Cerca:re work

180g audiophile pressing of guitar great Larry Coryell's 2003 album
'Tricycles', which includes 2 bonus tracks and has been remixed and
remastered from the original tapes
On 'Tricycles', we hear the one-time associate of Miles Davis, Sonny Rollins and
Dizzy Gillespie and many other superstars in an intimate jazz setting. For the In
+Out recording he teamed up with two very special companions. The merits of
bass player Mark Egan, a pupil of the late Jaco Pastorius, cannot be overstated.
Paul Wertico, praised as an "impressionist painter" among jazz drummers, not
only participated in many Pat Metheny Group records, but is also a much soughtafter session musician and producer who has worked with avant-garde trios and
popular artists like Terry Callier and Special EFX. The abilities of this exceptional
troika are impressively captured on this album.

Another certified classic of an EP gets a much-deserved reissue. This time the fabled G.O.D alias of Grant Nelson and Simon Firmin aka 24 Hour Experience, with the first of their sough-after Limited series. Three ’94 UKG heaters - raw, raucous, soulful and bumping just how you want it. Remastered from the original DAT’s and working just as well as now as they did back in the day. Grab a slice of history right here.

Prince of Queens aka Felipe Quiroz lets loose his blissfully rhythms on a four track EP for NYC’s Second Hand Records. From melodic excursions through the realms of house to tougher, percussive, arp laden cuts and atmospheric techy deepness it’s an intelligent and introspective body of work. Toronto’s Ciel then flips the script on the title track, turning it into a glitched out, club ready weapon – the perfect combination to complete the EP.

A 12” filled to the brim with talent, Schrödinger’s Box have collected three juggernauts of wave tainted electronics for the latest. Dmitry Distant teams up with Norwell for a partnership of serious intent. The pair deliver a trio of blackened tracks, opening with the ghoulish caverns of “Transient State” before the long shadows, acid stains and painful echoes of “Visionary.” The duo venture into brighter territory with the computer funk of “On A Verge of Veil”, crisp beats and bubbling melodies changing the tone. Following Beyond the War, Cute Heels returns to occupy the flip. The Colombian is immediately on it with the swirling mirrors of “Kuriyaki Horizons,” a kick drum offering solid footing in this entrancing piece. An aloof, yet alluring, disco hook takes hold for “Litua”, a low thump keeping time. The finale arrives with the clipped industrial gait of “Determinated In Order.” Marching to a military beat, this work is industrial inspired with Cute Heels keeping a close ear to the pressure release gauge.

Finnish acid label ProForm Series is back! New release by Finnish duo HYV contains four new absolute killer tracks to set every dancefloor on fire and leave it burning.

As a starter, title track "Kävele Ohi" serves serious acid workout with nice (Finnish) lyrics on top. Haunting, melodic, melancholic, pulsating and more, all at once!

"Halfway Acid" on A2 combines acid action to shakuhachi samples, a combination you haven't heard for a while, or never. Instant classic!

B-side opens up with track "Ketä Siellä?", making a good relationship between acid and house, but keeping that TB-303 alive and kicking.

Finally, "H-Town Pressure" shows you how to make danceble acid with interesting rhythm arrangements and other than 16 step length acid patterns.

Highly limited and numbered edition of 200pcs, no digital downloads now or never, so buy it in real world 12" vinyl format!

After a series of self-released vinyl singles, PM Warson emerged in 2021 with the album "True Story", combing elements of vintage R'n'B and Soul with an authenticity and energy that appealed fans and critics alike. Breakout single "(Don't) Hold Me Down" had surfaced initially among soul collectors, before finding a wider audience, first on a Fred Perry editorial, and then on mainstream European radio. Having tipped the album on his Funk & Soul Show, the BBC's Craig Charles also included the single on his popular "Trunk of Funk" compilation series. Not one to wait around, despite the various challenges of the pandemic, Warson returns, just over a year on, with his second offering: "Dig Deep Repeat".

While his debut record waited in line at the pressing plant, he began trying out ideas at a makeshift studio in an industrial storage space in Stoke Newington. As lockdown was lifted enough to bring in his rhythm section, a new set of tunes started to emerge. Despite a growing thirst following his first release, there was little opportunity to play live, with social and travel restrictions remaining in place on-and-off throughout the year. It became clear that his best way through was to make another LP. He expanded the operation, bringing in players, working to an 8-track recorder to forge a new record. Subsequent sessions at Gizzard Recording also produced a direct-to-tape session for Blues Kitchen.

On "Dig Deep Repeat" he further explores his vocabulary, with elements of 60s rock and soul, shades of New Wave, and some cosmic colors beneath the moody blues. It's a direct and focused LP, presenting an artist on the move, two albums deep, with time to make up for.

Muddy Monk was revealed alongside Parisian artists Myth Syzer, Ichon and Bonnie Banane on 'Le Code'. From his native Switzerland, he imposes a fine, synthetic universe that plays a major role in the renewal of French-language song. The journey began in 2018 with 'Longue Ride', a cathartic first album that he describes as 'a kind of therapy' and that was unanimously acclaimed by the critics. In 2020, he returns with 'Ultra Tape', a mixtape which, with the benefit of hindsight, is the first step towards his second album. We discover a more raw universe. Darker too. A superb launching pad for his second album.

With Ultra Dramatic Kid, Muddy Monk delivers a radical new piece, a bubble of just over thirty minutes in which he manages to work his magic and make us dance on the edge of his emotions. As if everything could change in an instant towards happiness or chaos. An electric album and a sublime dive into his universe, which draws equally from Daft Punk, Rage Against The Machine and Travis Scott. A project that takes the form of a global experience, both auditory and visual, since almost all the tracks on the tracklisting have been put into images by Felix de Givry, the whole forming a short film to be discovered with the release of the project. In the end, Ultra Dramatic Kid is an uncompromising album in which it is a pleasure to get lost. An album that further establishes the Swiss artist as one of the artists capable of redefining the contours of French-speaking music for many years to come.

Australia-born Los Angeles-based artist Luke C. presents ‘T.O.M.B.’, his debut solo release on his newly minted label Velvet Bikini.

The seven-track album is a gauzy, starry-eyed style of ambient electronics, embedded with melancholia and a touch of otherworldly psychedelia. A soundtrack to a generation lost, endlessly searching the streets of a sun-drenched, neon-lit city. ‘T.O.M.B.’ will be pressed on limited-edition vinyl.

The bulk of T.O.M.B. was recorded at Luke C.’s home studio in LA over the last 12 months and put together with various sources—MicroKorg, voice, sampled records, treated field recordings, resampled synths—to create the noir-ish atmosphere present across the LP, one that takes the listener through the depths of the psyche and the neon-lit corners of the city in which it was recorded.

Iranian-American artist Kamran Sadeghi mastered the entirety of the LP, known for his recent album on Richard Chartier’s LINE imprint and his work as a key member of Soundwalk Collective.

»Tides« marked a radical change in direction for Arovane. After Uwe Zahn had made a name for himself with cutting-edge IDM rhythms and slick ambient textures on a slew of releases, his sophomore album saw the prolific producer opt for a sample-based approach that resulted in a more organic sound and laid-back downbeat grooves. Having reissued Arovane’s seminal »Atol-Scrap« as a double LP in 2021, the Berlin-based Keplar label now makes »Tides« available on vinyl for the first time since its original release in 2000 through the legendary City Centre Offices. The new version has been remastered by Kassian Troyer at Dubplates & Mastering and comes with a brand new cover artwork. It shines a new light on a release for which Zahn quite literally ventured into previously unknown territory — »Tides« is an album that emits a timeless, quiet calm and nonetheless stays constantly in motion.

»The idea for the album came to me after a vacation in France«, says Zahn. Inspired by the landscape, especially the coastline and the sea, he made field recordings throughout his trip that were also used on the record, giving it its sensual feel. The foundation of the album however, the loose yet gripping grooves at the heart of every track, result from Zahn working extensively with samples. »I wanted to make use of drum sounds and small excerpts from old jazz vinyl records«, he explains. He maintained the unique sound signatures and rhythmic flutter of the source material while building intricate beats with them. Most of the material was culled from the record collection of Christian Kleine, whose spontaneous guitar improvisations over the first musical sketches were recorded and edited by Zahn and can be heard on four tracks. Also employing the occasional cembalo or spinet sound, he worked with a hardware sequencer and a delay to integrate the different, discrete elements into nine tracks that feel both dense and light at once.

What’s astonishing still 22 years later is how spacious »Tides« sounds. This is due to the fact that Zahn not only paid close attention to the sonic idiosyncrasies of his source material, but also to what happened in between those sounds. »Mark Hollis’s solo album was a huge inspiration at that time«, says Zahn. »What I find fascinating about it until this day is how silence and the subtle hiss of the mixing boards were being used on that record.« Silence was also an important stylistic element on »Tides« and adds greatly to the overall atmosphere of an album that with the appropriately named »Theme« immediately sets the mood with intricate spinet melodies: Zahn opens a door for his listeners and invites them to follow him to see a specific part of the world through his very own lens.

As a whole, the album mirrors Zahn’s trip that took him along the steep cliffs on a foggy day (»Seaside«), to an abandoned house in which he found old maps (»A Secret«), along the coastline during a long car ride (»Deauville«), to a sleepy village and the slowly moving sea (»Tides«) and finally back home to his native Germany where he started reflecting upon his experiences, ultimately deciding to translate them into music (»Epilogue«). »Whenever I listen to this album now, the images and memories it evokes are incredibly vivid and vibrant«, he says. It’s not hard to see — or rather hear — why. »Tides« may have been a deeply personal project, but it effortlessly evokes universal feelings by (re-)building an entire world in the course of only a few pieces of music.

Red Vinyl pressing
Goldie – “These guys are at the top of their game”
Break – “One of the best labels in dnb, very happy to be involved”

Our next venture into the world of Utopia comes with new momentum gained from Elliot Garvey aka Quartz, who has delivered the incredible “Thorns” EP.

Rolling with the punches from his immense Resident Advisor podcast and the successful releases on Metalheadz, Samurai and Rupture, we’re proud to put his next body of work out into the world. This brilliant four-tracker has it all: deep soundscapes, crunchy breakbeats, hypnotic grooves, haunting samples and an intense dose of powerful sub bass weight. Support from: Break, DLR, Djinn, Doc Scott, Double O, Flight, Goldie, Hydro, Loxy, Mantra, Noisia and many more.

Mako: "Quartz is one of those rare producers who can make any genre of music incredibly well. He chose drum and bass and I am thankful he did. I don't hear much I like these days but every tune he sends me I rate in one way or another. These 4 tunes are special though and I’m very lucky to call him a peer, a brother and a Utopia artist."

• Press / Promotion: In house campaign from Utopia. Editorial sought in all UK music and dance titles (Mixmag (single of the month), DJ Mag review, Faye Magazine, Bassrush, Your EDM Resident Advisor) as well as national, online and regional daily and weekly press titles for review. Third party uploads on Youtube channels of over 100k subscribers (Drum & Bass Arena, District Bass, Most Addictive)

• Radio / Internet: Utopia Podcast - Award-winning podcast with over 10,000 subscribers, 15k+ individual downloads, YouTube - Utopia YouTube channel, Social Networking - Facebook: Mako/Utopia Music = 12k+, Soundcloud 9k+. Rene LaVice radio premiere on BBC Radio 1; Bassdrive – world’s largest internet drum & bass radio station.

Sonor Music Editions release the first ever reissue of this quintessential, oustanding Italian Library grail, originally released on Sermi label in 1972. Highly-regarded album and considered a masterpiece of the genre, "Nel Mondo Del Lavoro" (also released at the time with the title "World At Work" on Conroy) is one of the most precious and beatiful works conceived by the Italian maestro Rino De Filippi, and originally used for the soundtrack of the Rai-TV documentary series "SAPERE: IL PETROLIO". Music is written and composed by the maestro backed by the great I MARC 4 studio ensemble and accompained by I Cantori Moderni di A.Alessandroni with breathless scats, insane arrangements and unbelievable, unique and complex mood music from Jazz to Lounge, Bossa Nova and more. A real monster of record that best catches the library music job in adding music to films and documentaries!

arbitrary presents the first in a series of remix collaborations and releases by Mads Emil Nielsen and Chromacolor, a project from the German sound artist and producer Hanno Leichtmann.

Mads Emil Nielsen’s Constellation (side A) was created by combining several granulations and textures based on a single short recording, extracted from improvisations made with the Buchla synthesizer at EMS, Stockholm – combined with randomly looping orchestral samples, edited and produced in his studio in Copenhagen.

After having heard Nielsen’s live performance in Berlin in 2017, Hanno Leichtmann suggested remixing various of his tracks including Constellation (Remix – side B). For this rework, Leichtmann provides an ambient feel by working with various sources, all of which generate sound using vibrating metal plates in different sizes – including a Premier Vibraphone, a Fender Rhodes and a Hohner Guitaret.

Constellation written & produced by Mads Emil Nielsen at EMS Elektronmusikstudion, Stockholm and in Copenhagen. Constellation Chromacolor Remix written & produced by Hanno Leichtmann at Static Music, Berlin. Mastered and cut by Kassian Troyer at D&M, Berlin. Artwork by Karel Martens.

“Grinding, old industrial influenced, no wave techno for outsiders…”
JK FLESH is the industrial techno alter ego of JUSTIN K BROADRICK (NAPALM DEATH, GODFLESH, JESU, TECHNO-ANIMAL, ETC). It is techno made by an extreme music pioneer, so expect techno that is heavy, brutal and psychedelic. ‘NEW RELIGIONS OLD RULES’ is the latest JK FLESH album, made up of 8 fierce dancefloor destroyers. ‘NEW RELIGIONS OLD RULES’ thematically explores mankind’s persistent obsession with indoctrination. Limited 500 copies worldwide only on double vinyl!

Melbourne’s very own Reflex Blue takes us on a five part journey through the terrain of his mind to bring in to reality the Twin Waters EP.

Through this project Reflex’s unique fusion of deep, earthy sounds and other worldly aetherial textures, help us find the way back to a primal place, buried within us all.

Digital and natural worlds come together in this project to work in harmony, coupled with a healthy dose of psychedelic accents, we are left in a mind altering state somewhere between transcendent euphoria and ecstat- ic dance... We hope you enjoy the ride.

From the mind of Caserta comes a brand-new imprint. God Hour picks up where Bridge Boots left off putting Caserta right back to work doing what he’s come to be best known for; turning old school joints, usually not meant for the dance floor, into modern day heaters.

'Playa' takes a '70s ballad about the one who got away and makes it a little less heart wrenching and a lot more danceable! The A side features the full vocal surrounded by the driving bass, drums and horns any good disco record should have. With lush Rhodes, strings and synths to warm things up and make you wonder where things went awry even while you’re 2 stepping the night away.

For those of you who cant come to grips with the fact that that special someone is gone or just plain hate lyrics then flip-er on over for a classic Caserta Dub.

Two years and one pandemic after his previous release, the Italian, London-based solo project M!R!M is back with a new full- length album.

Inspired by the synth pop classics, as well as from cold and dark waves, multi-instrumentalist Jack Milwaukee has been releasing material on labels such as Fabrika and Manic Depression until his first record on Avant! ”The Visionary” back in 2020.

On April 22 his fourth LP ”Time Traitor” will be released and we’re excited to say this is Milwaukee’s most personal job to date.

If you are familiar with his work, you know the DIY/lo-fi approach of his first recordings was already gone with his previous LP but these new ten recordings dig even deeper, drawing the outlines of a fantasy world lost within the foggy memories of a collective childhood.

Possibly locked in his bedroom for the necessary time, Milwaukee has been able to recreate an imaginative realm of 80’s FM suggestions, scattering a number of acoustic clues from different parts of this parallel, yet so familiar dimension. It’s almost like M!R!M is sending us a message in a bottle with each of these new tracks and each message tells a different story.
Post Fight has a punchy pop-punk riff drove by solid synthwave beats, Faultless Pitch hosts a mellow, funky bass line over a solemn drum gate, Desert Love screams italo like nothing else and it was indeed composed four-handed with fellow artists Nuovo Testamento, Say Nothing features SDH singer Andrea Pérez’s backing vocals to invoke a dream-like scenario.
There is even a Turquoise Days’ Grey Skies cover that is just one more perfect example of Milwaukee’s ability to take a single item from the suitcase of the past and make it extremely current in a handful of minutes.

All this is adorned by semi-instrumental postcards with suggestive names such as Moody Moon, Peninsula and Goodnight Galaxie that will guide you through this journey across M!R!M sound-&-memory experience.

Tsampikos Fronas aka June takes a departure from his dance orientated earlier work. Recorded between 2018 and 2020, Window of Time sees the Berlin-based producer explore sparser arrangements than his previous releases.

The record unravels like a dystopian cyberpunk novel, something akin to William Gibson’s Neuromancer. Both the title track and ‘Stratagem / Predator’ create an increasing tension that builds through repetitive sequences. The arpeggiated synths on ‘Year 2092’ evoke images of sprawling metropolitan city scapes, while the claustrophobic mood of ‘The Master of Electricity’, the first track written for the album, wouldn’t go amiss on a soundtrack to a sci-fi thriller like Blade Runner.

Created using modular synthesizers, analog sequencers and analog polyphonic synths, Window of Time eschews melody in favour of cold, pulsating rhythms. Combined with haunting choral toplines and minimalistic flourishes, such as those on album closer ‘Elegy’, June invites the listener on a free dive into their subconscious; to navigate boundless, unexplored territories.

The long-awaited reissue of this rare Eastern and psychedelic Jazz LP by the famous Hungarian guitarist, originally
released in 1968. For the first time and as extended Edition with four bonus tracks: radio version from 1968/69 7”
singles 7”. Deluxe 6-sided Digipak CD with 20 page booklet and Gatefold Vinyl comes with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne.
“The performances on this LP have a restrained, introspective quality. Szabo’s work is lyrical, rather economical, and
somewhat angular, and his tone is warm and glowing.” – Harvey Pekar, DownBeat
“Gabor Szabo is at the musical zenith of his career. This album could rank as his best to date.” - Billboard
“But for sheer lyrical beauty, few players are in Szabo’s class. His startling use of dissonance is a delight, too, and
time and again he will alter a final phrase just slightly, totally reorienting a familiar tune.” – Alan Heineman, DownBeat
“This is definitely one of my ‘go to’ Gabor albums.” Mike Stax, Ugly Things
"Gabor Szabo’s Bacchanal documents one of the earliest and finest examples of what was then known as “jazz rock.”
Years before this new jazz style evolved – or devolved, according to some – into “fusion,” jazz rock was mostly
fashioned by younger jazz players whose ears were open to the emerging sounds coming out of rock and roll,
especially those of the Beatles and, later, Jimi Hendrix. " - Douglas Payne
After recording four albums for Impulse in 1967, the distinctive guitarist Gabor Szabo cut three strongest records for
the Skye label in 1968-1969: "1969", "Dreams" and "Bacchanal" all of them became a legendary classic. This time
EBALUNGA!!! are rediscovers "Bacchanal". Szabo's regular group of the era is heard on record for the last time:
guitarist Jimmy Stewart, bassist Louis Kabok, drummer Jim Keltner and percussionist Hal Gordon. With the exception
of two Szabo originals, the material is comprised of current pop tunes including two songs by Donovan, "Love Is Blue,"
"The Look of Love" and "Theme from the Valley of the Dolls."
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage
with a deep love of jazz and creating a distinctive, largely self-taught sound.
Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy Rogers cowboy movie to begin playing guitar when
he was 14 and often played in dinner clubs and covert jam sessions while still living in his hometown. He escaped
from his country at age 20 on the eve of the Communist uprising and eventually made his way to America, settling
with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles
Lloyd. Urged by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was
able to sound inspired during melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the popjazz of the Gary McFarland quintet and the energy music of Charles Lloyd's fiery and underrated quartet featuring Ron
Carter and Tony Williams.Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired
moments and "Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet
(1967-1969) featuring the brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums
during the late '60s. The emergence of rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found
Szabo experimenting with feedback and more commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting,
spellbinding style. From 1970, he locked into a commercial groove, even though records like Mizrab occasionally
revealed his seamless jazz, pop, Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times
during the '70s, finding opportunities to perform brilliantly with native talents. He was hospitalized during his final visit
and died in 1982, just short of his 46th birthday.

QUAINT BUT EXTRA's first vinyl EP with 4 fantastic house & techno remixes of NATE MANIC: "IT'S NEVER EASY (DERRICK CARTER REMIX)", "LATE FOR WORK (GUILLAUME & CONTU DUMONTS REMIX)", b/w 2 remixes of "YOU WILL NOT RUIN ME" by JUSTIN CUDMORE and LINDSEY HERBERT. 303 numbered copies.

Frankel & Harper deliver the appropriately named "Return EP" on their council work imprint. following on from the "Crouching Tiger EP", CWR005 sticks to the signature Council Work sound, bringing together a fusion of UK Garage, Drum 'n Bass, Breakbeat, Dub and many other flavours. The 3 original tracks feature in the shape of Counter Strike, Armshouse and Return, with the release rounded off with an infectious, stripped back remix of the title track from Trule head honcho Al Wootton. From all out dance floor destroyers, to deeper and more cinematic textures, this collection of beats should easily find a home in many record bags.

Toro y Moi’s seventh studio album, ‘MAHAL’, is the boldest and most fascinating journey yet
from musical mastermind Chaz Bear. The record spans genre and sound - encompassing the
shaggy psychedelic rock of the 1960s and ‘70s, and the airy sounds of 1990s mod-post-rock -
taking listeners on an auditory expedition, as if they’re riding in the back of Bear’s Filipino
jeepney that adorns the album’s cover. But ‘MAHAL’ is also an unmistakably Toro y Moi
experience, calling back to previous works while charting a new path forward in a way that only
Bear can do.
 ‘MAHAL’ is the latest in an accomplished career for Bear, who’s undoubtedly one of the
decade’s most influential musicians. Since the release of the electronic pop landmark ‘Causers
of This’ in 2009, subsequent records as Toro y Moi have repeatedly shifted the idea of what his
sound can be. But there’s little in Bear’s catalogue that will prepare you for the deep-groove
excursions on ‘MAHAL’, his most eclectic record to date.
 The second the album begins we’re immediately transported into the passenger seat, jeep
sounds and all, ready for the ride Chaz and company have concocted for us. Seeds of some of
‘MAHAL’s 13 songs date back to the more explicitly rock-oriented ‘What For?’ from 2015.
 ‘MAHAL’ was mostly completed last year in Bear’s Oakland studio with the involvement of a
host of collaborators, Sofie Royer and Unknown Mortal Orchestra’s Ruban Neilson to Neon
Indian’s Alan Palomo and the Mattson 2.
 “I wanted to make a record that featured more musicians on it than any other record of mine,”
he explains. “To have them live on that record feels grounded, bringing a communal
perspective to the table.” As a result, ‘MAHAL’ is lush and surprising at every turn, from the
cool-handed ‘The Loop’, which recalls Sly and the Family Stone, to the elastic psych rock of
‘Foreplay’ and the dizzying Mulatu Astatke-recalling of ‘Last Year’.
 Lyrically, the album zooms in on generational concerns, picking up where the ‘Outer Peace’
standout ‘Freelance’ effectively left off. Bear seems to be surveying the ways in which we
connect with technology, media, each other, and what disappears as a result. Cuts like the
squishy ‘Postman’ and ‘Magazine’ take a deep dive into our relationship with media in a
changing digital world. “It’s interesting to see how we adapt to this new age. We’re so
connected, but we’re still missing out on things,” Bear ruminates while discussing the album’s
themes.
 It’s not all introspection. Bear cools things down near the album’s end with the Mattson 2-
featuring ‘Millennium’, a laid-back jam with tricky guitar licks about ringing in new times even
when everything else seems upside down. “It’s about enjoying the new year, even when it’s
been shitty,” Bear explains. “There’s nothing else to do.”
 Finding a sense of joy in the face of adversity is embedded in ‘MAHAL’s DNA, right down to the
jeepney that literally and figuratively brings the music out into the community. “We know that
touring is messed up for now, and large gatherings are a fluke,” he explains. “It’s about the
notion of us going out to the people and bringing the record to them.” And with the wide-open
atmosphere of ‘MAHAL’, Toro y Moi stands to connect with more listeners than ever before.

On their third album »Constant Connection«, West Australian-based Erasers create hypnotic compositions of synth, guitar and voice, evoking the vast expanse of their native landscape and the shrouded emotions behind the senses. Comprising of vocalist, synth player Rebecca Orchard and Rupert Thomas on guitar and synths, Erasers have developed their earthly kosmische music into an open language based on drone, variation in repetition and minimal song structures. Based in Perth, regarded one of the most isolated cities in the world, Orchard and Thomas’s music has brewed in the city’s vibrant DIY/Outsider community and evolved into a meditation on landscape, power, the shadow-world of human emotions and stream of consciousness. »Constant Connection«, with its waves of sound and chant-like vocals evokes a trance that suggests an infinity just beyond the senses.

At the heart of each Erasers composition is the interplay between the instrumentation, played with stoic restraint and recorded directly with minimal effects and the transcendental states induced in the listener. It’s a magic that is performed in plain sight and all the more powerful for it. The recognisable vibrato of Fender Rhodes keyboards and simple drum machine loops, the subtle strands of analog synth melodies that snake in and out of the ear, above all the towering encantations of Rebecca Orchard’s undeniably Australian-accented hymns; all of this is presented with minimal ostentation and yet it instantly engenders a dream state, hints at an infinity beyond the material.

Shades of John Cale’s 70s work with Nico, early 70s German synthesists Kluster and even fellow Australians Fabulous Diamonds can be seen as stylistic touchstones for Constant Connection. Where Nico hinted at the macabre and gothic, Rebecca Orchard’s similarly gliding vocal is more zoned in to a kind of oceanic openness, with words becoming chants and spells that suggested themselves to the singer during recording sessions. It’s this hidden hand of improvisatory, automatic writing that lends a sense of expanse to the music. On opener I Understand, while the lyrics might hint at discontent the emotional spectrum it opens up is far more rich and complex, as layered as the waves of droning chords that are the bedrock of each Erasers track. The title track talks of flow, continuum and balance, the protagonist in the song seemingly weightless, gently pulled through a walking reality that borders on dream. In Erasers’ world, it seems, the borders between reality and dream, consciousness and sub-consciousness are blurred and eroded.

On Constant Connection, Erasers’ music might be deeply evocative of landscape but it’s never clear which one. The vast, open terrain that surrounds Perth is dusty, burned by the sun into desert and Constant Connection feels like the product of the heat and relative isolation, the altered states these elements can create. But it’s these altered states of mind that appear to be the real landscape described by Erasers. It’s a landscape that’s hazy, in-and-out of focus, with emotional undertows pushing and pulling you into a weightlessness. On album closer Easy To See the band dispense with percussion all together, field recordings of the water at the edge of their native city ushering in two duetting synths. Orchard’s vocal undulates with the flow, viewing both the geographical and psychological landscape from the perspective of a consciousness not bound by bodies and from a timescale measured in millennia. The album ends as it begins, with field recordings of the real world that the music seeps out from, temporarily, before regressing back into the other realm it feels like it belongs to.

Between these two recorded hints of reality, Erasers manifest a deeply sensual dreamscape that constantly feels like it’s dissolving at its seams. A desert psychedelia emanating from a real world that might not be that real in the first place.

Drawing on a diverse range of influences, Quimbie’s debut album ‘Sunday Fiction’ is a sophisticated journey through myriad grooves. From dancefloor to home listening vibes, it’s a riot of warm chords, dusty samples, booming bass and infectious rhythms. The mysterious producer has managed that difficult feat of crafting a ‘dance’ record that works outside of a club context, imbuing his tracks with a charisma and vibrancy that appeals to the mind as much as the body.

A perfect complement of analog synths and drum machines make the perfect bed for Quimbie’s magpie-like sample selection, and the overall effect is a wistful, engrossing record that you’ll want to come back to again and again.

Neil Young announces the release of the fourth installment in his Official Release Series (ORS): a box set that includes his classic ‘80s records Hawks & Doves, Re•ac•tor, and This Note’s for You, as well as his Eldorado EP, previously released only in Japan and Australia. Both vinyl and CD box sets will be available for pre-order today and out on April 29th.

The ORS Vol 4 collects an eclectic set of decade-spanning sounds. Hawks & Doves (1980) revisits his folk roots and explores some of his most country-leaning offerings; the blistering Re•ac•tor (1981) showcases a stomping set of heavy, overdriven rock with Crazy Horse; and This Note’s for You (1988) casts Young as a big band leader, belting out intricately arranged blues. The Eldorado EP (1989) is full of feral distortion and earthy crunch featuring Young backed by The Restless (Chad Cromwell and Rick Rosas). It includes two thundering tracks — “Cocaine Eyes” and “Heavy Love”— not available on any other album.

ORS Vol 4 collects a large swath of his diverse and compelling ‘80s work, testifying to the legendary songwriter’s gift for sonic shape-shifting.

Rare 1966 Brazilian album with a jazz/bossa nova take on songs by the Beatles, all served up with plenty of great keyboard work from the legendary Manfredo Fest who would later become member of the Sergio Mendes band. The songs are all played with imaginative scents that really take them from their roots as pop songs and open them up as groovers filled with keyboard improvisations. First time vinyl reissue. DESCRIPTION Rare 1966 Brazilian LP with a jazz/bossa nova take on songs by the Beatles performed by the very talented Manfredo Fest and his trio. It was originally released right after their classic 1965 RGE album and has a very similar jazz-based sound. Manfredo Fest was part of the gathering of Brazilian musicians of the late-'50s who were developing the bossa nova movement, and he made a number of trio recordings in that vein from 1961 to 1966. After emigrating to Minneapolis in 1967, Fest moved to Los Angeles where he served as keyboardist and arranger for Bossa Rio and toured with Sergio Mendes. This recording is all instrumental, strongly jazz-based, with piano as the main solo instrument, soaring over the top of some tight, crackling rhythms! The songs are all played with imaginative scents that really take them from their roots as pop songs and open them up as groovers filled with keyboard improvisations. A nice slice of how the bossa nova sound was evolving in its homeland as well as the international impact the Beatles were having on countries outside of the U.S., England, Japan, and Germany. First time vinyl reissue.

Mura were a previously little-known group from Japan, formed by friends Kota Inukai (vocals, guitar), Masaki Endo (bass) and Sho Shibata (drums) in the late noughties. Performing mostly in small events in Sapporo, they were outsiders, and felt a kinship with few other groups, though Inukai mentions rock group Green Apple Quick Step, and hardcore band Ababazure as fellow travellers. This isolation surely feeds into the uniqueness of Mura’s music – they sound little like much that we know of the taggable Japanese underground of their times, and the music they recorded for this, their debut album, spanning a decade, is gloriously all over the shop, from delirious punk wig-outs to strange pop miniatures.

The group formed young – Inukai was only fourteen when they started, and Mura were his first ever band. When pressed on what they were listening to while making their music, Inukai recalls that he “used to listen to the works of Haruomi Hosono a lot”, and you can hear traces of this, perhaps, in the breadth of the sound Mura explores, from the lovely, country-esque shuffle of “In The Talk”, through the garage-y plunk of “Rest” and the reflective, melancholy “Younger Brother”. They were also big fans of video game music – “even orchestral covers of video games”, Inukai smiles – and that’s in there, too, in the split-second responsiveness of the playing, the way they flick through ideas and genres almost impatiently, taking minutes to cover terrain that other groups might spend albums and years exploring.

But the songs were also grounded in Japan’s history, with many of the songs inspired by “old Hokkaidō,” Inukai recalls, “from the Meiji, Taishō, Shōwa periods.” With Inukai coming up with the melodies, and Shibata fleshing out arrangements, all three members then contributed lyrics. You can hear that collective effort in the way the music moves, every player listening carefully to each other, the songs moving gracefully, but not without verve and vim. It’s a delightful album, full of pop songs that take unexpected turns, with glinting melodies sung out, here sweetly, there with gruff candour, guitars tangling together like an unholy union of Tom Verlaine and Jad Fair, every song charged with a new, unpredictable spirit.

2022 Repress

After His 12" On Oye Black Label Martin Georgi Is Back On His Own Imprint Quiet Elegance. Two Sampled Based Deep House Tracks With His Unique Mpc Style. Vocal Parts Combined With Dusty Beat Programming Brings The Perfect Soulful House Flavor. 9 To 5 Is Killing Me!

Originally released by Bethlehem Records in 1959, NINA SIMONE AND HER FRIENDS was a compilation album comprised of the few remaining, unreleased tracks from the Little Girl Blue recording session plus songs recorded by two other former Bethlehem artists, the powerhouse jazz vocalist Carmen McRae and the elegant song stylist Chris Connor.

As Daphne Brooks explains in the release’s brand new essay, “Bethlehem clustered their work—tracks that had previously appeared on the label’s Girlfriends compilation—together with the younger, upstart Simone’s and essentially offered up a collection of songs that span a range of genres—folk, jazz, pop song staples, and torch song laments, plus a couple of provocative original compositions by McRae and Simone. Each track is a reminder

of the clear-eyed independence, verve, and confidence of three artists whose music, taken together, brims with the majesty and the assured talents of the late 1950s women artists who led with conviction and invention as musicians and song interpreters.”
Featuring a brand new stereo mix by four-time Grammy winner Michael Graves. Includes new essay by author of Liner Notes For The Revolution, Daphne A. Brooks.

Bloc Party return with their forthcoming sixth studio album Alpha Games, due 29 April 2022 via Infectious / BMG. Alpha Games is the band’s first studio album since 2016’s Hymns, and the first Bloc Party album written and recorded as this four piece; adding the musicality of Justin Harris (bass) and the unbridled energy and power of Louise Bartle on the drums to capture the spark of their live shows and to deliver the most exciting Bloc Party album yet.
Alpha Games, produced by Nick Launay & Adam Greenspan (Nick Cave, Yeah Yeah Yeahs, IDLES), includes new single Traps, which sees the band returning to the raucous, high-octane sound of their earliest work in an outburst of propulsive post-punk. The album’s 12 tracks veer from the intense and confrontational (Traps, Day Drinker) to melodic and introspective (If We Get Caught, By Any Means Necessary), and marks a new and important chapter in one of music’s most important voices in Kele Okereke and important bands in Bloc Party.
“Alpha Games was conceived on the road, playing in front of amazing crowds on our last tour and then brought to life with the fire and the frustrations of 2020,” says Kele Okereke on Bloc Party’s first new album in seven years.
“We wanted to can what was happening at those massive gigs in 2019, to showcase what Louise can do, what Russell is capable of and most importantly the electricity coming off the audience. We knew that Nick & Adam were the right choice of producers to do that and the result feels like fire in a bottle.”

Without the West German-born Väth, techno would look, sound and feel very different. Since falling in love with electronic music and DJing in 1981, his dedication to the art has never faltered. He plays every party as if it were his last. His broad smile has connected with millions of people around the world. His colourful and curious character has imbued techno with a personality it was often lacking. His selections remain hugely unpredictable, despite the fact that he has been playing around the world for more than 40 years. To remain not only relevant but innovative after so long is a testament to Sven's ability to connect through music on a deeper level.

Technically, of course, he is a DJ who can play for thirty hours and not miss a beat. His track selections seem almost divine, and his aura is certainly otherworldly. But more than that, he is a ringleader who is able to mix the artful side of techno with the playful side of partying. Most famously he has done this for more than 20 years at his iconic Cocoon parties in Ibiza. They single-handedly introduced techno to the White Isle and have been its beating heart ever since. Under his charge, strict style guidelines and exaggerated pigeonholing no longer apply. Instead, he has perfected the art of playing far and wide while always remaining true to his own musical identity.

In the studio, Sven has always been just as unique. He has worked under several aliases but always brought a fresh perspective. Whether securing chart hits as part of OFF in the eighties, serving up brutalist techno and trance-tinged sounds in the nineties or crafting major label albums in the 2000s, his music has remained utterly forward-looking. That legacy continues with Catharsis as Sven teams up with highly respected producer Gregor Tresher for his latest long-form offering. Tresher has long been part of the Cocoon family and is a revered artist in his own right, when the two got together in the studio it was clear they had an instant connection and there would only be one person fit to co-author this LP.

It is a record inspired by Sven's interest in the physical and spiritual processes that take place when we dance. "They are realms into which we immerse ourselves to experience our own mysticism and ecstasy," he muses. "Dancing is a conversation between body and soul and it spiritually connects us with each other." Because of the pandemic, that is of course a feeling that we all missed out on for so long. "No dancing, no paradise!" says Sven. "My imagination for this record was fueled by the many cultural experiences and encounters I have had in my life. They gave me the strength to find a way, the way to myself." And that way to himself is through music, through purifying dancing rituals and the exchange of spiritual energies that are generated in the club.

The thirteen-track album explores all facets of Sven's sound. It opens with the stomping drums but sleek synths of 'What I Used To Play' and unfolds through deep and dirty rhythms like 'The Worm', subtly euphoric highs on 'The Inner Voice' and the bubbly tribalism of the title track. There is the impassioned call-to-arms that is 'Feiern', peak-time melodic workout 'Mystic Voices' and soothing electronic lullabies like 'Being In Love'. The second half of the album takes in many more twists and turns such as the exotic strings and driving drums of 'Butoh', the paranoid techno minimalism of 'NYX' and expansive synthscapes of ambient gem 'The Cranes Of Gangtey Valley' before things play out though rugged beats and emotive chords on 'We Are', which is named after the idea that we are what we think. "With our thoughts, we make the world.? says Sven.

Then comes the moody reflection of 'Silvi's Dream', which was written in French for Sven's girlfriend. Last but not least we have the immersive dream that is 'Panta Rhei', which completes a trio of electronica tunes on the album. Ambient music has been an integral part on almost every album Sven has written because it can bring a certain emotional deepness, a quality that Sven always has been looking for.

'Catharsis' is an adventurous album that captures the good times, the sad times and, most importantly, the times of hope.

‘Emotional Eternal’, out on Domino, is a glorious consolidation
of the lessons learned along the way, seen through the eyes of
someone who has taken a step back, and who can see clearly
as a result.

 As with her previous acclaimed 2018 album ‘Bon Voyage’, this
album was initially recorded in the outskirts of Stockholm, with
Reine Fiske, the multi-instrumentalist member of Swedish rockband Dungen, who has worked with the likes of Travis Scott and
Anna Järvinen, and Fredrik Swahn, the musician, producer and
engineer best known for his work with Swedish indie-rock band
The Amazing.

 A deeply human collection of songs full of prolonged moments
of sonic transcendency, ‘Emotional Eternal’ is a record rooted in
adulthood, but one that still regards the world with a childlike
wonder. It includes ‘Alma_The Voyage’, a beautiful paean to
motherhood concluding with resounding violins and EBow;
‘Personal Message’ featuring a giddily assured vocal
performance from Melody, vertiginous and breathy and the
ornate and catchy, ‘Where The Water Clears the Illusion’.

 Listening to the album feels like coming across an abundant
treasure chest; strap in and get ready to be transported to
another heavenly, mediative and groove-filled world.

 CD in printed inner wallet with 18-page poster booklet.

 LP with 2-page insert plus 12” circular ‘optical effect’ card platter
disc with digital download code.

 Press - Reviews in Uncut, MOJO, Loud and Quiet, Record Collector,
Reader’s Digest, Shindig, Electronic Sound, The Skinny, NARC,
Aesthetica, Spin, All Music. Features in Clash, Shindig Magazine,
Pitchfork, The Eagle, The Line of Best Fit, Far Out Magazine.

 Radio - 6 Music Lauren Laverne, Craig Charles, Amy Lame, Radcliffe
& Maconie, BBC Radio 1 Jack Saunders, Radio X John Kennedy.

FOR FANS OF:
Airto Moreira, Gilberto Gil, Chick Corea, George Duke, Jorge Ben, Sabrina Malheiros, Hermeto Pascoal, Chico Buarque, Stanley Clarke, Jaco Pastorius, Carlos Santana, Jose Neto, Dizzy Gillespie, Stan Getz, Milton Nascimento


First new studio album in over 15 years by the “Queen Of Brazilian Jazz” Musician line-up includes Airto Moreira, Jose Neto, Diana Purim and Celso Alberti.

One of the all-time greats of Brazilian jazz fusion, Flora Purim, returns with her first studio album in over 15 years, ‘If You Will’, released on Strut on 29th April.
Conceived as a celebration of her music and collaborations, the album explores new compositions alongside fresh versions of Flora’s favourite personal songs and positive lyrics from across her varied career. Title track ‘If You Will’ reprises a song from her inspired collaborations with George Duke: “You will find... good love, real joy, so much peace of mind, if you will…”; the resilient ‘This Is Me’ updates an Airto jam band tune ‘I Don’t Wanna Be Myself Again’; ‘500 Miles High’ marks the heyday of the late Chick Corea’s Return To Forever band and ‘Zahuroo’ interprets a song by Claudia Villela about “a shapeshifting animal creature, a messenger who acts as a bridge between our thoughts and the universe.” A family affair recorded primarily in Curitiba and Sao Paulo, ‘If You Will’ brings together many of Flora’s closest circle of musicians including Airto Moreira, guitarist José Neto, her daughter Diana Purim on vocals and percussionist Celso Alberti.
The album is the latest chapter in Flora’s long, illustrious and varied career. As well as her celebrated partnership with Airto and her early days with Quarteto Novo, Flora has worked with Stan Getz, Gil Evans, Miriam Makeba, George Duke, Chick Corea (as an original member of Return To Forever), Dizzy Gillespie’s United Nation Orchestra, Uruguayan band Opa and many more. Her solo albums on Milestone remain true jazz fusion classics.
‘If You Will’ is released on CD, LP and digital, supported by a full international PR and marketing campaign worldwide. The album was co-produced by Flora Purim and Roberta Cutolo with package photos by Mel Gabardo in Brazil and cover illustration by Gabriela Barbalho.

FOR FANS OF:
Airto Moreira, Gilberto Gil, Chick Corea, George Duke, Jorge Ben, Sabrina Malheiros, Hermeto Pascoal, Chico Buarque, Stanley Clarke, Jaco Pastorius, Carlos Santana, Jose Neto, Dizzy Gillespie, Stan Getz, Milton Nascimento

First new studio album in over 15 years by the “Queen Of Brazilian Jazz” Musician line-up includes Airto Moreira, Jose Neto, Diana Purim and Celso Alberti.

One of the all-time greats of Brazilian jazz fusion, Flora Purim, returns with her first studio album in over 15 years, ‘If You Will’, released on Strut on 29th April.
Conceived as a celebration of her music and collaborations, the album explores new compositions alongside fresh versions of Flora’s favourite personal songs and positive lyrics from across her varied career. Title track ‘If You Will’ reprises a song from her inspired collaborations with George Duke: “You will find... good love, real joy, so much peace of mind, if you will…”; the resilient ‘This Is Me’ updates an Airto jam band tune ‘I Don’t Wanna Be Myself Again’; ‘500 Miles High’ marks the heyday of the late Chick Corea’s Return To Forever band and ‘Zahuroo’ interprets a song by Claudia Villela about “a shapeshifting animal creature, a messenger who acts as a bridge between our thoughts and the universe.” A family affair recorded primarily in Curitiba and Sao Paulo, ‘If You Will’ brings together many of Flora’s closest circle of musicians including Airto Moreira, guitarist José Neto, her daughter Diana Purim on vocals and percussionist Celso Alberti.
The album is the latest chapter in Flora’s long, illustrious and varied career. As well as her celebrated partnership with Airto and her early days with Quarteto Novo, Flora has worked with Stan Getz, Gil Evans, Miriam Makeba, George Duke, Chick Corea (as an original member of Return To Forever), Dizzy Gillespie’s United Nation Orchestra, Uruguayan band Opa and many more. Her solo albums on Milestone remain true jazz fusion classics.
‘If You Will’ is released on CD, LP and digital, supported by a full international PR and marketing campaign worldwide. The album was co-produced by Flora Purim and Roberta Cutolo with package photos by Mel Gabardo in Brazil and cover illustration by Gabriela Barbalho.

Elders is the debut release from Ensemble Nist-Nah, a nine-piece percussion group led by Nantes-based Australian drummer and percussionist Will Guthrie. The diverse group of French musicians that make up Ensemble Nist-Nah – whose collective experience encompasses traditional Gamelan performance, contemporary composition, noise, jazz, and everything in between – perform on drum kits, traditional and junk percussion, and a complete set of Javanese Gamelan instruments. Though building on the foundations of Guthrie’s solo work with Gamelan instruments (Nist-Nah, BT057) and primarily performing his compositions, Ensemble Nist-Nah is a collective endeavour, propelled by a breathtaking enthusiasm that has seen the ensemble manage to rehearse, perform, and even tour Europe during the Covid-19 pandemic.

From the first seconds of opening track ‘Geni / Tirta’, it becomes immediately obvious that this is no dry academic exercise or exotic indulgence. Rapid arpeggiated figures are propelled by manically busy kit drumming while slow-motion melodic lines float above. After a series of abrupt tempo changes and fragmented unison passages that crossbreed the rhythmic intensity of the Balinese Kecak with the joyride of an Ornette Coleman head, the music slows to a monumental groove, equal parts Javanese court music and Dark Magus. Another sequence of thrilling divagations leads us to the unexpected guest appearance of acclaimed vocalist Jessica Kenney, who elaborates a haunting Javanese Bedhaya across a spacious backdrop of massive gong hits, shimmering cymbals, rustling bells, and gritty textures.

The remaining pieces that make up Elders explore a dizzying variety of approaches, from the shifting rapid-fire muted textures of ‘Overtime’ to the ghostly bowed tones and ominous swells of the title piece (developed from a track on Guthrie’s solo Nist-Nah release), which gradually builds into waves of shuddering low resonance and asynchronous percussive clicks like a haunted clock mechanism. On the aptly titled ‘Rollin’, virtuosic twin drum kits criss-cross errant metallophone patterns in propulsive polyrhythms, while ‘Planeker’ manages to achieve a bizarrely effective fusion of Harry Partch and Autechre. Arriving bedecked in beautiful monochrome images of gongs drawn by ensemble member Charles Dubois, Elders is a feast for the ears: music that burrows deep into timbral and rhythmic possibility while possessing an intoxicating physicality and revelling in the joy of collective performance.

Few would dispute that the title of Trower's latest album – No More
Worlds To Conquer – is a fair summary of the thumbprint he has left on the musical universe


But as he reminds us, it should not be misinterpreted as his mission being accomplished. "I definitely feel like I'm still reaching," he considers, "with the guitar, and the songs, and everything else."
Turning once again to his trusty toolkit of Fender Stratocaster and Marshall amp, Trower's guitar work is ageless, whether that's the tough chop of Ball Of Fire, Losing You and Cloud Across The Sun, or the slower-burn wah squalls of the title track and Deadly Kiss.
On Waiting For The Rain To Fall, Trower's playing is crystalline as a dew drop, while the aching finale, I Will Always Be Your Shelter, offers a solo whose masterful touch is compelling as anything in his catalogue.

MONLIGHT LOVE AFFAIR is a love relationship in which there are no boundaries. The moon colors the world in a different light and makes us see and feel things with different eyes. So in a perfect digital world it is inevitable to let the organic flow in, to look at the other side and to unite. This is exactly what Parov Stelar does to perfection with this album. He takes the digital and organic worlds, combines them into one massive masterpiece and is not willing to compromise, because in compromise both sides always lose.

Parov Stelar completes another phase of his artistic development with the album Moonlight Love Affair. Radical honesty, openness to himself and his environment pave this path. I CAN SEE MUSIC, I CAN HEAR ART...the album artwork designed and painted by Parov Stelar himself closes the circle and completes the total work of art of all senses.

The album MOONLIGHT LOVE AFFAIR will be released on 29.04.2022 and shows all facets of the artist. Raw and unvarnished, thereby vulnerable, powerful and beautiful.

For the twelfth release on the main catalogue and first record of 2022 Haven are proud to present the first full EP on the imprint from label boss Keepsakes for two years. Following on from releases in recent years on South London Analogue Material, Perc Trax, and more, Keepsakes brings the dancefloor heat in this 4-track collection of 4-4 killers.

The A1 kicks things off with "Peak Egotist" - where rolling tribalistic drums, playful vocal samples and 80s industrial-inspired synth stabs interplay in a confronting track of driving techno. This is followed by "Malignant Motion" on the A2, with its swung rhythms and discordant rave synthesiser keeping the club energy high for concrete dancefloors.

"Mr. Shakedown" launches the flip on the B1 with its fast-house-gone-crunchy stylings, where a rolling 16th note synth pattern works with heavy drum patterns and ear-worm vocal shouts to set feet on fire. The B2 closes out the record with "No Acceptance Uptown" - a tried-and-tested frisky club banger with mischievous "yo" vocals and a lively acid-like sequence closing out the latest offering from Haven.

German Army is a duo from the San Gabriel Valley. Born between Sydney Possuelo and Paulo Freire, this project is as prolific and productive as it is shrouded in mystery.

Characterised by a certain amount of experimentation aimed at sound collage, the most industrial plunderphonics and the darkest noises, the enigmatic Californian collective has accustomed us to a certain variability of musical genres, but also, without a doubt, to an unquestionably high level of quality and a perennial dark emotional component, which reveals itself in an exquisitely overbearing manner in their work.