quête:sam u l

40th anniversary edition of the debut album by the multi-talented musician Carlos Perón. “Impersonator” was originally released in 1981 when he was still a member of Yello. This first solo work represents a desire to conduct daring electronic experiments, to achieve stylistic variety and musical intensity while at the same time it is an example of Mr. Perón’s bizarre sense of humour.
Since the beginning of his career he pushed experimentation beyond limits with noise atmospheres, loops and complex textures which he has long used since before the introduction of sampling technology. With the arrival of sound sampling, he was among the first to experiment with equipment such as the Fairlight, Emulator and Mirage. During his time with Yello, Carlos may well have been one of the world’s first sampling masters.

This new re-issue of “Impersonator” includes all original tracks with some bonus including the whole Frigorex EP from 1984 and six previously unreleased cuts recorded between 1982 and 1983. Limited edition of 500 copies with gatefold sleeve and an exclusive postcard.

2001’s »Anima« was the third album released by Sasu Ripatti under his Vladislav Delay moniker and marked a turning point in the stylistic development of the prolific producer. Clocking in at roughly 62 minutes, the single piece draws on dub aesthetics while working with Musique concrète-like methods through the liberal use of samples to create a dreamlike logic. Muffled voices, lush chords, subtle rhythms and indefinable sound events are not so much integrated into a composition with a predetermined outcome but rather engage with each other freely in a constant sonic flow, forming constellations in one moment before moving on to connect with other elements in the next one. »Anima« marked the first time Ripatti was using a DAW in his working process, creating a piece constantly in motion that subtly evolves over time. This vinyl reissue on the German Keplar label follows up on the 20th anniversary edition of 2000’s »Multila« and will be complemented by a ten-minute long version of the original piece, previously only available on the CD version released by the artist on his own Huume label in 2008.

After the release of his »Ele« and »Entain« albums in 1999 and 2000, respectively, Ripatti took the 1998 independent movie »Hurlyburly« as a conceptual starting point to experiment with different gear and production methods. »Until then I had worked with an old MSQ-700 MIDI sequencer and an Ensonic EPS16 sampler/sequencer that had one or two MB of sampling memory and mixed the music live on a Mackie, which was very limiting arrangement-wise,« says Ripatti. Loading a slightly shortened version of the film into his DAW however allowed him to play along to it with the DrumKAT MIDI controller, triggering and playing all the sounds that can be heard on »Anima« while also contributing synths, bass and other sounds during repeated playthroughs before mixing a total of six stereo tracks together. »This way, after I had edited out most of the few parts that had music in them, I was in the movie; almost like an extra character playing music,« explains Ripatti. »This was certainly the most organic way in which I have ever made music, and I have never again approached another record like this.«

While »Anima« sounded like an unusual Vladislav Delay record at the time of its release, it also prefigured many of the developments Ripatti would go through in the course of his long career. Combining visceral immediacy with a sense of abstraction, it is far more than a mere missing link in his discography but rather a conceptually and musically outstanding piece of work that remains as engaging as it was 21 years ago.

All tracks composed and recorded by Vladislav Delay.
Originally released on Mille Plateaux in 2001.
Remaster and cut by Kassian Troyer @ D&M.
Art direction and design by Marc Hohmann.
Text by Kristoffer Cornils.

Forming at a Bristol club night in 2019 with a collective
appreciation for all things shoegaze, DAMEFRISØR bring bags
of driving rhythms and swirling guitars. They are Kazhi Jahfar
(vocals), Nyle Dowd (drums), Garin Curtis (guitar), Jamie Brown
(guitar) and Sam Nobbs (synth).
 Taking the typical band route, they spent their time in garages
finding a sound, until they outgrew that space and headed to
the studio. With only a handful of shows under their belts the
band enlisted Bristol producer Dom Mitchsion (Spectres, LICE,
Heavy Lungs) to record their first singles ‘Huile’ plus ‘And You
Know’.
 Taking influence from their admiration for Kevin Shield’s wall-ofsound and the dark undertones of post-punk, ‘Huile’ gave an
indication of what was to come from the band. Following a few
months later with ‘And You Know’, which gained plaudits from
So Young Magazine, DIY, Hard of Hearing and more. The track
became a key part of the energetic, captivating live set; one that
would see them invited to perform with the likes of Talk Show,
ALASKALASKA and Bull.
 Just as the band were gaining the momentum, fans and praise,
the world came to a grinding halt. Cancelled shows and
postponed studio time allowed the band to take a step back and
look for a fresh direction. With the addition of a synth in the mix
the band took on a more progressive sound, experimenting
more with their tones and techniques.
 In February the band finally got back to the basement studio of
The Louisiana with producer Will Carkeet (Robbie & Mona, Pet
Shimmers) to record their new singles. They are now proud to
present their debut 7” single, ‘Do You Think I’m Special?’,
released via Permanent Creeps Records.
 “The track is beautifully textured, drenched in trembling reverb
but basking in a bright, almost optimistic tone - as if finding a
sense of finality in the cacophonous noise washing over them.”
- So Young Magazine

Green coloured vinyl edition of William The Conqueror’s
‘Maverick Thinker’ album from last year, released to
coincide with the band’s upcoming tour and book
publication.
 William The Conqueror have paid their damn dues. Like
the sportsman cutting chipped teeth in the lower leagues
before shooting to the very top, this band have lugged all
the amps, placated the in-house sound guy for an easier
life, their nails dirty, their hair unkempt. Enough.
 Except it’s never enough, because despite their slinky,
swampy, razor-sharp, blues-drenched, guitar thrashed
alt. rock songs that form new album ‘Maverick Thinker’
and suggest that the door is opening for bigger rooms
and broader audiences, it’s those sticky basement bar
stages where the songs have always shed a skin and
come alive. The record put the three piece behind the
glass at Sound City Studios in LA, treading the same
carpet as the likes of Nirvana, Johnny Cash, Neil Young,
and Fleetwood Mac and they might well have inhaled
the spirit of them all.
 William The Conqueror’s protagonist is Ruarri Joseph,
who knows his way around a melody and a verse.
Joseph’s wryness suggests life just ain’t plain sailin’ and
he fizzes that sigh and lament into something that
breathes heavy with heart and with soul.
 LP in a gatefold sleeve with printed inner sleeve and
digital download card.

"The 4th volume of The Amazing Bud Powell series recorded in 1958 found the brilliant bebop piano master in particularly fine form on an ebullient set of his original tunes including “Buster Rides Again,” “Monopoly,” and “John’s Abbey.” Powell’s inventive solo flights shine in a trio setting with Sam Jones on bass and ‘Philly’ Joe Jones on drums.
This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal."

On the tribute album Songs for Tres, Psychic Ills band members come together to commemorate the late Tres Warren who passed away just as the world turned upside down in March of 2020. Isolated, feeling helpless and lost by the death of her musical soul mate and collaborator of 18 years, bassist Elizabeth Hart found making music to be her only outlet in a time where people were unable to be physically together to mourn. So, she reached out to Adam Amram, Jon Catfish DeLorme and Brent Cordero, the main players in the Ills line up since the release of their last full length album Inner Journey Out (2016), to ask if they would embark on this cathartic journey with her. This was a different kind of production endeavor for Hart driven solely by “the aching need and urgency” to do something to honor her friend.

Hart, Amram, DeLorme and Cordero reunited for the first time five months after losing Warren at Amram’s loft – the same spot where they’d rehearsed countless times before – although this time with a different objective. In an effort to share, support and create, the old friends joined in the painful and healing experience of making this tribute album to cope with their loss. The band members wrote, arranged, and rehearsed for months and the result of their work culminated in a weekend of recording in the southern Catskill mountains at the end of 2020. This isolated and intimate environment was a perfectly serene and fitting location to finalize their story.

Throughout the album, Hart, Amram and DeLorme take turns as the vocal lead on each of the songs while Cordero showcases his finger-picking guitar skills in addition to his piano and organ playing, which he is known for. Along with the core band members, a number of other musicians played on the album, many of whom had collaborated on prior Psychic Ills releases and wanted to be a part of this last collaboration in memory of Warren. Keeping the project in the Ills family, Hart produced the album alongside Iván Diaz Mathé, the long-time Psychic Ills sound engineer.

The album consists of five original tracks and four cover songs. Initially, learning the covers was just a method for the musicians to “break the ice” and play together again for the first time without their band leader. However, those tracks became just as important to include as the originals because of their essential role in the process of coming together to make the album. The cover songs were chosen because of their unique connections to the band’s memories of Warren. Dennis Wilson’s "Rainbows" and Fleetwood Mac’s "Station Man" come from two of Warren’s favorite albums, Pacific Ocean Blue and Kiln House. The band also recorded Blaze Foley’s "Clay Pigeons" and Powell St. John’s "Right Track Now." The idea for the latter was suggested by Amram. Warren once sent him a clip of Roky Erikson singing a moving rendition of that song in the film Demon Angel and it had stuck with him ever since.

Hart wrote "I’ll Walk With You" on the day of Warrens’ passing, at the time not knowing what it meant. When she got the call with the heartbreaking news, it became clear to her what the song was about. Relying on a gently lilting string arrangement to set the tone, this duet features Mazzy Star vocalist Hope Sandoval alongside Hart. Sandoval previously collaborated with Psychic Ills accompanying Warren on "I Don’t Mind" (2016). The ideas for "Home" and "Walk Around," two other songs on the album by Hart, started simply with an acoustic guitar and lyrics, a hopeful exercise to connect with her lost friend. Brent Cordero’s instrumental "Whole Lotta Piece of Mind" is nothing short of a transcendental experience. By running his pedal steel through a Leslie speaker, Jon Catfish DeLorme crafts the unique tone showcased on Wonderful Feeling, a moving example of studio experimentation combined with old school techniques. DeLorme describes it as “an attempt to highlight the musical experience I shared with Tres both sonically and thematically. What resulted is the unguarded exaltation I feel lucky to have shared with my fellow bandmates.” Adam Amram’s “Into the Sea” was composed spontaneously the week Warren passed. The melodic tune has a hopeful lightness and Amram describes it simply as “a song to my brother”. Their connection shines through.

In fact, the entire album is one that radiates the layers of friendship, love and music that will forever exist between this family of musicians. As the band themselves state: “This album was made out of love and a commitment to honor our dear friend and bandmate.” A portion of the proceeds from the album will be donated to RAICES, a charity who aids children who have been displaced at the Texas/Mexico border.

Scott Walker, PJ Harvey, Coil, Matmos, Autechre & Pan Daijing. 180g LP with inner, 12”x24”poster + DL card. The Debut Full-Length By Montréal Producer Kee Avil, The Project Led By Avant/Improv Guitarist Vicky Mettler, Also Known As A Member Of Sam Shalabi’s Land Of Kush And As Co-Founder Of Concrete Sound Montréal. Advance Single “See, My Shadow” Premiered By Mary Ann Hobbs On BBC6 And Picked Up By Music & Riots, Backseat Mafia, Aural Aggravation, Etc In Dec 2021. Kee Avil, a project led by Montréal producer and guitarist Vicky Mettler: a singular expression of fractured dream logic concretized in chiselled postpunk guitar, sinuous low-end electronics, a panoply of organic and digital samples creating alternately twitchy and propulsive rhythm, and the anxious intimacy of her finely wrought lyricism and vocals. Bound by an outstanding production sensibility throughout, Crease unfolds one oblique earworm hook after another, with compositional innovation anchored to an inscrutable and compelling voice across 10 songs of tremendous and imaginative sonic detail. Kee Avil brings a contemporary electroacoustic sensibility to bear on traditions and conventions of pop, postpunk, electronic and sound-art songwriting, where touchstones range from Scott Walker and Coil to Fiona Apple, (early) PJ Harvey and (later) Juana Molina to Eartheater, Pan Daijing and Smerz; or Grouper produced by Autechre. Her unconventional alloys also conjure the guitar-inflected deconstructions of Gastr del Sol and the crystalline micro-worlds of Bjork, Matmos and Rashad Becker. Crease is one of those debut records that excites a wide range of peerless references precisely because it's so compelling in its own idiosyncratic authority, originality and execution. Each song on Crease is its own sculpture, meticulously assembled to resemble disassembly: “each of these worlds was built without consideration for the other; it felt impossible to me, once I would enter the atmosphere of a song, to try to start another until that idea was finished.” The album nonetheless unfolds in impressive holistic integration through a palette of textures and techniques deployed in recurring but continually refracted ways. Alongside her superb austere guitar work stitched into electro-industrial, dark-ambient and minimal-techno soundworlds, it’s her voice and lyrics confidential, hermetic, implacable that provide the galvanizing, always captivating through-line. Her more compositional, exacting, (de)constructed musical identity was first unveiled with the self-titled Kee Avil EP (Black Bough Records) and further honed by pre-pandemic tours sharing stages with Pere Ubu, Marc Ribot and Bill Orcut among others. Woodshedding since then, Crease presents a quantum leap in Kee Avil's exploration of studio-based experimentation, arrangement and production, signaling the arrival of a brilliantly genre-melding, refined and assiduous new voice in avant-garde songcraft.

Nearly 24 years ago, on 7th July 1998, the first Hefner LP was released, it garnered some great reviews, ensured the band were to become one of Peel’s favourites (they had 5 entries in 1999’s festive 50!), and cemented their reputation as Britain's largest small band. NME - “truly independent, unassuming and painfully honest: the sound of thin, white indie dukes in spectacles.” Melody Maker - “heart-skeweringly astute” combination of “grimly sweet lyrics and delicate, tentative tunes.” Time Out - “awe-inspiring in their naked honesty” More recently, the album was number 25 in Pitchfork’s 50 greatest Britpop albums, above A Northern Soul (Verve), Fuzzy Logic (Super Furry Animals), Vauxhall and I (Morrissey) and Tellin’ Stories (the Charlatans) Breaking God’s Heart now gets the essential 20th anniversary vinyl re-issue, accompanied by some shows where Hefner frontman, Darren Hayman, will play the album in full Here’s what Darren has to say about the record now: Breaking God's Heart is an awkward, over confident start to my career. I have yet to get to grips with it again properly in preparation for these anniversary shows. It's so far away in my past that I have some difficulty in relating to the person who made it. Mostly when I hear it I'm just amazed at the confidence, and possibly arrogance, I had then. I insisted on mostly first takes being used, vocals being recorded live in the room with the instruments, a ban on any reverbs or ambience being used. It was like I was trying to sabotage my career at the first hurdle. Many of those decisions were based on half understood, interviews with my idols from the American Lo-Fi scene but I really didn't know what I was doing. It does make a bizarre and caustic record though, and I know there are plenty of people who think this is my best work and I never got back to the blunt energy of these recordings. I do see their point. Quotes - Hefner's is a bedsit world of spindly guitar and towering passions; of skewwhiff ideals and surprisingly smooth melodic surges; of awkward outbursts and slow-burning lo-fi for lovers… 'Breaking God's Heart' is all about sparkling melodies, twinkly-eyed poetry, intimate confessions, a thrillion knowing references to sex, soul and sadness and the sort of chipper attitude that says: 'This is a record you will relish for years to come'. So save yourself time, start treasuring it now. 8/10 NME // Hefner are running on the same rock-not-rock fuel as early Violent Femmes or The Modern Lovers, and like those groups are expert at building emotionally charged arrangements by adding or subtracting at precisely the right time. 8/10 Drowned In Sound

On June 17, 2020, the Hollywood Chamber of Commerce and the City of Los Angeles, announced that the iconic multi-million selling
soul/R&B band, THE CHI-LITES, would be honoured in their Class of 2021, by receiving a star on Hollywood Boulevard on the
Hollywood Walk of Fame.
• On 30th September 2021, with family friends and other soul legends in attendance, including their legendary label mate, Gene
Chandler, Marshall Thompson, co-Founder and last surviving member of THE CHI-LITES, accepted the honour on behalf of the Band.
• Although they had formed nine years earlier, it was when the Band met record producer Carl Davis in 1968 that they signed a
contract with Brunswick Records. They began to achieve commercial recognition and success, with songs predominantly written and
composed by band member Eugene Record, who was also their lead singer, although their first charting song, ‘Give It Away’ (US
R&B Chart #10) was co-written by Record, with producer Carl Davis.
• THE CHI-LITES released more than 15 studio albums and registered on the UK chart on nine occasions, with five Top 10 entries, one
of them being the Double-A sided reissue ‘Have You Seen Her’/’Oh Girl’.
• In 1976, THE CHI-LITES switched labels from Brunswick to Mercury and recorded two albums ‘Happy Being Lonely’ (1976) and ‘The
Fantastic Chi-Lites’ (1977), before teaming-up again with Carl Davis on his own Chi-Sound records label, to record 1980’s ‘Heavenly
Body’ and 1981’s ‘Me And You’.
• This 12-track vinyl LP set focuses on their Brunswick Records period and includes all of their UK hits, opening with their barnstorming ‘Are You My Woman (Tell Me So)’, the intro from which, being famously and expertly sampled by Beyoncé (and featuring
Jay-Z), for her worldwide 2003 hit and Transatlantic #1,‘Crazy In Love’.

Detroit/Chicago and odd techno/house sounds influenced French producers Marius Cyrilou and Popodi Venturi to come back with a new banging crossover project called MOTORBREMSEN. Marius and Popodi already had many digital and vinyl releases on various labels like People Potential Unlimited records, Omega Supreme Records, Outrun records and on their own labels, La Maison Venturi, Bazaar Records under the names of Spaced Out Krew, The Ceeofunk Band or
Westbrook (and many others more).
This 5 tracks EP gathers many influences such as Theo Parrish, Moodymann ("So Confused") or Drexciya-n sounds ("Sanctuary"). Some deep and dark bassy house mood concludes this ep ("Human Freaks" , "Riding Over The Darkness"). Besides this, the marvellous voice of Mae Rojas (The Ceeofunk Band) comes with a sensual touch on the track "Tiger Prey (Radio Edit)". This EP gives an instant deep feeling of a happy-to-sad mood, with mysterious and sexy moments.
On A1 "So Confused", Don’t be confused, this is music to drive by in the hood with your low-rider. Gangsta boogie house at his climax for fans of Moodymann, Theo Parrish and all the raw house music mood.
On A2 "Tiger Prey (Radio Edit)", with the help of Mae Rojas (Cee-O-Funk Band) on the mic, Motorbremsen keep pushing their unique vision of house music : soulful but raw, relaxed but not so slow, catchy but weird at the same time.
On A3 "Sanctuary", let’s get on an electro-funk territory here. The guys explore a sound that can be rooted in seminal Arthur Baker’s productions and Drexciya’s mood but this a strong psychedelic feeling that is truly unique. All this comes with the special Motorbremsen’s touch of course. One for the B-Boys on acid...
On B1 "Riding Over The Darkness", get in the D’s train for a cruise. Laidback house with a monstrous bass and this almost G-Funk feeling. Hmmmm… delicious ! One for the lovers.
On B2 "Humanfreaks", let's get a bit darker. What begins like a bumpy beat get you little by little in real moody trip in a hot warehouse. Detroit techno muscular funk-infused inna 2021 style (by two guys who never listen to a Transmat record of their lives).

Available for the first time on vinyl, celebrated blues, R&B and Americana vocal powerhouse blazes an exhilarating roots music trail, with many of the songs reflecting the spirit of our turbulent times
Produced by Will Kimbrough, it features guest performances and/or songwriting by Kimbrough, Jason Isbell, Christone "Kingfish" Ingram, Jerry Douglas, Sam Bush, Orphan Brigade, Steve Cropper, Duane Eddy and Shawn Mullins.

Nominated for 2022 Grammy for Best Contemporary Blues Album.Winner of Blues Music Award for Contemporary Blues Album Of The Year.

In an era where technology is increasingly shaping music, 'The Garden Of Eve explores the opposite: it's an organic album, made by real musicians recording simultaneously, giving it a live mood while at the same time having wonderfully brilliant sound. It has been a long time since a contemporary artist has made such a beautiful homage to the blues.

"Blues has always been dear to my heart: it's a cathartic experience, precious and profound, whether it's playing it or listen to it on the radio. When I first heard Billie Holiday sing 'Blue Moon', I could feel it with every cell of my body. She had such a powerful effect on me. Sentimental blues, originating from tragic situations, sometimes even reflecting my own experiences... No matter how bad family, friends, politics, lovers, governments or society might be, they can never destroy the forces for good in this world. And as time passes by, I more and more find the truth that is rooted in my soul. And I finally feel mature enough to understand this wonderful musical tradition - because blues means life."

And if blues means life, Malia is the energy that allows the blues to have a soul, a voice. Characterised by her unique timbre - that doesn't need any further explaining - Malia gives us a thrill throughout the 12 tracks of this album, that has everything to become a classic.

Born from ten-hour jam sessions in peeling Brighton bedsits, the
technical parameters of a bootstrap recording process and the osmotic, multi-genre influence of internet music archives, quintet Ebi Soda have been steady-cultivating a unique sound amidst the exploding UK jazz scene.

Despite their steep rise – the Brighton outfit have preserved as much as possible of their unique recording process, originating from their very first sessions. With just a two- track recorder around, the band would lay down whole takes, one instrument at a time, then immediately transform the overdub, digitally reshaping the sound with the same mischievous, adderall energy as the musical performance.‘Honk If You’re Sad’, their sophomore full-length album, stays true to these foundations, while bringing more ambitious experimentation, technical mastery and a stellar lineup of guest players to the studio including Yazz Ahmed, Deji Ijishakin and Dan Gray.In typical Ebi style, while recalling jazz pioneers in playing style, ‘Honk If You’re Sad’ draws from a vast neural network of influences:
the Ebi Brain has been marinating in a digital soup of trap, drill, dub, post-punk and no wave to name but a few. The result is a mercurial record that beams in psychedelia, dissonance, serene ambient passages, tough, neck-snapping beats and lush textures, all underscored by the intersection of jazz, hip hop and electronic music.

“Coffee & Clouds” EP is the latest release from Sam Hutton and Al
Wreaves AKA South-London soul duo fika, collaborating with songwriter, vocalist and artist Bambie.

Co- produced by Berlin- based producer Fabich, the EP features previous singles “How Can I Love? (When I Can’t Get Away From You)” and “Love Like Mine” which have seen the duo garner support from the likes of Jack Saunders (BBC Radio 1), Jamz Supernova (BBC Radio 1Xtra), Jess Iszatt (BBC London Introducing), Nabihah Iqbal, El Train, Rob Da Bank (Worldwide FM), Stereofox, Mystic Sons and
IGGY Magazine. Stemming from a two-day session between fika and Bambie, the “Coffee & Clouds” EP was co-produced by Berlin-based producer Fabich. The EP expertly balances nuanced musicality with generously open song writing. fika’s ever-growing community of collaborators and irresistible releases has seen them perform at the legendary Ronnie Scott’sand garner support from BBC presenters
Phil Taggart (BBC Radio 1), Jess Iszatt and Abbie Mac (BBC Radio Kent) and from the wider radio community including Jyoty (Rinse FM) and El Train (Soho Radio).

At the end of 2021, they will be appearing at The Jazz Café alongside BBC Radio 1’s Victoria Jane, Raquel Martins, Ruby Francisand Kara Marni. The duo have also seen press and online support from the likes of TRENCH, Indie Shuffle, Notion, Acid Stag, Beautiful Buzz, Somewhere Soul and Discobelle. A project born out of collaborative joy and mutual admiration; the “Coffee & Clouds” EP is set to further
cement fika’s place as a one- to- watch in the realms of Neo- Soul, Hip Hop and Contemporary RnB.

The Kenya born, Berlin based percussionist, vocalist, DJ, producer and "musical witchdoctor" Alai K releases his red hot debut album'Kila Mara', via On the Corner Records. Sonically speaking, this vivacious collection of frenetic, polyrhythmic and percussive workouts link the spirit of Jeff Mills, DJ Rush, DJ Bone and K Handwith beats from The Bajuni Islands, Mozambique, Malawi and the maritime Swahili coastline north of Mombasa. On moving to Berlin, Alai went raving regularly and became enamoured with underground dance music culture. "I love techno and believe that African drums influenced the percussion and programming: lt'scoming from the same place; with both you get extended periods with no chorus or verse, just occasional chanted or chopped vocals. In Africa people play drums and dance for hours, which is the same experience as western electronic music", says Alai.

As a lifelong soul boy - poet, actor, presenter Craig Charles has been adding to his trunk of funk music since his youth, and now after almost 20 years hosting his world renowned BBC6 Music and Radio 2 shows, DJing at clubs and festivals around the globe his reputation as an ambassador for all things soulful & funky is indisputable. Craig was overwhelmed with the success of Volume 1 which hit the Official UK Album charts; "It's been a whole year (and what a weird year) since I unleashed Volume 1 on a music starved world. It clearly hit home with a funk hungry public as it got into the UK charts, nestled between film soundtracks and pop compilations, so I'd like to thank everyone for supporting - especially those who grabbed the double vinyl album - that was an instant sell out!" Volume 2 contains all the trademark features his fans have come to love -kicking off with The Allergies - and their 100% exclusive Trunk Of Funk remix of their bombastic Move On Baby.

Sdban Records will reissue several installments of the legendary library series 'A Special Radio ~ TV Record' on vinyl. These were originally released on Belgian imprint 'Selection Records' between 1975 and 1981. N°15 in the series was the Belgian milestone jazz album 'Solis Lacus' released in 1975.

Solis Lacus is the cult group around renowned Belgian pianist Michel Herr, a pioneer of electric jazz in the 70's in Europe. Michel Herr rose to international prominence after winning the first prize at the jazz festival in Loosdrecht, The Netherlands, in 1971. He accompanied many European and American jazz stars on foreign tours and ran the group Jazztrack with saxophone player Wolfgang Engstfeld in Germany. At the same time, he set up his own band Solis Lacus, which consisted of Belgian musicians who had all made a name for themselves on the national jazz scene of the 1960s including Richard Rousselet and Bruno Castelluci both from Placebo. Inspired by the reigning jazz-rock sound of the day, Herr expanded his musical vocabulary and started to play electronic keyboards. Solis Lacus recorded its only album in the course of 1974 and 1975, before the members of the group headed in their own direction.

Solis Lacus is considered the European counterpart to sound experimentations of Herbie Hancock's Headhunters, or the best albums of the CTI label such as Freddie Hubbard. This is groundbreaking, experimental and funky jazz fusion!

Featuring: Deena Abdelwahed, Rabih Beaini, Fari Bradley, Dieb 13, DJ Sniff, Gavsborg (Equiknoxx), Electric Indigo, Donzilla Lion (Nyege Nyege), Marina Rosenfeld, Microhm, Muqata’a, Bob Ostertag, Rrose

Project presentation:

Sampler / Sampled is an album made of two interdependent parts rather than a double-album.

The first part of the project, Sampler, is a trumpet solo album that catalogues the unique sounds and extended techniques that Mazen Kerbaj developed for the instrument in the past 25 years; it consists of 318 pieces ranging from less than a second to forty seconds each, and presenting different sonic materials. This catalogue of sounds works on various levels: first and foremost, it is a trumpet solo that could be played in its original order, or in random mode to create different pieces of music. But it is also a collection of samples that could be used for various applications (ringtones, phone sound effects, cinema…) and, of course, to create new pieces of music based on sampling.

The second part of the project is the composition Sampled for a musician working with loops and/or samples. The composition has one instruction: create a piece of music using solely tracks from Sampler as your sound source (with the possibility to use all kind of effects or treatment). Each interpreter/musician becomes thus a co-composer who appropriates the piece and makes it their own. In this regard, the musicians that were commissioned to play Sampled were chosen from different geographical origins and musical genres to create highly different and personal pieces of music.

One important output of this project is putting in practice the overused idea of music as a universal language. This idea is very present in “free improvised music” where musicians from different origins can meet for the first time and make music together without the need to adapt to different musical traditions. But here, the collective part of creating music in real time is not involved. It is rather the contrary: it starts with one middle-eastern musician creating a new language/vocabulary for his western instrument, to be later used by other musicians from around the globe who will appropriate this vocabulary and use it with their own language/grammar.
The final output of this double faceted album that was recorded during the Covid lockdown proved to be a very efficient new way to collaborate from a distance in times of world isolation, and ultimately put in practice the universality of music by breaking the boundaries of genres that are the most difficult to break.

This album deservedly acquired 'cult status' thanks perhaps to the blend of material and happy assurance of all the soloists. Art Farmer for example is melodic and tuneful on Cool Struttin', helped by Sonny's sympathetic yet urgent chordal backing. The same applies to Jackie McLean, a loyal devotee of Charlie Parker but blessed with his own style. The pianist's solos have finger bustin' moments when the keys seem melded into one homogenous mass. But Sonny also displayed his expertise as a tasteful stylist with a unique approach much admired by Bill Evans. The musicians assembled for this session were produced by Blue Note Records supremo Alfred Lion, and would have been familiar to Clark, on this occasion cast in the role of Leader. Sonny was one of the Jazz label's house pianists called on to back the likes of John Coltrane, Kenny Burrell and Hank Mobley.

Repress in blue vinyl !


“Sketches of Spain since its release in 1960 has been one of the most widely
distributed and popular of all jazz records. Even people who don’t collect jazz
records tend to have a copy tucked away somewhere.” - Penguin Guide To Jazz
“Sketches of Spain remains, and rightly so, one of the jewels of Miles Davis’
discography.” - Jazz Magazine (France)
“This recording is one of the most important musical triumphs that this century
has yet produced. It brings together under the same aegis two realms that in
the past have often worked against one another - the world of the heart and
the world of the mind. To Davis and Evans goes not the distinction of five or 10
or a zillion stars in a review rating, but the burden of continuing to show us the
way.” - Bill Mathieu, DownBeat

UK techno legend Mark Broom returns to Rekids ahead of new album with ‘100% Juice Album Sampler’.

Following the acclaimed ‘Funfzig LP’ on Rekids in 2021 as well as his ‘Mutated Battle Breaks’ series on the techno focussed sub-label Rekids Special Projects, UK stalwart Mark Broom returns to Radio Slave’s Rekids with ‘100% Juice Album Sampler’, a four-track taster for his next album titled ‘100% Juice’, scheduled to be released in April.

Leading the A-side is ‘100% Juice (Sampler Mix)’, a jacked-up take on the album’s title track, with chunky kicks, off-kilter stabs, and crunching claps kickstarting the record. ‘Contigo’ follows, with trippy synths providing a dose of silliness alongside razor-sharp drums. On the flip, ‘Nod To The D’ pays homage to classic Detroit sounds, as light arpeggios and bright synths weave their way through silky pads before closer.

‘Spiked’ sees a funk-laden groove take charge as unruly leads flutter atop the jacking groove.
Releasing on labels such as Rekids, M-Plant, and Blueprint, the wildly prolific Broom has consistently been at the forefront of the techno scene for decades with his gritty, groove-based output while, away from the dancefloor, his The Fear Ratio project with James Ruskin continues to win critical acclaim.

New imprint and musical project from Benjamin Diamond (french iconic member of Stardust and voice of the hit "Music Sounds Better With You") & Ulysse Genet!

Two numbers referring to the year 1972.

And in two numbers, everything is said.

The project is simple and ambitious, it is the soundtrack of life passing by, of our lives, of theirs: those of two boys who became two men, both born the same year. 1972. And contrary to its commercial destination, the «TM» sometimes af fixed to these two letters appears here rather like a real mental tattoo, if not a purely aes thetic gesture, as if to tell us: these sounds, these feelings, these immaterial emotions, were deposited in the dark recesses of these two brains, these two minds, before passing through their bodies, passing through their fingers, then through the keyboards, the ins truments, to transform themselves, to turn into sounds, which, themselves, through the alchemy of creation, become music.

And this music is the soundtrack to these two lives: Benjamin Cohen. Ulysse Genet. And these two lives which at one point crossed, met. And from this crossing was born 72. From these two experiences, from these memories, from the memories of the two artists, music is revealed. Four tracks for the moment, instrumental, mixing the reminiscences of hip hop, the echoes of the ‘ambient’ created by Brian Eno, the techno vo lutes of Detroit, and more particularly those of Carl Craig. Without forgetting the roots of what has been called the French Touch... this unique musical adventure revealing France abroad in a singular way, in which Benjamin Cohen has actively participated.

Quindi Records returns once more to the swooning romanticism of Cabaret du Ciel, the long-running project from Andrea Desidera and Gian Luigi Morosin. After the contemporary material which made up long-player The Breath Of Infinity, Raintears heads back into the group's archives and focuses on a limited cassette release from 1991.

Originally released on Morosin's own Ionisation Tapes, Raintears is described as heralding a new phase for Cabaret du Ciel following their earlier Solarisation and Weather Colours cassettes. This revised, expanded version of the release opens with 'Raintears (Piano Version)', which originally came out on an Ionisation compilation entitled Imago Sonora 1. Truly evoking the spirit of the track and its meaning, it was recorded on a rainy Sunday afternoon when Desidera's friend and trained pianist Francesco Martignon heard the original melody for 'Raintears' and proceeded to improvise on the theme, with Desidera and Morosin embellishinbg Martignon's exquisite playing with subtle touches of synth and sampling. In its fragile, tape-worn repose, the piece is loaded with the delicate ambience a rainy Sunday afternoon implies - calm, melancholic and wistful.

'A New Day' is a piece cast in light and shade, contrasting two core melodic phrases expressed through synth and guitar, with a light touch of speech sampling adding to the cinematic poise of the track. 'Time Of The Twins' originally appeared as a single track on the cassette release, but here it's framed as two distinct parts which meet in the middle. The first half is patient, gliding ambience rich in the harmonic interplay and winding narratives which typifies Cabaret du Ciel overall. The second half opens up like a flower looking for the sun, all pronounced keys pirouetting across the fundamental chord progression established in the first chapter.

'A Delvaux Postcard', previously titled 'East Roads', takes on a spectral, spacious form as it passes by slow, rhythmic pulses and freewheeling synths, momentarily joined by scattered shards of sampled voice layered and filtered in a manner which reminded Morosin of Belgian surrealist painter Paul Delvaux. The EP closes with the original version of 'Raintears' (billed here as 'Raintears II'), a plaintive and disarmingly beautiful ambient piece centered on Desidera's light and poignant playing. As Morosin himself describes, "Andrea is in a full state of grace, touching the listener through his fingers with the notes into their deepest emotions. The first time I listened to the basic version, I was just speechless."

Athlete Whippet return to Toy Tonics with an EP showcasing emotionally layered dance tracks and their refusal to stick to genre conventions. The duo are synonymous with sublime cuts that are just as suited to late nights and early mornings on the dancefloor, as they are to home-listening, this perfectly exhibited on the "Noguiera" EP.

The four-tracker is named after a remote place in the mountains around Rio de Janeiro where it was made on a creatively fruitful getaway in 2021. It's sentimental, joyful, bouncy, and futuristic, and showcases the duo’s musicality combining bass guitar and piano, with hardware synths, loops and fragmented vocal samples.

Robin explains - "Spending time in Brazil in recent years was a blessing. The nature, culture and musical heritage over there is beautiful. Mostly in solitude, as I ended up spending most of my time in a remote place in the mountains around Rio, music became the only real emotional outlet for a while. So in a way this is a record of dance music created as far away as we’ve ever been from the dance floor!"

Both from a live performance background, Robin and Avi met studying at Goldsmiths London and found their way to the dance floor via playing in bands, Robin a guitarist, Avi classically trained in trumpet and later on picking up the keys. Absorbing the community of South London, they eventually set up artist collective and record label Squareglass - a proudly established home for new artists coming out of the area. They’ve remixed for the likes of Rhythm Section, collaborated with Olugbenga, and their releases have come with reworks from Ross from Friends, Cameo Blush, Baltra and Seb Wildblood. In 2021, their hybrid sound found a new home with tastemaker German label Toy Tonics who released their "Vesta" EP in May, followed by a run of European tour dates including Funkhaus Berlin, Phonox London and Amsterdam Dance Event.

Nightcrawlers is a Scottish house music project, assembled by producer, DJ and vocalist John Reid. In 1992, John Reid formed the act following his local success as a DJ and vocalist. It was 1995 when he released his debut album, which was titled after its lead single. Two singles of the album reached the UK Top 10: “Push The Feeling On” and “Surrender Your Love”, plus three singles that reached the UK Top 40: “Don’t Let The Feeling Go”, “Should I Ever (Fall In Love)” and the lead single “Let’s Push It”. The latter became an overnight success, peaking at No. 7 on the US Hot Dance Club Play charts and briefly crossing over to pop radio, peaking at No. 80 on the Billboard Hot 100. “Push The Night Again” gained new spotlight recently, when Nightcrawlers together with Riton scored a worldwide#1 hit with “Friday”, which is a remix of the track.

“Push The Feeling On” was then remixed by Marc Kinchen, an American record producer. He stripped down the song to edited vocal samples, creating an unusual sounding track “The Dub of Doom Mix”. Reid released an album containing all six singles he had previously released, using the single “Let’s Push It” as the album’s title. Marc Kinchen once again worked closely with Reid, repeatedly remixing tracks to his trademark sound.

Max Dean and Prunk come together in superb fashion for a new EP on South. It features three new cuts from Max, with a Prunk remix making it another explosive package.

Up first is Loving Saturday, a driving house track with a nagging, soulful vocal that really tugs at the heart strings. The bass is warm and the drums kick hard, but this one really has some standout emotion to it. This Party is a more loose, fluid, ducking and diving groove, with rich percussion making it a perfect late night groove. More deft vocals add some human emotion as this one drives on.

This Party (Prunk Remix) is then a nice spaced out deep house cut that has real bite. The kicks and hi hats fuse together perfectly, while balmy pads encircle the groove to bring the vibes. Last of all, Sunshine Upon the 33 is another big hearted out track with an irresistible groove. The dynamic drums never let up, while the spaced out pads work and great vocal samples all elevate the track.

This is a fantastic four track package from this new one to watch label.

Spaced Repetitions is the brand-new label by veteran producer Manuel Tur. Following his most recent releases on Running Back and Lossless, the German digs deeper on the “Alphalpha EP”, fusing hints of sampled house grooves and bleepy techno synth work. With the lead track reminiscent of classic Parisian dark chemistry à la Motorbass, things get more driving on the B-side: the percussive “La Terre” leads us to the magnetic acid groove of “Immune Response”, rounding off this hypnotic three-track EP.

If this word "music" is sacred and reserved for eighteenth and nineteenth century instruments, we can substitute a more meaningful term: organization of sound.
- John Cage

Kista returns from a long hiatus with his first ever all instrumental LP.

Songs From The Seas Edge takes us on a journey into the mind of producer and Graffiti Writer Kista.

It's an album where all his early influences or things that intrigued him, all come together, his love for Sc-Fi Movies, Hip Hop, 80's Arcade Games, John Carpenter Soundtracks and Films (you will notice a few vocal samples from his films nestled away among the songs) and many other things that influenced him growing up as a kid.

In a world now dominated by Playlists and the digital age, Kista took a step back to try and make an album that all fitted together, a concept album based around living on the coast as a kid in the 80's.
“ I started going through samples i put aside years ago and started to go back to them, to try and make them all fit and blend together to form an instrumental album”.

“It's kind of hard to explain where Songs From The Sea's Edge fits to my previous work” explains Kista
“ I wanted to make something for myself that I could then share, a journey, something to listen to from start to finish,with certain samples making an apperance in more than just one track.

Songs From The Sea's Edge has an hypnotic and haunting synergy to it, it's atmospheric, melodic but is still firmly rooted in Kista's love for Hip Hop.

Press play and enjoy.

"So Happy It Hurts" is the brand new album from platinum selling, award-winning artist Bryan Adams.
Bryan Adams is one of the most exciting live musicians in the world and his energetic performance, effortless stage presence and incredible vocals are guaranteed to thrill and entertain. Adams’ influence extends 4 decades, over which time he has released 14 studio albums. His song writing has garnered him numerous awards and accolades including three Academy Award nominations, five Golden Globe nominations and a Grammy Award.
Of the new album Bryan says: “The pandemic and lockdown really brought home the truth that spontaneity can be taken away. Suddenly all touring stopped, no one could jump in the car and go,” says Adams. “The title song ‘So Happy It Hurts’ is about freedom, autonomy, spontaneity and the thrill of the open road. The album of the same name, touches on many of the ephemeral things in life are really the secret to happiness, most importantly, human connection.”

The album So Happy it Hurts, scheduled for release March 11, 2022, marks Bryan Adams’ 15th release and features 12 new songs co-written by him

Prolific punk pioneers Penny Rimbaud and Youth proudly present their collaboration album ‘Corpus Mei’, out November 19th via One Little Independent Records, with limited edition grey vinyl available from January. Vinyl edition is limited to 500 units. Recorded and mixed over the year 2011 and then remixed in 2019 (it took all that time to see the depths), 'Corpus Mei' brings together two disparate elements and makes them as one – Penny Rimbaud and Youth. Rimbaud is perhaps best known as a founder member, drummer, and lyricist of the seminal anarchist punk band Crass. Since those times, he has dedicated his life to the headier pursuits of poetics and philosophy. Youth, whose post punk band, Killing Joke, remains a vibrant musical force, has at the same time become one of the most sought-after record producers of today. Realising from the outset that they shared an interest in the creation and promotion of “matters spiritual”, these two now legendary

Faitiche presents Beispiel (German for "example", also suggests playing together), a joint project by Frank Bretschneider and Jan Jelinek. Muster is their first album.

Free electronic music, the result of spontaneous improvisations.

“Meaning” is a concept that is overused in connection with music. Muster does not call for the same kind of air quotes. With its title, German for patterns/exemplars, Beispiel’s album frees itself from the ballast of teleological semantics. There is no overarching theme, no preparation, no reading list, no reason for this music. Just two facts: Frank Bretschneider and Jan Jelinek have known each other a long time and appreciate each other’s work; and they share a love of modular synthesizers and of experimental set-ups designed to capture surprise.

Bretschneider and Jelinek got together for their first joint session in 2016 and the years that followed brought more such meetings at Jelinek’s studio for open-ended musical dialog – at irregular intervals and with no clear objective. The improvisations were recorded in two stereo tracks: one track for Bretschneider’s audio, one for Jelinek’s. After each session, the recordings were processed separately, the options essentially limited to cutting and altering the frequency range. The nine pieces for Muster were selected from the resulting material.

This approach reflects an ideal: music is when you play your first note without knowing what the third or fourth will sound like. When your 290th note still sees you leaving the beaten track, and when curiosity grows as the piece unfolds. Duping is part of Beispiel’s practice. Improvisation is about disagreement. It’s a matter of addressing the right issues. What’s happening here? What’s mine, what’s yours? Are “why” and “where next” legitimate questions?

Muster is an exemplary work. Nine suggestions for what can be. Nine ideas for possibilities of listening.

Arno Raffeiner

From the deep depths of Noord Brabant (NL), high school friends and long term collaborators Klont and Whistle aka Wessel and Luuk join forces once again. Growing up a mere few towns away from each other and even appearing in the same punk band albeit at different times, the meeting of minds occurred over their shared persuasion for absurdist humour and a fairly unconventional music taste.

They knew they had something special in their pursuit of gnarly breaks, textures and all things on the curveball spectrum, as Klont the ultra music nerd approached with a desire to sculpt sound whilst the breaks disrupter and club-goer-outer Whistle brought his all-around disruptive energy to the table. Separated by the pandemic they practiced their musical efforts away from each other with lots of late night video call jam sessions fiddling with ableton to produce a certified booty shaking masterpiece for ANUS Records.

“Boot licking, piss drinking, finger frigging, tit tweaking, love biting, arse licking, shit stabbing, motherfucking, spunk loving, ball busting, cock sucking, fist fucking, lip smacking, thirst quenching, cool living, ever giving…”

There’s no fairer introduction to ‘Fist’, Joshua James’ latest contribution to Phantasy, than to advise one simply to prepare themselves. Sampling iconic performance artist, club promoter and designer Leigh Bowery, James connects the expert dancefloor pressure he exacts each weekend as one of London’s best-loved club residents with the unapologetic, defiant legacy of a personal hero. None other than Peaches then takes up the remix mantle for ‘Fist’, intertwining the provocations of two radical performers and connecting three generations of underground queer culture in one sonic menage-a-trois, perhaps the straight-up rudest club record in recent memory.

On the original production, James shifts his sound in a heavier direction still since last summer’s euphoric Amber Rush, which was remixed by labelmate and friend Daniel Avery. A bouncing industrial tilt underscores the heavy-duty production, as Bowery, originally recording alongside Richard Torry in their band Minty, espouses a catalogue of sexual acts - some specialist, all sensational - as James pushes dancers further down into the belly of some revolting rave beast.

A multi-faceted match to Bowery themselves, Peaches continues a decades-long journey dedicated to genre and gender deconstruction with her wild and playful take on ‘Fist’. Dripping in cybernetic club juice, Peaches wraps herself around Bowery’s own teaches on the mic, easily matching his demands as she careens towards a system-rattling techno conclusion.

Massive debut release for UK producer Social Rhythm on new blockchain art collective Oblivious Transfer! + spot varnish sleeve and poster insert by London street artist The Real Dill, with digital download card included. The record highlights rave and sampling culture, whilst paying homage to previous innovators across multiple genres. Hot tip for the 90's Intelligent Drum & Bass enthusiast!

Reissue of George Duke's classic 1976 jazz-funk-fusion album 'Liberate Fantasies'

This 1976 album, the last one of the MPS fusion series, continues George Duke's tendency to couple his fusion world with accessible R&B songs. Once again, he shows a discernible vocal development. In "Tryin' And Cryin" the Californian together with rock singer Napoleon Brock overlays multiple vocal tracks.
On "Seeing You" Duke lays on a glaze of soulful tenderness, whereas "What The…" is 30 seconds of frivolous funning around. "Back to Where We Never Left" is a witty gem in which Duke bundles his pool of synthesizers into a united groove, whereas "I C'n Hear That" shows off synth and marimba tonal colors in dialogue, with the bass riffing on the bottom.

The album flows into the final bend carrying along the sonorous richness of Brazil. "After the Love" plays with the languorous erotic colours of the tropics, whereas all the band members are allowed to shine on the epic circa ten minute title track with its hot samba flair: the rhythm section with "Ndugu", Al Johnson, and Airto Moreira's percussion arsenal, Daryl Stuermer with his rock interludes on guitar, and Duke himself with inspired virtuosity on all sorts of synths and
keyboards.

"So Happy It Hurts" is the brand new album from platinum selling, award-winning artist Bryan Adams.
Bryan Adams is one of the most exciting live musicians in the world and his energetic performance, effortless stage presence and incredible vocals are guaranteed to thrill and entertain. Adams’ influence extends 4 decades, over which time he has released 14 studio albums. His song writing has garnered him numerous awards and accolades including three Academy Award nominations, five Golden Globe nominations and a Grammy Award.
Of the new album Bryan says: “The pandemic and lockdown really brought home the truth that spontaneity can be taken away. Suddenly all touring stopped, no one could jump in the car and go,” says Adams. “The title song ‘So Happy It Hurts’ is about freedom, autonomy, spontaneity and the thrill of the open road. The album of the same name, touches on many of the ephemeral things in life are really the secret to happiness, most importantly, human connection.”

The album So Happy it Hurts, scheduled for release March 11, 2022, marks Bryan Adams’ 15th release and features 12 new songs co-written by him

The 2-LP set features the same refreshed style artwork as the previous AMADEUS The Best of MOZART – and includes highlights from greatest masterpieces by JS Bach performed by first-class musicians: Nikolaus Harnoncourt, Mstislav Rostropovich, Ton Koopman, Alexandre Tharaud, David Fray, Sir Neville Marriner, Fabio Biondi, Emmanuel Pahud, Beatrice Rana, Sigiswald Kuijken…

Rapper and producer duo ​Verbz & ​Mr Slipz announce their latest album ‘Radio Waves’ ​due out ​13th November 2020​. Released on the acclaimed Hip-Hop label ​High Focus Records​, the 22-track project sits perfectly between present-day greatness and unrivalled nostalgia welcoming us into their unique rap landscape. The cover, designed by ​Matt Littler​, captures the essence of the album perfectly.

Born and raised in Croydon, rapper ​Verbz has proven himself time after time with his innovative rhyming style and distinct flow. The creative partnership wouldn’t be complete without Brighton based producer Mr Slipz who marries ​Verbz’ form with his laid back jazzy sound as well as unmistakable attention to detail. The pair started making music together in 2017 when they released their debut collaboration ‘Lessons Of Adolescence’. This was followed by extensive tours and studio sessions where their musical alliance was cemented and their bond has been untouchable ever since.

Kicking off the album with humour and personality, '​2202 FM​’ is a full-bodied track which sees ​Verbz spit tales of admiration for his city whilst at the same time striving to escape. With London on the brain,

‘Summer In The Bits’ ​is an introspective analysis of a summer's day in the capital full of tense trials and tribulations. Moving throughout the album, ​‘Kno The Status’ welcomes three potent guest verses from Alex Holy​, ​Datkid & ​Upfront ​paired with an unrivaled ​arrangement and instrumentation magnifying Mr Slipz’ craft. Once again his incomparable production delivers on ​‘Weekend Blues’ ​which see’s ​Verbz regretfully address craving more from his weekend to then be greeted by numbness on a Monday morning. ​High Focus linchpin Fliptrix delivers some captivating combinations on ​‘My Wonders’ ​honing n on the current state of the world from his point of view. Up next is one of the lead singles

‘The Feeling’, which is a refreshing and rare representation of the classic Boom Bap sound. Before signing out, ​Verbz’ ​impressive storytelling shines through on ​‘In My Mind’ offering insight into his artistry as he allows access to his inner thoughts via vivid storytelling lyrics. Sandwiched amongst the project are evocative radio skits placed to perfection, offering angles of comedy including a mini-interview acting as the final pieces to the puzzle.

This record is the culmination of two years of hard work packed with skill and finesse, as we have all come to expect. With their unrivalled chemistry, the dynamic duo have proven themselves to be some the most exciting artists on the scene, and '​Radio Waves' is going to cement their position at the top of the ranks.

>>>>Cryovac Recordings is allowed to exist by artists and craftsmen that take up the cause and come together to share their skillset. A Cryovac artist is a master of their own style. They are heros that represent the best of Detroit’s spirit. From Dietrich to Desmond to the house of Archer, Cryovac is a product that is crafted at each step by years of know-how. The Cryovac machine continues its course through an ever changing technosphere.

>>>>James “jit” Pennington a.k.a. The Suburban Knight has the honor of techno nobility; with a warrior ethos he loyally defends Detroit around the world. The Knights tracks are legendary and his service to the underground code compels him to come to the aid of Cryovac. ”Lectrasonic” activates a hypersensitive conga rattling the night air and through swelling synth predatory melody becomes prey to a breaking kick.
>>>>Mike Petrack is a cool customer with an easy style and his tracks are the same. Petrack’s Info Lines record label is the latest concoction from this ever innovating techno collaborator. “Holy Redeemer '' rises with an infectious melody through bossa nova rhythm to a point of spiritual awareness inside a natural funk.
>>>>a.garcia & M. kretsch are a team that have learned to work in unison to develop all parts of a space with sound. Their construction and deconstruction of the techno sound is a reflection of a spartan Detroit ethos. “invasion” is a 4/4 minimal rocker that rings to life with an eerie synth attacking with waves of effect bringing a tone of other worldly dread.
>>>>Mollison folson a.k.a. Body Mechanic brings his gregarious personality to all genres he delves into. He is a musician of instrument and computer with a focus on freeky love music. “Everything” is a smooth and jazzy minimal mover that harmonizes synth over a funky bass line.