie 1996 bei „Super Sound Racing“ gefeiert haben.“ Mit den Originalmitgliedern Blind Marky Felchtone (Gesang und Gitarre) und Donny Paycheck (Schlagzeug) sowie Jason Freeman (Bass) und Jeff Hiatt (Gitarre) ist „Snake Eyes“ so kompromisslos wie eh und je, mit einem furiosen Wirbelwind-Rhythmus als Fundament und eine Flutwelle schneller Gitarren. Feltchtones messerscharfe Stimme ist sogar noch giftiger als vor zwei Jahrzehnten. Beim Titeltrack ‚Snake Eyes‘ verlangsamt die Band das Punk-Tempo etwas zugunsten einer hochoktanigen Rock-Affäre, die an Hellacopters erinnert aber trotz allem zu schnell bleibt. Auf der B- Seite gibt es pure Intensität mit 'The Knife' und man kann sich vorstellen, wie ZEKE einen durch die Nacht fahren und tun, was auch immer sie im Hintergrund tun. Wenn es vorbei ist, fühlt man sich benommen und verwirrt. Wie einer dieser Masochisten, die den Schmerz lieben, will man sich diesem erneut hingeben.
Die Titel sind nicht auf den Streaming-Plattformen verfügbar.

Ira James - owner and orchestrator of Vessel Recordings Group US - is treating us to plenty of newness this month and first up is Natural Rhythm with this transparent yellow vinyl 12". It's pure deep house bliss from the off with 'No Clothes' pairing rubbery and punchy kicks with some liquid synths that bring colour and depth. After the delightful '1985' comes 'City Life' which has a more dubby and bulbous low end that disappears out of sight as snappy snares power along the groove. 'Dust Redux' closes out with some sleek synth work and tech house minimalism that is pure dancing bait for the heads.

Gil Tamazyan is the founder and president of Capsule Labs, a boutique pressing plant, record label and analogue mastering studio in Los Angeles. He has been making cultured sounds for twenty years and does everything from deep house to Italo disco while drawing on a wide range of influences from the words of jazz, funk and more.
-On “Morning Cleanser,” Gil Tamazyan beautifully crafts a deep house record with notes of jazz sprinkled throughout.
-Pressed on 180g black vinyl for the best listening experience.
Gil Tamazyan unveils "Morning Cleanser," a musical gem that masterfully blends house and jazz, showcasing his signature authenticity and groove. The EP begins with "Bumper Car Theater," where Gil's craftsmanship paints a spacious sonic landscape. A steady bassline anchors the track, while ethereal chords drift, inviting introspection and calm. As dawn breaks, the title track "Morning Cleanser" emerges with vibrant chords and infectious beats. The groovy bassline sets the rhythm, and spirited vocals infuse the track with energy, awakening the senses and stirring the soul.
Continuing the journey, "My Body" offers a sultry exploration of sound and sensation. Smooth keys intertwine with dreamy vocals, creating a warm and intimate ambiance. The rhythmic groove carries listeners away, transporting them to a realm of pure musical delight. Closing the EP, "News Cast" weaves a tapestry of rhythm and melody. Powerful kicks and a punchy bassline drive the track, while a sultry saxophone ties back to the opening track, adding a sense of allure. With "Morning Cleanser," Gil Tamazyan delivers a mature and grounded musical experience, inviting listeners to tune in and vibe out.

On October 4, 2024, Vel will make a splash with the release of her debut LP, MTY-011 «There is Always a Solution», through Anetha’s label, Mama Told Ya. After 3 exciting EPs and the recent rise of her Live performance, Vel made waves last year with the track «Velds1» on MTY-AIR «Mille Attaques, Les Vents Contrèrent» in collaboration with LDS. She is now ready to unveil her first full-length album.
«There is Always a Solution» flows with two slippery vinyl records and 10 immersive tracks. Nine tracks are produced solely by Vel, while one is co-produced by Vel and Anetha. Once again, Mama Told Ya returns with a valuable lesson: no matter the challenge, you will flow a way.

Vel is back with a mesmerizing new album featuring 10 tracks that draw you in with her captivating energy. Are you ready to heed the call? The High Priestess of Drums plunges us into a world of vibrant Techno and brisk Tribal rhythms, while her Ambient passages offer a calming retreat and her Mental influences are bound to stir your emotions. Rest assured, “there is always a solution.” Renowned for her expertise in rhythmic innovation and spatial soundscapes, Vel presents a revitalizing and dynamic release. MTY-011 promises to cleanse and rejuvenate—let yourself be immersed.
With a hint of irony, The Babe (A1) playfully teases, “Do you love me? Do you love my music?” But Vel’s real question is more reflective: you’re in deep water. Dive into the sound bath of Humans in Cafe (A2), close your eyes, and let the drums, the kicks, the bangs, and the buzz wash over you. One Xanax Introspection (A3) later, Vel is inviting us to explore the full spectrum of frequencies—a galloping race of deep bass and high treble in this ambient choreography.
« Don’t let the relentless BPM Anxiety (B1) drown you. Its tortured synth may try to hold you back, but you’re free. You’re in your Pop Tribe (B2), and nothing can stop you—DRUM BIG. »
Darling it's better down where it's wetter: joining Vel for a jam session « under the sea », it’s Anetha! Driving percussions are combining with a pulsating psytrance bassline, pure magic: « Ain’t We Mermaids (C1), dear? » Vel, ever the master of the salty beats, slows it down just enough to say, «I Don’t Care (C2),» as she deconstructs. A few moments later… She’s at it again—just when the BPMs are peaking, she draws us into a state of floating lethargy. That’s the absorbing power of Ambient Core (C3).
The current is strong with this one—prepare for a challenge. Deep Tracks Don’t Sell (D1) will drift you away in a swirl of intertwining undulations and dripping drums. It’s time to return to the surface: with a bubbly twist of whimsy, Oh La La (D2) pops in, full of new-wave energy. Vel gently swims us back to shore.
For this new LP, the artwork was crafted in-house under Vel’s artistic direction. The design was skillfully executed by Diplomatie Studio, while mastering was entrusted to In Aeternam Vale, Vel’s close friend and mentor.

Dame-Music founder Bloody Mary’s ‘ALTERNATE STATES OF REALITY’ EP marks the 50th release on a label that counts KiNK, Josh Wink, Boo Williams, Fear-E and Thomas P. Heckmann amongst its roster since it launched in 2010.

The release sees Bloody Mary, Tresor resident, live artist, DJ and Producer, return to her own imprint with a full EP for the first time since 2020, produced as part of her live set ahead of her
upcoming Autumn tour, and complete with a remix from Soma Records legends Slam.

In the ‘ALTERNATE STATES OF REALITY’ EP, Bloody Mary explores the varying aspects of her acid sound. Equipped with her TR-909 and 303, she shows her penchant for hardware, starting off with ‘REALITY ONE’, in which crunchy drums and crisp highs ride along a mind-melting acid polyrhythm before ‘REALITY TWO’ opts for a punchy
electro beat, once again drenched in squelch and occasionally soothed by soft, nostalgic pads.

Flipping over the record, the infectious marching drums of Bloody Mary’s ‘REALITY THREE’ leaves behind the 303 and swaps it out for rampaging toms below a furious,
clap-heavy topline. This party-starting track is pure rhythm, expertly remixed by Scotland’s Slam, who this time supply the acid in their version, amplifying the tempo to superb extremes for a hypnotic warehouse pumper and concluding the monumental
fiftieth instalment on one of techno’s most important labels

Fast ein Jahrzehnt hat sich Jamie xx seit Veröffentlichung seines Solodebüts Zeit gelassen. „In Waves“, das zweite Album des Londoners, der mit seiner Band The xx zu den prägendsten Figuren der jüngeren Musikgeschichte gehört. Erneut lässt er seiner Liebe zur elektronischen Musik freien Lauf und entwirft die Geschichte einer Nacht, in der man in den himmlischen Puls von Schatten, Licht und Dancefloor-Rhythmen hinabtaucht.



“In Waves” hat seinen Ursprung in einem Mix, den Jamie 2020 für BBC Radio 1 machte. Hier tauchten neben Tracks der aktuellen Generation an UK-Dancemusic auch diverse musikalische Helden auf, etwa Roy Ayers, Fela Kuti, Tom Zé oder Philip Glass. Auch erste Versionen von Songs, die nun auf dem Album erscheinen werden, waren zu hören. “Es erinnerte mich daran, warum ich diese Musik liebe“, so Jamie, der zuvor lange mit der Frage gehadert hatte, wie es für ihn weitergehen würde. “Ich fand einfach Spaß am kreativen Prozess, ohne dabei an ein Ergebnis zu denken.“



Jamie xx pflügt auf „In Waves“ durch die Subgenres und Dekaden und fügt Northern Soul, Disco, Garage, Acid House, Techno, Tropicalia. Hip-Hop, Funk und den Sound der UK Underground Pirate Radios zusammen. Die kleinen Momente sind dabei so eindrucksvoll wie das übergreifende Ganze. Etwa jener Part bei “Treat Each Other Right“, der parallel zum Album-Announcement erscheinenden neuen Single: Zunächst wird man herausgerissen aus dem breiten Breakbeat-meets-Future-Soul-Vehikel, um sich mit den gepitchten Motown-Vocals plötzlich im Mittelwellenradio der 60er wiederzufinden. Die Worte “I’ll never let you down“ werden in die Ewigkeit gezogen, bevor ein biepender Puls über atmosphärischen Synths einsetzt und man direkt zurückgeführt wird in die schweißnasse Katharsis des Dancefloors.



Im Zeitalter der Algorithmen ist “In Waves” Zeugnis für pure menschliche Empfindung, ein lebensbejahendes Gegengift, das über den Kopfhörer in eine andere Dimension führt und zugleich gemeinsam auf der Tanzfläche erlebt werden will. Mit dabei sind u. a. Romy und Oliver, The Avalanches, Robyn und John Glacier.

Nigerian electronic musician and violist Ibukun Sunday debuts on Phantom Limb with Harmony / Balance, a brooding, introspective take on Afro-ambient music that follows two acclaimed digital-only albums for Phantom Limb imprint Spirituals.


Based in Lagos, Ibukun Sunday has expertly positioned himself between the rarely-married cultures of ambient and West African musics. He entwines his compositions with field recordings from his native Nigeria and deeply considered philosophies of existence, humanity, and society. The themes of Harmony / Balance derive from Swami and Hare Krishna founder A. C. Bhaktivedanta and his work Bhagavad-Gita Eng: “As It Is”, a script on the duality of human nature. In Bhaktivedanta’s text, two cousins - warriors from the sacred Hindu text the Mahābhārata - and their armies are pitted against each other. The humility, self control, and devotion of one cousin against the arrogance, envy, and pursuit of power of the other. Bhaktivedanta writes that from this battle we see the necessity to cultivate and nurture our love and faith, but to simultaneously understand our selfishness and hubris. Appropriately, in Ibukun Sunday’s music, a heavy, apocalyptic dread contrasts fascinatingly with passages of light. The static-spiked, corrosive sound design of Harmony / Balance conjures darkness, but its skipping rhythmic patterns and melodic contours are made of beautifully vibrant colours.



Though Sunday excels in the kind of drawn-out elegance also found in the work of Kali Malone, William Basinski or Fennesz, and also in a magisterial repetition akin to Terry Riley or Manuel Göttsching, his unique practice, classical training, and core culture shine through in a pure and singular way. Scattered throughout Harmony / Balance are unexpected melodic antiphonies closely aligned with African music, interspersed between huge, spacious drones and field recordings.



Lead track “Arrayed On The Battlefield” evokes mythical and deific wars with hissing, buzzing synthesis that could be dystopian if not for a levitational, sunlit harmonic structure. It rolls and shimmers, transcendent frequencies alive with rhythm. Later, “Enemy Of My Enemy” employs shimmering, meditative chord pads and blissful negative space, while towards the end of the record, “To Fight With” could have been taken from a Denis Villeneuve sci-fi - the fizzing, fiery distortion at its peak gradually, carefully yields a rumbling, distant thunder as it closes. Throughout the record, Sunday’s education as a classical viola player is also evident. A honed musicality and developed ear for harmonic resonances lend the work a measured eloquence, even amidst deep, spiritual intuitiveness. This intensely personal and powerfully expressive creativity is key to the grace with which he crosses divides.


Ibukun Sunday is a solo electronic musician and violist based in Lagos, Nigeria. He has released two albums with Phantom Limb’s digital-only imprint Spirituals, which enjoyed rightful acclaim as unique and powerful works of experimental ambient music. He also performed at Phantom Limb’s 5th anniversary celebrations in 2023, playing alongside Richard Skelton at St. John’s on Bethnal Green in London, UK.

Aniara Recordings presents the second chapter of the Genius Of Time Vocal Series, showcasing the exceptional synergy between duo Arkajo & Dorisburg, in collaboration with a range of talented vocalists. A-side 'Closer' blends intimate vocals with a hypnotic rhythm, creating an atmosphere of pure emotion. On the flip side, 'Fumana Chord' offers a bold, uplifting spirit, driven by a deep, resonant bassline, joyful beats and ecstatic vocal snippets.

Opium Warlords' sixth album "Strength!" out on Svart Records in September 2024! Opium Warlords, led by Sami Albert ”Witchfinder” Hynninen (Reverend Bizarre, The Puritan, The Candles Burning Blue), return with their sixth album Strength! It is a versatile but tight combination of pussy techno, sludge, industrial pop, hardcore punk, drone, shamanistic pulse, noise, heavy metal, old school gothic rock and march music. It is a take on European rhythmic patterns: stagnant factory beat – no groove, no swing, just a rhythm of industrialism that pierces through different genres and styles. Comparing to the dark and oppressive Nembutal (2020), Strength! is significantly more light-hearted, with its postmodern lyrics emitting from sources such as shampoo bottles and television UFO series to the Pan-Europa myth or morbid lore of death-hungry Transylvanian Iron Guard. However, the sting of irony and sarcasm is balanced with more serious subjects: Strength! is a hate/love letter to Europe and a self-reflection on Machiavellian and Nietzschean philosophies of strength and elitism. True to the band’s soul everything is covered with pure toxic misanthropy. Strength! 2LP/digital/2CD will be released 13th of September on Svart Records. Album’s first outtake, Erotomania, is out right now via digital services worldwide.

Opium Warlords' sixth album "Strength!" out on Svart Records in September 2024! Opium Warlords, led by Sami Albert ”Witchfinder” Hynninen (Reverend Bizarre, The Puritan, The Candles Burning Blue), return with their sixth album Strength! It is a versatile but tight combination of pussy techno, sludge, industrial pop, hardcore punk, drone, shamanistic pulse, noise, heavy metal, old school gothic rock and march music. It is a take on European rhythmic patterns: stagnant factory beat – no groove, no swing, just a rhythm of industrialism that pierces through different genres and styles. Comparing to the dark and oppressive Nembutal (2020), Strength! is significantly more light-hearted, with its postmodern lyrics emitting from sources such as shampoo bottles and television UFO series to the Pan-Europa myth or morbid lore of death-hungry Transylvanian Iron Guard. However, the sting of irony and sarcasm is balanced with more serious subjects: Strength! is a hate/love letter to Europe and a self-reflection on Machiavellian and Nietzschean philosophies of strength and elitism. True to the band’s soul everything is covered with pure toxic misanthropy. Strength! 2LP/digital/2CD will be released 13th of September on Svart Records. Album’s first outtake, Erotomania, is out right now via digital services worldwide.

With her new single release "Uh-Ah Song" the Ghanaian Frafra Soul singer Florence Adooni announces her debut album "Fo Yelle" on Philophon.

A lot has happened since the release of her first single "Mam Pe'ela Su'ure" in 2021. While this release was a pure studio project, Florence Adooni is now an eight-member live formation, made up of young talents from the highlife scene of Kumasi. The group has already considerable credentials: In 2023, they toured Europe twice and thrilled their audiences at festivals such as Roskilde, Down The Rabbit Hole and Überjazz. And this year, with the debut "Fo Yelle" under the belt, Florence and her group embarking on a 50+ concert summer tour through Europe, from Sweden to Portugal to UK and at festivals like FMM Sines, Xajazz, Africa Oye, Fusion, End of The Road.

The title track "Uh-Ah Song" is based on a rhythm typical of Kumasi and shines with its playful and cheerful character. Florence remembers the process of creating the piece: "When my producer Max Weissenfeldt came to me to play me on the piano an idea for a new piece, my daughter, who had just been born, began to sing in rhythm ah-ah-ah, with all joy in her face ever imaginable, while Max was playing. Max turned around and answered her with uh-uh-uh, to which she replied again with ah-ah-ah. We laughed so much and decided to make it a piece that would capture that very moment of joy we just had experienced. That's why it's somehow a children's song".

"Otoma Da Naba" (The Creator Has Done Well) has a sequencer bass line from a Roland TB-303 as its foundation. While Florence holds her verse in a kind of Ethiopian pentatonic scale, in the pre-chorus she switches to a sweetly swinging heptatonic motif, with a typical highlife guitar in the background creating the atmosphere. In the chorus, the singing then changes in that unique choir style, which is the trademark of Frafra music.

The international debut album "Fo Yelle" will be released on Philophon this summer.

If there's one musician in the last decade that you may hear in wildly diverse musical contexts it is Belgian electric bassist and sound sculptor Farida Amadou. Not only can you enjoy the unerringly skillful command she has over her instrument but also the transformative power to reinterpret and expand her material in spontaneous and unconventional ways.

Amadou is self-taught and radically aware of her idiosyncratic relationship with the bass guitar. She neither emulates the virtuosos of the electric bass, nor does she use the instrument as a pure sound generator that merely emits humming and feedback. She takes a completely independent and unique approach. This freedom enables her to create an overwhelming wall of sound, as well as simple, clear structures that are rhythmically concise yielding a wide associative space that lands somewhere between free jazz and noise.

Her work is often concentrated and circular where motifs are established and developed outward. It is an organic sound in the literal sense of the word, constantly in motion, yet resting in itself. The three solo pieces she has recorded for Week-End Records emphasize her impressive ability to ignite ecstasy from tranquility, to fan out a whole range of moods from a few potent ideas.

These attributes make her a musician who enriches every group she plays in, because she is present with her assured and crystallized sound but refrains from being domineering. However, her strengths are even more apparent when she plays solo: the contrasts between the dark, heavy clouds of sound and the rhythmic passages, and the transitions between movements which always sound "logical" yet surprising.

Her new solo album, "When It Rains It Pours" presents Amadou as an inspired improviser who follows her musical intuition and acumen to create a truly unique soundworld. Rarely has improvised music sounded so succinct and compelling.

Wenn es in den letzten zehn Jahren eine Musikerin gegeben hat, die man in den unterschiedlichsten musikalischen Kontexten immer wieder hören will: nicht weil sie eine passable Mitspielerin wäre, sondern weil sie diese Kontexte jedes Mal bereichert und auf spontane, unkonventionelle Weise erweitert, umdeutet, in neue transformiert, dann ist es die belgische E-Bassistin und Klangskulpteurin Farida Amadou.

Sie ist Autodidaktin - und sie versteht diese Selbstaneignung des Instruments radikal. Weder eifert sie den Virtuosen des E-Basses nach, noch verwendet sie das Instrument als reinen Klangerzeuger, der bloß Brummen und Feedbacks von sich gibt. Sie geht von einem völlig eigenständigen Ansatz aus. Der ermöglicht es ihr, eine überwältigende Wall of Sound zu kreieren genauso wie einfache, klare Strukturen, die rhythmisch prägnant sind und einen weiten Assoziationsraum zwischen Free Jazz und Noise eröffnen. 

Ihre Musik ist konzentriert, hat einen langen Atem, kreist um Motive, entwickelt daraus neue Linien, die Amadou im Spiel weiterverfolgt. Es ist ein im Wortsinne organischer Sound, ständig in Bewegung, dabei in sich ruhend. Die Stücke, die sie für Week-End Records aufgenommen hat, unterstreichen ihre beeindruckende Fähigkeit, aus der Ruhe die Ekstase zu entfachen, aus wenigen Ideen eine ganze Palette an Stimmungen aufzufächern.

Das macht sie zu einer Musikerin, die jede Gruppe, in der sie spielt, bereichert, weil sie präsent ist, ohne zu dominieren, weil ihr Sound so prägnant ist, ohne die anderen zu übertönen. Im Solo treten die Stärken ihres Spiels aber noch stärker hervor: die Kontraste zwischen zwischen dunklen, schweren Klangwolken und den rhythmischen Passagen, vor allem die Übergänge, die immer „logisch“ klingen, aber zunächst unerwartet kommen und ihren eigenen Weg einschlagen. Ihr neues Solo-Album, “When It Rains It Pours” zeigt sie als inspirierte Improvisatorin, die sich nie bloß ihren Einfällen hingibt, sondern die Ideen zu Ende denkt, oder besser: spielt. Selten klang improvisierte Musik so kompakt und zwingend.

Parisian label and collective Prima Materia is proud to present the first 12" record in its 'Half Sided Series'.
The aim here is to offer a series of vinyls in the form of split EP's, with two producers each proposing a side featuring the different styles of techno we love so much.

For this first opus, we invited Portuguese dj and producer Fresko (Hayes Collective) and our resident Louis The 4th (Tar Hallow, Planet Rhythm, Prima Materia).

Louis The 4th opens Side A with 'Structured', a devilishly effective percussive tool, followed by 'Instant Attraction' in the pure techno tradition, where a hypnotic synth follows us all the way.
Then Fresko takes over on Side B, offering a more playful and colorful side with 'Cray' and 'Audio Space 2000', two tracks where mechanical grooves are accentuated by the Portuguese artist's signature elements and fx, with a surgical level of precision.

Following last year’s Cyber Sunshine single and Vantage Point EP, plus the former’s expansion into a Deluxe Remix Pack EP just this Spring, trusty Dutch trance traders Match Box are miraculously back with their fourth consecutive glistening Goddezz release. This time, it’s a double offering whose boundless celestial charm again centres around the star we owe it all to: think of High En3rgy as the sunset daydream and Clint’s remix the sunrise epiphany.

Spanning 8 minutes and 7 seconds that slip by all too soon, High En3rgy is a lucent, dreamlike journey not easily forgotten. Layering a faintly melancholic and hauntingly simple melody over a nonetheless pulsating bassline, it accomplishes something rare: an emotive marrying of the wistful and the rousing. The effect is a plucky, heartening sound that walks a tightrope between nostalgic reflection and enduring anticipation. It’s delicate yet driving - the gorgeous sonic expression of a sunset daydream that could leave you leaning either way.

Whether you emerge from that musing trance with a lump in your throat or a fire in your belly, Clint’s remix is the impossibly ideal next step. Faithfully refracting its originator’s sound whilst instantly supercharging the mood from spirited to high-spirited, its giddy rhythm and buoyant-turned-bouncy beat inject pure, immediate, perhaps emergency enlivenment. It’s more than fun, playful or invigorating: it’s irresistibly, heroically stirring - and once its sunrise synths come scorching over the horizon, you’re passing through gleeful exhilaration into sublime elation, with no hope of holding back any tears.

We present UT006, a compilation featuring six dynamic tracks, each with its own unique flavor. This
collection showcases the diverse sounds found within the electro universe.

Dark Vektor and The Bandit, united by the bass, unleash a high-energy blast brimming with
intricate sound details, power, vocoders, and versatility—all in one.

Cyberdom offers a captivating track with arpeggiated bass lines and a nostalgic 2000s vibe. His
signature style and well-crafted arrangements create a journey through sweet and subtle darkness.

Amor 307 joins the lineup with an aggressive track featuring thick, looped sounds and strident acid
elements, revealing his techno influences.

Spectrums Data Forces delivers a high-end track that defies conventional electro norms. If not for
its broken rhythm, it could be described as a storm of quality techno with intense melodies.

The Belgian Dark Prophet contributes a 4x4 hit designed to ignite any dance floor, blending a
touch of classic electro that resonates with our audience.

Promising/Youngster has once again proven his mastery. This track exudes pure quality,
demonstrating that simplicity can be the ultimate form of beauty, and a sample can evoke powerful
memorie

Tuff Trax and Jay Ward are two of the most potent producers in the UKG scene right now and they both appear together in collaborative mode on this new EP for Rhythm N Vibe, which also happens to be their tenth outing. It's pure filth from the off with 'Higher' sure to get the gun fingers out and the fists pumping. 'Something Like This' is a more raw and percussive garage bumper with sleazy low ends and naughty bass, then 'Crazy' gets funky with some nice retro r&b vocal samples and warm chords surging through the mix. 'Give Me Love' shuts down in soulful fashion with great colour bursting out of the beats.

Having gathered up praise from Mary Anne Hobbs, Cerys Matthews, Jamie Cullum, Gilles Peterson, Huey Morgan, The Guardian, Jazzwise and more, for his lauded ‘Crisis & Opportunity’, drummer and composer Myele Manzanza returns with the fourth instalment of his series, titled ‘Meditations’.

On ‘Meditations’, we see Myele revert to a purely acoustic line-up, channeling a focused and razor-sharp return to his Jazz roots. Showcasing an incredible level of musicianship between three musicians at the top of their game - including Matthew Sheens (Ross McHenry, John Patitucci) on piano and Matt Penman (Joshua Redman, Sfjazz Collective) on double bass - the trio exchange motifs over the length of 7 tracks.

Opening proceedings with frenetic rhythmic improvisation, complimented by melancholic and cinematic layers of sound, ‘Crayford’s Room’ is a tribute to Myele’s musical mentor back in New Zealand. Remembering his time as a student in Wellington, Myele shows his deep connection to his origins, manifesting itself as lament on ‘Winter’ and ‘Homesick’. Introducing hypnotic, contemplative melodies take centre stage on ‘Something Old Something New’ (the first single to be released from the project)’ It maintains a sense of tension and intrigue throughout, and intensity rises to a crescendo sending sonic particles sprawling into space.

Intuitive, darker and deeply contemplative, Myele shares his innermost thoughts on ‘Crisis and Opportunities Vol.4 - Meditations’. He divulges:

‘The personal angst and existential frustration I was going through across 2020 - 2022 I believe is well reflected here. The album is deeply informed by the musicianship and sound of my trio, Matthew Sheens on piano and Matt Penman on double bass. Knowing that musicians of their calibre were going to be involved gave me licence to go further in my writing, deploying odd time signatures, sharing the melody roles across the piano and the bass, and delving deeper into the nuances of what the acoustic piano / bass / drums trio can do. The compositions present a challenge even to the best musicians, and I knew that it was essential to have a team on this level to really move the music beyond an academic exercise and draw out the emotion and colour from the material.’

Two classically trained musicians from vastly different traditions, MD Pallavi and Andi Otto came together to create a jewel of a record in ’Songs for Broken Ships’ and Multi Culti have whipped up a stunning remix package for it featuring Simone de Kunovich, Auntie Flo, Peter Power, Kaleema and more.

Hailing from Bangalore, trained in Hindustani music and poetry since childhood, MD Pallavi’s beautiful voice makes an elegant companion to cellist / composer / producer Andi Otto’s idiosyncratic and unconventional style. Andi’s music has featured on labels such as Shika Shika and Pingipung (which he co-runs and curates) and, of course, Multi Culti, who released his previous album ‘Bow Wave’ which featured his first collaboration with Pallavi.

While the heart of "Songs for Broken Ships" showcased the duo's unique meld of cross-cultural folktronica and acoustic ballads with MD Pallavi's poetic Kannada verses at the core, "Remixes from the Clouds” reframes these elements for a vast spectrum of electronic listeners and club go-ers.

An ethereal hypnotic techno re-interpretation of ‘Prayer to the Cloud’ from Italian producer Simone de Kunovich. Scottish ambient maestro and mushroom aficionado Auntie Flo's ecstatic reinterpretation of "Clockshop". Multi Culti veteran downtempo wizard Peter Power's organic and earthy rendition of "Prayer to the Cloud." The mystic sounds of Kaleema breathing new percussive life into "Clockshop". The package concludes with a 'prayer-a-pella' version of "Prayer to the Clouds", spotlighting MD Pallavi's vocals in their purest form, for DJs and producers seeking to slather their rhythms with spiritual voice.

The Multi Culti imaginarium also present an expanded digital package that includes mixes from Hannah Lee, Bliz Nochi & Emil Jourjou, Migramara, and Poligra. In the words of Shawn Christopher: "people from all nations, dancing together." Celestial harmony, one 12” at a time.

Pink Rhythm was one of John Rocca"s mid-80"s solo side projects and a somewhat evolution of his pioneering early-80s band, Freeez. After Freeez ended, John still had some ideas left over which he explored with Andy Stennett of Freeez. John also re-worked one of the final jazz funk songs written (but unused) by Freeez called "India". He named the project Pink Rhythm after his self-funded, entrepreneurial record label that he used to launch Freeez. Pink Rhythm lasted a brief year or two, between 1984 and 1985. In 1985, three singles were released, including "Melodies Of Love, which has become a cult favorite. It has been described as "timeless drum-machine soul music" and a "cult funk slow jam". Over the years, John Rocca"s music has been sampled by many, including Jamie xx, Empress Of, Brandy, Burial, Todd Terry, Coolio, Cut Chemist and more. Often credited as one of the pioneers of brit-funk, John"s music is iconic and has been used in TV/Movies like; Better Call Saul, Midsommar, Irma Vep plus the fashion world for brands including Calvin Klein, Louis Vuitton and more. "Melodies of Love" - though never a pop hit - was recently been used the Joaquin Phoenix film Beau is Afraid as well as in the acclaimed British Film Blue Jean. It was also recently featured in a high-end ad campaign for Piaget. It is pure, smooth 80s drum machines, it is synth sounds, saxophones and keyboards.... it"s retro, but it could also be current. Either way, it"s as refreshing now as it was then.

We interrupt our regular Drum Chums programming to bring you a little V/A tackle via the 'Percussion Pals' project.
These razor sharp cuts come from friends near and far, old and new, each one primed to upgrade your record collection.

Debuts abound on the A-side, first via international man of mystery DJ Poufsouffle and his Balea-rock disco stomper "Totally Manic". Brimming with Flash & The Pan style pub-rock wonk this one boasts a growling vocal, sparkling keys and an uplifting chorus which doesn't quite break the spell of extreme silliness.
On the A2, Bristol's Spice Route rescue a nebulous reggae gem from Library obscurity, swinging the scalpel and working the desk to turn out an unstoppable groover.
Built around an irresistible rhythm section, "Gruler Dub" keeps on getting higher as the space-based vocals and trilling synths turn your brain inside out.

The B1 brings the return of Drum Chum extraordinaire Neil Diablo, who follows the Balearic brilliance of his last label outing with a cosmic caper into pure oddball pop. "Starry Night" slinks along in a chromed out catsuit, purring weirdo vocals over robo-chug and mechanical drums before indulging in a catchy chorus packed with addled innuendo. Not only is this as arch as Gina X doing a forward fold, but it also boasts some serious bass weight in the later stages - you have been warned.
We're delighted to finally feature a little magic from Australian Italo wizard Hysteric, who brings the curtain down in utterly emotional fashion via AOR disco dream "Pinball". A steady beat, infectious bassline and glistening chords play host to a swooning vocal, which reminds us to go with the flow and follow fun at all times.

100% Drum Fun Guaranteed.

Private Joy?! With a namesake derived from the mighty Prince’s catalogue, and its lustful connotations, Private Joy is the producer of soul band Lovescene and a supreme vocalist of the Manchester scene. With collaborations working with the likes of Ruf Dug, Finn, and Lenzman, a solo EP was inevitable and a statement this is.

Pops Roberts’ first solo EP debuts on Rhythm Section INTL bringing together influences from Streetsoul, 80s ‘babymaker’ RnB records and a slice of 00s soulful house in there for good measure. In just over 18 minutes, Private Joy welcomes you into her world of sensuality and soulful warmth. Musical hugs galore, the production balances synths, harps, saxophones, tight beats and meaningful lyrical content; eschewing millennial whoops for Sade indebted dulcet tones.

Each track draws from personal experience; be it heartbreak or reconnection, an emotional diary
conveying the trials and tribulations of love, loss and ultimately, desire.

“Desire has been the drive and beginning of so many decisions, highs and lows in life...” - Private Joy

HLZhas comes correct with his debut solo single on Utopia Music.

For true drum & bass enthusiasts, Emilio Dimitri akaHLZ's name should already be on your radar. These tracks offer creativity and integrity, pushing the boundaries of his own respected style within the genre and nodding to times past with a modern update.

"Black Core" kicks things off with its icy break workouts, featuring raw, rasping drums with an industrial edge. It's not a high-speed roller but rather a sneaky creeper that satisfies those who want intricate beats backed with nightmarish overtones.

With "Arcane,"HLZtakes us on a journey of pure pressure in the way he knows best, stepping rhythms, stabbing yet gut-punching bass design, working in tandem with groovy tablas, clever fx builds, topped with lush euphoric pad work, 170 in the truest form.

PRZ comes to Sync 24's Cultivated Electronics with his first double Album ''Lost Art''. In the ever-evolving realm of electronic music, where sonic innovation is the currency, PRZ (Gal Perez) emerges as a luminary, crafting sonic landscapes with a distinct style that blends intricate rhythms, ethereal melodies and pulsating beats. As a producer, DJ and co-founder of the Chateau Royal label and Pluto Junkies member, PRZ has spent the last decade shaping his sound and releasing tracks on some of dance music's most respected labels including Clone West Coast Series and Hilltown Disco. With a boundless imagination and unwavering commitment to sonic exploration, his ''Lost Art'' release is a fully-formed album rather than just a collection of tracks, opening with the atmospheric intro of ''Introvert'', before the playful sonic antics of tracks like ''Lazerton'', ''Lost Art'' and ''Voice Over''. Other tracks bring pure Electro darkness like ''Velocity Shift'' alongside the ElectroTechno of ''Time To Decide'', the EBM-esque ''Azaya'' or the retro funk of ''Back From 89'' - all primed for dance floors, before closing on the melancholy ''Miss You''.

Comes with insert and download coupon.

Imagine a Latin remake of Back to the Future. The mad scientist is Arsenio Rodriguez (the godfather of salsa) and the young student who travels through time with him is Eblis Alvarez (Meridian Brothers). This album can only be described as the perfect soundtrack for that movie that never was.

After the massive buzz generated by his first solo album, Mentallogenic, Alex Figueira got back in the studio to work in a more collective fashion this time, carefully assembling the second album of his largest project to date, Conjunto Papa Upa; a team of 6 musicians, spanning 3 generations of some of the best talent in the Latin and avant-garde scenes.

In an era where tropical music is dominated by purely electronic and rhythmically uniform sounds, the ten songs encompassed in “Fruta Madura” (“Ripe Fruit”) wander through the most diverse tempos, rhythms, and motifs effortlessly. A real breath of fresh air that gracefully incorporates soul, funk, jazz, psychedelia, and electronics into a solid tropical, irresistibly polyrhythmic foundation, without ever succumbing to the many genre clichés.

The distinctive production and catchy songwriting of Figueira shine in a very distinctive light on this second full-length. Living up to his reputation (Miles Cleret, founder of Soundway Records, called him “one of the scene's truly authentic and eccentric producers”), he takes the opportunity to show he’s not afraid to keep walking his own path.

Taking the band for a wild ride through the traditions of Africa, America, and the Caribbean; contrasting them with a ridiculously wide plethora of vintage, contemporary, and futuristic sounds, and pivoting on the exuberant musicality displayed by his musicians; the result leaves no doubt: this album is destined to be considered a future classic of the exciting tropical psychedelic music of the 21st century.

Addressing the most diverse themes in this new collection of songs, things take on a much more mature tone, as the title clearly suggests.

The opening track “El segundo es más sabroso” (“The second one is tastier”) sets the tone in the most assertive way imaginable, with the band boldly declaring, through multiple metaphorical references (laid upon a crazy mix of Dominican merengue, Detroit techno, classic and free jazz, dub, and electro), that the bar will be set higher with this second album.

The remaining compositions touch upon the most diverse subjects, with a fair dose of humor, sarcasm, and postmodern “magic realism”. “El Algoritmo” (The Algorithm) is a parranda-cumbia hybrid (for lack of a specific term) about the omnipresence of technology in our lives. The sophisticated Latin soul of the titling track “Fruta Madura” makes a case for the beauty of the maturity process. Some key philosophical teachings of Marcus Aurelius (the role of causality, the impositions of “the logos” and the importance of self-control) get a twisted cumbia treatment on “Reos del Deseo” (Prisoners of Desire). “No le pongas Coca-Cola” (“Don’t put Coca Cola in it”) shows us the most satirical side of the band, accusing those who mix Coca Cola with Rum of committing "sacrilege", on a powerful base of Dem Bow (the grandfather of Reggaeton), intertwined with touches of soul, salsa, and Cuban comparsa.

"Háblame Claro" (“Talk to me clearly”) is a story of heartbreak that evokes in its first part the spirit of the erotic salsa of the 80s (a subgenre deeply despised by purists), and after an unexpected samba interlude, leads to the hardest salsa of the 70s (a subgenre adored by purists), to end up in the surprising form of pure Afro-Cuban ceremonial music.

“Tu mamá tenía razón” ("Your Mom Was Right") is an attempt to exalt the spirit of the Latin American soap opera in the key of “acid bachata”, to recount a real-life case, witnessed by the band on countless occasions: the partying woman who arrives at the show accompanied by her bitter husband, who obviously does not like to dance. A very cheeky song to talk about the very serious and pertinent topic of female empowerment.

“La misma vaina” (“The same thing”) with its indescribable blend of bantú, candomblé, and Mozambique rhythms with abstract synthesizers, is an ode to adventure in favor of the aversion to taking risks and seeking predictability.

“Amigas picadas” (“Salty friends”) is another humorous song recounting another real-life case witnessed by the band on countless occasions: a love encounter sabotaged by the girlfriend's friends, who all happen to fancy the same guy. A jazzy take on the ancient Dominican rhythm of pambiche (grandfather of merengue), with generous psychedelic touches, resembling the classy late 60s releases of Guadeloupe's legendary producer / label owner Henri Debs.

“Vinimos a hablar” (“We came to talk”) takes sarcasm to the highest level, to ridicule the absurdity (also experienced by the band firsthand) seen in live music venues where people pay a ticket to go and have conversations that could be carried out much better on any bar, where no band is playing. The music alternates between a delicate melody with loose, sparse percussion and a full-on, pumping Angolan semba, with a techno kick drum included; bringing things to an apotheotic grooving finale, where the peculiar swing of Venezuelan calypso from the Callao region is thrown on top of all the precedent elements; closing the album in the most uplifting, “end of the carnival parade” feel.

The artwork is a delicate and impactful oil painting by Colombian artist Kevin Simón Mancera, who has collaborated many times with the label before (“Maracas, tambourines and other hellish things” tape and the Lola’s Dice LP).

What the experts are saying:

“Alex (Figueira) dove into this work with a brutal cohesion between lyrics and synths. Timbre poetry, sound poetry (you name it). And that, superimposed on his always impeccable percussive base, confirms the title of “avant-garde visionary of our beautiful Latin music”".
EBLIS ALVAREZ (MERIDIAN BROTHERS)
“Papa Upa's infectious quirkiness is a balm against boredom. A mature album, but without an expiration date”.
GLADYS PALMERA

“Here there is a lot of strength, drum, cadence and psychedelia, lost dance rhythms, united in an intercontinental Latin/African/and Caribbean journey, a unique winning combination that we could consider the new “Ritmo Figueira”.
DISCODELIC

Conjunto Papa Upa are: 



Alex Figueira - Timbales, percussion, vocals. 

Gerardo Rosales - Congas, percussion, vocals. 

Ramón Mendeville - Bongos, percussion, vocals. 

Randy Winterdal - Bass.

Andrew Moreno - Guitar.

Nico Chientarolli - Organ, piano, synths.



All songs written by Alex Figueira. 

Arranged and performed by Conjunto Papa Upa. 

Recorded, produced, mixed and mastered by Alex Figueira at Heat Too Hot, Amsterdam.


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.

UK Bass titan and Swamp 81 label boss Loefah makes his Teklife debut with Jump Start, three new tracks full of raw house energy. Taking cues from the Chicago tradition of feral 909 jams, these pummelling rhythms are met with eerie atmospheres and haunting speech. The late ghetto house godfather DJ Deeon adds his touches to the title track, stretching its acid squelches out and taking them even farther into space. It’s pure warehouse music, trippy yet ominous, perfect for getting lost in a dark corner at a rave.

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!