Search:solid

The tone always makes the music. But only those who actually make the sound An ancient-house-avantgarde dream has always been there since the legendary -Warehouse- days of Ron Hardy, to bring more sounds and tones constantly to an independent, repetitive development. And thus beyond the limits of an executive creative artist on the otherwise purely commercial sense what we call in common -beyond imagination-. -Raw Footage-, the latest album concoction of Chicago house legend Ron Trent (Prescription) on his new imprint -Electric Blue- works in the best sense of Stanislav Lem heroes Trurl & Klapauciusals, cruising like those two metal brains frantically invented by the universe of 4/4-Sounds to get insane tracks out of the new material matter located there, and put them together to brand new ones. This trackwerk varies as well as of course between classical Chi-Town to the context of contemporary, epic house dubs and lives in a perfidious manner from the interaction of various computer
modules that constantly spits out new and exciting interactions. In the end, the software sings only as digital output of great analog sounds, which may well be understood as a mocking voice to the majority of contemporary Homeboy wackiness formats.-Unpredictable- and less -cryptic- might fit here as a keyword excellent, where you kick out of the rough house plant a significant entertainment value must, without the need to posess necessarily the same nerves of steel. Anyone who has ever really wondered what House sound could be appropriate for a journey through the vastness of the universe is, gets there now at this point completely to his fullest expense. Trent 2012 and its tracks on this album reflect a lot about the revolutionary founder of -Spirit of music- from the mid-80s, who is recorded then as now but with inadequate slogans such as -light years ahead of its time-. For as
Trents body of work -Raw Footage- is also particularly scary genius material, although still of totally solid stress field and background from the musical spectrum between the Windy City and the Motor City engine bridled her.-But heres to the Future- For Sir Trent more than twenty years after -Altered States- and the relevant follow-ups, thats not really a problem!
Der Ton Macht immer die Musik. Nur wer macht eigentlich den Ton Ein uralter-House-Avantgarde-Traum war und ist es seit den legendären
:Warehouse: Tagen eines Ron Hardy, Sounds und Töne immer ständig neu zur selbstständigen, repetitiven Entfaltung zu bringen und somit die kreativen Grenzen des exekutiven Künstlers über die sonst im rein kommerziellen Sinne gängige Vorstellungskraft hinaus zu sprengen.
:Raw Footage:, das neueste Album-Machwerk von Chicago House-Legende Ron Trent (Prescription) auf seinem neuen Imprint :Electric Blue: kommt im besten Sinne der Stanislav Lem Heroen Trurl & Klapauciusals, und cruiost wie jene beiden Metallgehirne wie wahnsinnig durch das All der 4/4-Sounds, um aus dem dort befindlichen Materiematerial neue, wahnsinnige Tracks zu erfinden und zusammenzustellen. Dieses Trackwerk variert denn auch wie selbstverständlich zwischen dem klassischen Chi-Town-Kontext bis zu kontemporären, epischen House-Dubs, und lebt auf perfide Art
und Weise aus der Interaktion verschiedenster Computermodule, die dabei ständig neue aufregende Interaktionen ausspuckt. Am Ende singt eine digitale Software nur noch als Output großer analoger Sounds, die durchaus als Spottgesang auf den Großteil eitgenössischer Homeboy-Frickelei Formate verstanden werden dürfen.:Unberechenbar: und weniger kryptisch mag hier als Schlagwort vortrefflich passen, wo man dem rohen Housewerk ganz erheblichen Unterhaltungswert abgewinnen muss, ohne das man dazu unbedingt gleich Nerven wie Drahtseile benötigt. Wer sich je
eigentlich gefragt hat , welcher House-Sound so für eine Reise durch die endlosen Weiten des Universums angemessen sein könnte, kommt an dieser Stelle jetzt völlig(st) auf seine Kosten. Trent 2012 und seine Tracks reflektieren mit diesem Album zwar viel von dem revolutionären Gründerspirit einer Musik aus der Mitte der 80er-Jahre, die damals wie heute dennoch nur unzureichend mit Slogans wie ihrer Zeit um Lichtjahre voraus zu erfassen ist. Denn wie Trents Gesamtwerk ist eben auch :Raw Footage: insbesondere furchteinflößend genialer Stoff, wenngleich auch immer noch vom ganz und gar soliden Spannungsfeld und Background des musikalischen Spektrums zwischen der Windy und der Motor City her aufgezäumt. :But here's to the future: - Für Trent auch mehr als zwanzig Jahre nach :Altered States: und den einschlägigen follow-ups nicht wirklich ein Problem!

JAUZAS THE SHINING - MECHATRONICA, BROKNTOYS, SHIPWREC , SPECIMEN.

Jauzas the Shining was known as Adjust before taking that new alias - which is a salute to Kubrick's movie and the telepathy of his young character.

Since 2001, he's one of the most active electro producers in France, with several solid EPs released on Shipwrec, Last Known Trajectory, Transient Force, New Flesh, Minimum Syndicat, Mechatronica or Brokntoys and collaborate with iconic artists like Heinrich Mueller, Orgue Electronique, Ekman, Shemale, Faceless Mind, Specimen, and Ultradyne. He shared the decks with the hall of fame of electro music.

From the 90s IDM influences, Jauzas The Shining is a deep odyssey into the cold groove of electro sounds, using his sickness on skyzophrenic beats from his electronic dark side.

Hidden in the shadow of this room, Jauzas looks himself in a broken mirror but he doesn't recognise himself, he doesn't remember..the only thing he knowns is that he's now on board the nautilus ship, deeper and deeper is an ocean of sounds ...Artificial lights, mechanical noise and metallic walls..He starts hearing these voices but he doesn't know who they belong to? Utilising his sickness on skyzophrenic beats and abstract electronic dark side, he became "Jauzas the shining" The mysterious and miraculous journey of Jauzas who spent his nights and days on Formentera.

Here he conjures up a concoction of deep ocean meanderings and spellbound nights, underneath the shooting stars and radiant waters. Images of the past merged with future, becoming a collage of voices across projected shapes which make presence in their ghostlike form. This is another outing which explores the surreal and the abstract, which expressed though Jauzas's electro-musicalities with Specimen.

Jerome Reuters Musikprojekt ROME verbindet mehr mit der Ukraine als der gelegentliche Gastauftritt. Seit 2015 bereist der Luxemburger Singer-Songwriter auf seinen Europatourneen das Land regelmäßig für Konzerte. So auch im Februar 2022, als Reuter nur wenige Tage vor der großen russischen Invasion noch Soloauftritte in Kyiv und Odessa trotz drastischer Reisewarnungen absolvierte.

Doch Reuter - ein von seiner Kreativität Getriebener, der schon immer eigenwillig seinen Weg ging - schwor sogar darüber hinaus, in absehbarer Zeit mit der kompletten Band zurückzukehren. Einige Monate später, nachdem er mehrere Online-Wohltätigkeitsshows zur Unterstützung der Ukraine gespielt hatte, kam er zunächst für einen Soloauftritt zurück und war damit der erste ausländische Künstler, der seit Beginn des Krieges ein komplettes Konzert auf ukrainischem Boden absolvierte. Dieser Auftritt im Juli 2022 wurde genutzt, um Spenden für eine Flüchtlingsunterkunft in Lwiw zu sammeln. Auf den Tag genau ein Jahr nach Reuters letztem Auftritt in Kyiv, löste er dann sein Versprechen ein und spielte zum ersten Jahrestag des Kriegsbeginns zwei mittlerweile geschichtsträchtige Full-Band-Shows mit ROME in Lwiw und Kyiw.

Reuters Unterstützung für den Freiheitskampf der Ukraine ist für jeden, der das bisherige Schaffen von ROME kennt, keine Überraschung. Seit fast zwei Jahrzehnten besingt Reuter die europäische Solidarität und Kultur, und so ist es nur eine logische Konsequenz, dass er nun mit "Gates of Europe" eine konzeptionelle Arbeit über den anhaltenden Krieg in Europa veröffentlicht.

Das Album beginnt mit einem Paukenschlag - einer unheilvollen und bedrohlichen Collage der Klänge des 24. Februar 2022, der ersten Stunde des Einmarsches - und führt mit minutiös geschliffenen Kleinoden fast chronologisch durch das erste Kriegsjahr. Auf "Gates of Europe" werden traditionelles Songwriter-Handwerk mit raffinierter Poesie und ungewöhnlichen Arrangements zu einem Gesamtkunstwerk verschmolzen. Die 14 Lieder sind packende Momentaufnahmen der inneren Befindlichkeit des Landes, das sich dem Sturm wider Erwarten entschlossen entgegenstellt. Und so ist "Gates of Europe" vor allem eines: Bekenntnis zu einem freien Europa aus der Feder eines Mannes, der mit tausend Fäden an vergangene Jahrhunderte gespannt zu sein scheint und doch in seinem Werk die zeitlose Zeit anvisiert.

Dieses Album scheint in vielerlei Hinsicht der Höhepunkt aller bisherigen Arbeiten Reuters zu sein, so als ob die letzten zwei Jahrzehnte nur der Übungsplatz für diesen Moment in der europäischen Geschichte waren. In mehr als 50 offiziellen Veröffentlichungen, darunter etwa 20 Studioalben, Live-Sessions und verschiedene andere offizielle Veröffentlichungen, hat es ROME geschafft, eine ganz eigene künstlerische Welt zu schaffen und sich eine starke und treue Anhängerschaft in Europa und der ganzen Welt aufzubauen.

Das Engagement für die Ukraine ist für den überzeugten Europäer Reuter eine Selbstverständlichkeit und doch in seiner Kompromisslosigkeit vorbildlich.

To Life!

- Schwarzes, 180 Gramm schweres 12" Vinyl
- Extra audiophiler Tonträger von hoher Qualität - deutsche Pressung!
- Opulentes Gatefold Cover
- Gatefold im Inside-Out Druckverfahren bedruckt
- 20-seitiges Vinylbooklet aus speziellem, rauem Papier
- Alle Grafiken in einem der Bildwelten würdigen Großformat (ca. 30 x 30cm)
- Mehrfarbig bedruckte Innenhülle
- Innenhülle aus speziellem, rauem Papier
- Mehrfarbig bedruckte Vinyletiketten
- Zertifikat von Jérôme Reuter handnummeriert und signiert
- Limitiert auf 500 Exemplare

Jerome Reuters Musikprojekt ROME verbindet mehr mit der Ukraine als der gelegentliche Gastauftritt. Seit 2015 bereist der Luxemburger Singer-Songwriter auf seinen Europatourneen das Land regelmäßig für Konzerte. So auch im Februar 2022, als Reuter nur wenige Tage vor der großen russischen Invasion noch Soloauftritte in Kyiv und Odessa trotz drastischer Reisewarnungen absolvierte.

Doch Reuter - ein von seiner Kreativität Getriebener, der schon immer eigenwillig seinen Weg ging - schwor sogar darüber hinaus, in absehbarer Zeit mit der kompletten Band zurückzukehren. Einige Monate später, nachdem er mehrere Online-Wohltätigkeitsshows zur Unterstützung der Ukraine gespielt hatte, kam er zunächst für einen Soloauftritt zurück und war damit der erste ausländische Künstler, der seit Beginn des Krieges ein komplettes Konzert auf ukrainischem Boden absolvierte. Dieser Auftritt im Juli 2022 wurde genutzt, um Spenden für eine Flüchtlingsunterkunft in Lwiw zu sammeln. Auf den Tag genau ein Jahr nach Reuters letztem Auftritt in Kyiv, löste er dann sein Versprechen ein und spielte zum ersten Jahrestag des Kriegsbeginns zwei mittlerweile geschichtsträchtige Full-Band-Shows mit ROME in Lwiw und Kyiw.

Reuters Unterstützung für den Freiheitskampf der Ukraine ist für jeden, der das bisherige Schaffen von ROME kennt, keine Überraschung. Seit fast zwei Jahrzehnten besingt Reuter die europäische Solidarität und Kultur, und so ist es nur eine logische Konsequenz, dass er nun mit "Gates of Europe" eine konzeptionelle Arbeit über den anhaltenden Krieg in Europa veröffentlicht.

Das Album beginnt mit einem Paukenschlag - einer unheilvollen und bedrohlichen Collage der Klänge des 24. Februar 2022, der ersten Stunde des Einmarsches - und führt mit minutiös geschliffenen Kleinoden fast chronologisch durch das erste Kriegsjahr. Auf "Gates of Europe" werden traditionelles Songwriter-Handwerk mit raffinierter Poesie und ungewöhnlichen Arrangements zu einem Gesamtkunstwerk verschmolzen. Die 14 Lieder sind packende Momentaufnahmen der inneren Befindlichkeit des Landes, das sich dem Sturm wider Erwarten entschlossen entgegenstellt. Und so ist "Gates of Europe" vor allem eines: Bekenntnis zu einem freien Europa aus der Feder eines Mannes, der mit tausend Fäden an vergangene Jahrhunderte gespannt zu sein scheint und doch in seinem Werk die zeitlose Zeit anvisiert.

Dieses Album scheint in vielerlei Hinsicht der Höhepunkt aller bisherigen Arbeiten Reuters zu sein, so als ob die letzten zwei Jahrzehnte nur der Übungsplatz für diesen Moment in der europäischen Geschichte waren. In mehr als 50 offiziellen Veröffentlichungen, darunter etwa 20 Studioalben, Live-Sessions und verschiedene andere offizielle Veröffentlichungen, hat es ROME geschafft, eine ganz eigene künstlerische Welt zu schaffen und sich eine starke und treue Anhängerschaft in Europa und der ganzen Welt aufzubauen.

Das Engagement für die Ukraine ist für den überzeugten Europäer Reuter eine Selbstverständlichkeit und doch in seiner Kompromisslosigkeit vorbildlich.

To Life!

- Schwarzes, 180 Gramm schweres 12" Vinyl
- Extra audiophiler Tonträger von hoher Qualität - deutsche Pressung!
- Opulentes Gatefold Cover
- Gatefold im Inside-Out Druckverfahren bedruckt
- 20-seitiges Vinylbooklet aus speziellem, rauem Papier
- Alle Grafiken in einem der Bildwelten würdigen Großformat (ca. 30 x 30cm)
- Mehrfarbig bedruckte Innenhülle
- Innenhülle aus speziellem, rauem Papier
- Mehrfarbig bedruckte Vinyletiketten
- Zertifikat von Jérôme Reuter handnummeriert und signiert
- Limitiert auf 500 Exemplare

Night Owl, newly remastered at half-speed by Miles Showell at Abbey Road Studios, out on 25th August 2023. Originally released in 1979, Rafferty’s third studio album, Night Owl, reached the top 10 in the UK. It's since gone platinum in Canada and gold in the UK and US and features the tracks 'Get It Right Next Time' and 'Days Gone Down (Still Got the Light in Your Eyes)'.
With hits such as ‘Baker Street’, ‘Right Down The Line’ and ‘Night Owl’, Gerry Rafferty is one of Scotland’s and the UK’s finest songwriters and musicians in history. He first found success as part of the band The Humblebums, which included beloved comedian, actor and musician Billy Connolly. Rafferty went on to form Stealers Wheel with old school friend Joe Egan, who produced a number of successful albums alongside the rock classic Stuck In The Middle With You, a track which has transcended generations with notable syncs in films such as Tarantino’s Resevoir Dogs, and is still widely popular to this day. Following his departure from Stealers Wheel, Rafferty relaunched his solo career in 1978 with the album City To City, including hits such as ‘Right Down The Line’ and ‘Baker Street’, which features the iconic saxophone solo by Raphael Ravenscroft. Rafferty went on to release ten studio albums, solidifying his status one of the finest musicians and songwriters to come out of the UK.

Snakes and Ladders, newly remastered at half-speed by Miles Showell at Abbey Road Studios, out on 25th August 2023. Originally released in 1980, the fourth album from Gerry Rafferty includes "The Garden Of England" which was recorded at Beatles producer George Martin's AIR studio in Montserrat and "Johnny's Song", a remake of a song previously released by his former band Stealer's Wheels.
With hits such as ‘Baker Street’, ‘Right Down The Line’ and ‘Night Owl’, Gerry Rafferty is one of Scotland’s and the UK’s finest songwriters and musicians in history. He first found success as part of the band The Humblebums, which included beloved comedian, actor and musician Billy Connolly. Rafferty went on to form Stealers Wheel with old school friend Joe Egan, who produced a number of successful albums alongside the rock classic Stuck In The Middle With You, a track which has transcended generations with notable syncs in films such as Tarantino’s Resevoir Dogs, and is still widely popular to this day. Following his departure from Stealers Wheel, Rafferty relaunched his solo career in 1978 with the album City To City, including hits such as ‘Right Down The Line’ and ‘Baker Street’, which features the iconic saxophone solo by Raphael Ravenscroft. Rafferty went on to release ten studio albums, solidifying his status one of the finest musicians and songwriters to come out of the UK.

The 12th instalments on the label is signed by NeuGrau a brand new project from Ingmar Pauli and Saša Rajković. Their sound brings to mind rough 80s/90s dark wave with a punk/rock tinge and bass guitar as the lead instrument.

The duo is hard to pin down: synth mixture, prominent bass guitar, solid basslines and drums in tight lockstep, all with Saša Rajković’s fascinating vocal signature alongside.

Beneath The Skin flexes the songwriting muscle and spirit of the duo’s aesthetic, inspired by an entirely set of circumstance and vocabulary. No matter what situation the duo finds themselves in, every song gets an individualized treatment while building a larger story. NeuGrau’s feel is a musical manifesto of the current society disease and socially regressive technology.

Obwohl Wasser auf den ersten Blick geschmeidig und veränderlich wirkt, kann es plötzlich hart und wild werden. Daher ist Wasser das perfekte Element für "Aion", das dritte Album der deutschen Psychedelic Doom Erneuerer BEES MADE HONEY IN THE VEIN TREE. Lyrisch erscheint Wasser auf "Aion" sowohl als Lebensspender als auch aufgrund seiner dunklen und bedrohlichen Seite. Musikalisch liefern BEES MADE HONEY dynamische, weitläufige Kompositionen, die von schwebender Ruhe bis hin zu wütenden Ausbrüchen reichen. Die konstante Gezeitenbewegung der musikalischen Ebbe und Flut übersetzt sich in spacige Gitarren, tropfende Basslinien und flüssige Drum-Fills, gekrönt von hallenden Clean-Gesängen. Der Albumtitel leitet sich vom griechischen Wort ???? (ai?n) ab, das übersetzt "Ewigkeit" bedeutet und im englischen Wort "aeon" für "Zeitalter" steht. BEES MADE HONEY IN THE VEIN TREE werden 2014 in Stuttgart gegründet. Da sich alle vier Mitglieder seit ihrer Kindheit kennen und einen akademischen Hintergrund haben, definiert die Band von Anfang an klare Ziele: An erster Stelle steht die Klangvision, krachende Doom-Metal-Riffs mit den sphärischen Klängen von Post- und Psychedelic-Rock zu kontrastieren. BEES MADE HONEY legen ihr musikalisches Konzept bereits mit dem Debütalbum "Medicine" im Jahr 2017 fest, das die solide Grundlage für ihren sich ständig weiterentwickelnden Sound bildet. Das zweite Album "Grandmother" (2019) erweitert den Soundhorizont durch tiefer gestimmte Gitarren, verdichtete Effekte, schnellere Passagen und einen härteren Gesangsstil. Die Schwaben treten außerdem im In- und Ausland vor einem stetig wachsenden Publikum auf, was zur Aufnahme und Veröffentlichung von "Harvestmen (live)" im Jahr 2022 führt. Setzt die Segel und gleitet mit BEES MADE HONEY IN THE VEIN TREE über die Zeitmeere von "Aion" auf der Suche nach der Schönheit der Ewigkeit.

Obwohl Wasser auf den ersten Blick geschmeidig und veränderlich wirkt, kann es plötzlich hart und wild werden. Daher ist Wasser das perfekte Element für "Aion", das dritte Album der deutschen Psychedelic Doom Erneuerer BEES MADE HONEY IN THE VEIN TREE. Lyrisch erscheint Wasser auf "Aion" sowohl als Lebensspender als auch aufgrund seiner dunklen und bedrohlichen Seite. Musikalisch liefern BEES MADE HONEY dynamische, weitläufige Kompositionen, die von schwebender Ruhe bis hin zu wütenden Ausbrüchen reichen. Die konstante Gezeitenbewegung der musikalischen Ebbe und Flut übersetzt sich in spacige Gitarren, tropfende Basslinien und flüssige Drum-Fills, gekrönt von hallenden Clean-Gesängen. Der Albumtitel leitet sich vom griechischen Wort ???? (ai?n) ab, das übersetzt "Ewigkeit" bedeutet und im englischen Wort "aeon" für "Zeitalter" steht. BEES MADE HONEY IN THE VEIN TREE werden 2014 in Stuttgart gegründet. Da sich alle vier Mitglieder seit ihrer Kindheit kennen und einen akademischen Hintergrund haben, definiert die Band von Anfang an klare Ziele: An erster Stelle steht die Klangvision, krachende Doom-Metal-Riffs mit den sphärischen Klängen von Post- und Psychedelic-Rock zu kontrastieren. BEES MADE HONEY legen ihr musikalisches Konzept bereits mit dem Debütalbum "Medicine" im Jahr 2017 fest, das die solide Grundlage für ihren sich ständig weiterentwickelnden Sound bildet. Das zweite Album "Grandmother" (2019) erweitert den Soundhorizont durch tiefer gestimmte Gitarren, verdichtete Effekte, schnellere Passagen und einen härteren Gesangsstil. Die Schwaben treten außerdem im In- und Ausland vor einem stetig wachsenden Publikum auf, was zur Aufnahme und Veröffentlichung von "Harvestmen (live)" im Jahr 2022 führt. Setzt die Segel und gleitet mit BEES MADE HONEY IN THE VEIN TREE über die Zeitmeere von "Aion" auf der Suche nach der Schönheit der Ewigkeit.

The second release of Dynamic Reflection's Time Crystals series explores the deeper end of the musical spectrum somewhat. Function's opening track delivers almost ten minutes of downtempo modulations before Viels' Fragile kicks in: punchy, gritty and dancefloor oriented.

Dynamic Reflection head honchos and curators Abstract Division give a 'less is more' college with Convolution, keeping tension high at all times without ever dropping the kick for more than a couple of beats. The closing track sees Ben Buitendijk, Shoal and Vand collaborating under their DOM moniker for this special occasion, delivering a piece of trippy and stubborn techno.

Quantum Realm is part of Dynamic Reflection's 15 year anniversary celebration: Time Crystals. This is the second of five EP's. Own all five and an all new, visual piece of art will appear.

After the success of the earlier releases, The TFunk Collective teams up with Atomphunk for his debut track for Regulate Recordings on the labels fifth release. Atomphunk has deep house roots and productions on labels such as Toko Records, 3AM Recordings, Deepfunk Records (USA) and more recently Manuscript Records and he brings his A game to the flip side for this release.

‘Since I fell for you’ takes its influence from classic 90s street soul. It blends classic horns, phat drums, a Jupiter synth base line, delicious keys, all layered with a delightful vocal to create an upbeat summer anthem.

‘Come Boogie’ has a classic 70s disco vibe with its infectious brass and strings driven along by solid drums and a funky rhythm guitar and a squelchy bass line.

The summer of 2016 marked the fortuitous meeting of two talented musicians, Zaidi Kiggundu (Ziggy Funk) and Jamie Mcshane, at a music festival. Sharing a love for Funk, Jazz, and Soul music, the duo knew they had to collaborate on a project together. Both Zaidi and Jamie had established music careers, bringing their unique backgrounds and experiences to the table. They also had their own music labels, contributing to their respective scenes.

Their collaboration began with a series of demo sessions at Jamie's studio in Scotland. Together, they laid down the foundation for their debut album, which they named 'Fortuitous.' This album fused Funk, Jazz, and Soul with a contemporary touch, paying homage to the classic albums of the past that deeply inspired them. Despite facing challenges such as scheduling conflicts and the disruptive impact of the COVID-19 pandemic, Zaidi and Jamie remained committed to completing the project.

To bring their musical vision to life, they enlisted the help of top-notch musicians on horns, including Ewan Mains, Konrad Wisniewski, and James Steele. With their contributions, the album 'Fortuitous' delivers solid grooves and captivating arrangements, showcasing the duo's dedication to their craft. The quality of the music caught the attention of Splash Music, who eagerly embraced the project. What started as a chance encounter and a few simple ideas many years ago has now transformed into a fully realized album, ready to be released to the world for everyone to enjoy.

The electronic, experimental group Gravité from San Fransisco is releasing their third album ”III” on Höga Nord Rekords. Their sound varies from motorik and beat driven, airy compositions to heavier denser numbers with swelling pads, glittering arpeggios and powerful Moog basses.

”III”’s balanced production gives the elements in the music room to breath and the tracks on the album often stands on a solid 80’s foundation; ”Into The I” sounds like an hommage to classic arcade game soundtracks but without modern Retrowave pastiches. ”Elation” on the other hand is three and a half minutes of cool and refreshing oceanspray. Gravité moves effortlessly over genres and moods, merging some of the finest moments of analog electronic music.

Like migrating birds, Matthew Riley and Aaron Diko seem have an inner pathfinder, leading them right no matter what musical airspace they’re flying in.

Rebellion ist aktuell in aller Munde, aber DYMNA LOTVA haben dafür gewichtige persönliche Gründe: Das Duo musste aus seinem Heimatland Belarus aufgrund politischer Verfolgung fliehen. Die Kunst der Metal-Band wird von der Lukaschenka-Diktatur aktuell zensiert und unterdrückt. Doch auch auf ihrem dritten Album, "The Land under the Black Wings: Blood" singen DYMNA LOTVA weiterhin von Trauer und Schmerz. Dabei haben die Belarussen hörbar ihren markanten Stil dynamisch weiterentwickelt. Über einem soliden Black Metal Fundament, das auch Bausteine aus dem Doom und traditioneller Musik enthält, baut das Duo mit Hilfe von melancholischen, eindringlichen Melodien emotionalere und gewaltigere musikalische Strukturen auf. Die Texte von DYMNA LOTVA basieren auf wahren Geschichten aus ihrer Heimat. Diese stammen aus Berichten voller Leid, die das Duo in historischen Archiven und in der Folklore findet - während in ihrem Land an jedem Tag neue Schreckenstaten hinzukommen. Komponist und Multiinstrumentalist Jauhien Charkasau sowie Sängerin Katsiaryna "Nokt Aeon" Mankevich datieren die Gründung von DYMNA LOTVA präzise auf den 8. November 2015. Am diesen Tag entzündete die Nachricht, dass die belarussische Schriftstellerin Swetlana Alexandrowna Alexijewitsch den Literaturnobelpreis erhalten hat, das musikalische Feuer der Band. Noch am gleichen Tag schuf das Duo seinen ersten Song, der von der Nuklearkatastrophe von Tschernobyl inspiriert wurde. Dieser erschien im Jahr 2016 als Single unter dem Titel ("A Solitary Human Voice"). DYMNA LOTVAs erstes Album "The Land under the Black Wings: Swamp" kam noch im gleichen Jahr heraus. Das Debüt stellt auch den ersten Teil einer konzeptionellen Trilogie über Belarus dar. Mit dem Nachfolger, "Wormwood" der nicht zur geplanten Album-Trilogie zählt, kehren DYMNA LOTVA im Jahr 2017 zum Thema Tschernobyl zurück. Nach den gefälschten Wahlen im Jahr 2020 unterstützte DYMNA LOTVA offen die Proteste gegen den Diktator Lukaschenka. Nach einem politisch motivierten Prozess gegen den Metal-Sänger Lesley Knife, der auch als Gast auf der Single 'To Freedom' zu hören ist, werden alle geplanten Konzerte von DYMNA LOTVA offiziell verboten und die Live-Besetzung der Band ist zur Auflösung gezwungen. Sängerin Nokt Aeon kann ihrer politisch motivierten Verhaftung nur durch Flucht außer Landes entgehen. Das Duo will sich in der Ukraine treffen, als der russische Überfall den Plan zunichte macht. Nach zwei Wochen schweren Bombardements durch Russland und harten Kämpfen um Irpin gelingt Nokt Aeon die Flucht aus der Stadt. Beide Musiker finden schließlich Aufnahme in Polen. Für DYMNA LOTVA ist die Veröffentlichung von "The Land under the Black Wings: Blood" daher auch ein Akt des Widerstands. Ihre Musik kann auf mehr als eine Weise gehört werden: Es handelt sich zunächst, nur für sich genommen, um ein wundervoll melancholisches, zeitgenössisches Metal-Album auf der dunklen Seite des Genres; mit einem hörbar belarussischen Einschlag. Doch aus einer erweiterten künstlerischen Perspektive betrachtet, ist DYMNA LOTVAs "The Land under the Black Wings": Blood" ein klagender, wütender Schrei nach Freiheit und Gerechtigkeit!

Rebellion ist aktuell in aller Munde, aber DYMNA LOTVA haben dafür gewichtige persönliche Gründe: Das Duo musste aus seinem Heimatland Belarus aufgrund politischer Verfolgung fliehen. Die Kunst der Metal-Band wird von der Lukaschenka-Diktatur aktuell zensiert und unterdrückt. Doch auch auf ihrem dritten Album, "The Land under the Black Wings: Blood" singen DYMNA LOTVA weiterhin von Trauer und Schmerz. Dabei haben die Belarussen hörbar ihren markanten Stil dynamisch weiterentwickelt. Über einem soliden Black Metal Fundament, das auch Bausteine aus dem Doom und traditioneller Musik enthält, baut das Duo mit Hilfe von melancholischen, eindringlichen Melodien emotionalere und gewaltigere musikalische Strukturen auf. Die Texte von DYMNA LOTVA basieren auf wahren Geschichten aus ihrer Heimat. Diese stammen aus Berichten voller Leid, die das Duo in historischen Archiven und in der Folklore findet - während in ihrem Land an jedem Tag neue Schreckenstaten hinzukommen. Komponist und Multiinstrumentalist Jauhien Charkasau sowie Sängerin Katsiaryna "Nokt Aeon" Mankevich datieren die Gründung von DYMNA LOTVA präzise auf den 8. November 2015. Am diesen Tag entzündete die Nachricht, dass die belarussische Schriftstellerin Swetlana Alexandrowna Alexijewitsch den Literaturnobelpreis erhalten hat, das musikalische Feuer der Band. Noch am gleichen Tag schuf das Duo seinen ersten Song, der von der Nuklearkatastrophe von Tschernobyl inspiriert wurde. Dieser erschien im Jahr 2016 als Single unter dem Titel ("A Solitary Human Voice"). DYMNA LOTVAs erstes Album "The Land under the Black Wings: Swamp" kam noch im gleichen Jahr heraus. Das Debüt stellt auch den ersten Teil einer konzeptionellen Trilogie über Belarus dar. Mit dem Nachfolger, "Wormwood" der nicht zur geplanten Album-Trilogie zählt, kehren DYMNA LOTVA im Jahr 2017 zum Thema Tschernobyl zurück. Nach den gefälschten Wahlen im Jahr 2020 unterstützte DYMNA LOTVA offen die Proteste gegen den Diktator Lukaschenka. Nach einem politisch motivierten Prozess gegen den Metal-Sänger Lesley Knife, der auch als Gast auf der Single 'To Freedom' zu hören ist, werden alle geplanten Konzerte von DYMNA LOTVA offiziell verboten und die Live-Besetzung der Band ist zur Auflösung gezwungen. Sängerin Nokt Aeon kann ihrer politisch motivierten Verhaftung nur durch Flucht außer Landes entgehen. Das Duo will sich in der Ukraine treffen, als der russische Überfall den Plan zunichte macht. Nach zwei Wochen schweren Bombardements durch Russland und harten Kämpfen um Irpin gelingt Nokt Aeon die Flucht aus der Stadt. Beide Musiker finden schließlich Aufnahme in Polen. Für DYMNA LOTVA ist die Veröffentlichung von "The Land under the Black Wings: Blood" daher auch ein Akt des Widerstands. Ihre Musik kann auf mehr als eine Weise gehört werden: Es handelt sich zunächst, nur für sich genommen, um ein wundervoll melancholisches, zeitgenössisches Metal-Album auf der dunklen Seite des Genres; mit einem hörbar belarussischen Einschlag. Doch aus einer erweiterten künstlerischen Perspektive betrachtet, ist DYMNA LOTVAs "The Land under the Black Wings": Blood" ein klagender, wütender Schrei nach Freiheit und Gerechtigkeit!

Los Angeles born Nita Strauss has become a force in music. After reaching mass acclaim with her first album, Controlled Chaos, she returns with her second full-length on Sumerian Records, The Call Of The Void. Featuring the highly popular "Dead Inside," and "The Wolf You Feed," the album is a combination of melodic sounds and hard-hitting riffs that Strauss has become known for, proving time and time again that she has solidified her presence as one of Rock's greatest

A complex and sometimes belligerent character in real life, on record,
John Martyn was the epitome of the folk-dreamer, embodying the spirit
of the bourgeoning London acoustic scene of the late 60s
Well- known and respected for his 70s albums Solid Air and One World, this is
where it began.John Martyn met Beverley Kutner and the pair married in 1969.
Kutner was a dazzling folk singer who had been invited by Paul Simon to sing on
Simon & Garfunkel's Bookends album. It was obvious that two such talents united
in love should also unite in music. Stormbringer! – produced by Joe Boyd – was
the first of two albums billed to both of them.
Recorded in Woodstock, the album featured The Band's Levon Helm on drums on
Beverley's standout, eight-minute long Sweet Honesty. Not to be overshadowed
John also contributed John The Baptist, one of his career highlights, with
Beverley adding sweet backing vocals.
This re-issue faithfully replicates the original 1970 Island Records UK release and
is pressed onto high quality 180g vinyl.

A complex and sometimes belligerent character in real life, on record,
John Martyn was the epitome of the folk-dreamer, embodying the spirit
of the bourgeoning London acoustic scene of the late 60s
Well- known and respected for his 70s albums Solid Air and One World, this is
where it began.The second and final John and Beverley album, The Road To Ruin
came out in late 1970; it is a mature, fully realised work, and a glimpse of what
would have happened had Island not encouraged John to go back to being a solo
artist. Opener Primrose Hill was later sampled by Fat Boy Slim, and the John-led
Parcels offers a template for what would become his signature style as the
decade progressed. It is one of those rare albums that creates its own
atmosphere, late night intensity, middle age soul.
This re-issue faithfully replicates the original 1970 Island Records UK release and
is pressed onto high quality 180g vinyl.

When he first came on the scene, Phil Woods was often referred to as
"The New Bird," in a nod to the legendary Charlie Parker - A testament to
his genius on the saxophone to be sure
But while obviously indebted to Parker - as all modern jazz saxophonists of a
certain era were - there is no question that Phil Woods was an original. After
earning a degree in music from Juilliard in the early 1950's, Woods found himself
in the orbit of the great Quincy Jones. At Jones' invitation Woods joined Dizzy
Gillespie's infamous Jazz Ambassadors - a tour sponsored by the US State
Department as part of a global cultural diplomacy initiative - and subsequently
became a member of Jones' own touring band. This recording, his 9th album as a
band leader, consists entirely of Woods' five- part Rights of Swing Suite. An
ambitious large-scale composition based solidly on jazz traditions. A culmination
of the influences the then 30 year artist had absorbed. Arguably considered one
of Woods finest recordings, the record features a stellar section made up of
Wood's fellow Quincy Jones band members. (It should be noted that these same
musicians, for the most part, are also the section on Benny Bailey's Candid
Records recording, Big Brass, recorded a a few months prior in November of
1960). Recorded at the Nola Penthouse Studios in New Your City on two dates in
January and February of 1961, and conducted by Quincy Jones. The LP includes
extraordinary liner notes by Candid A&R man and producer Nat Hentoff, and indepth commentary from Woods himself, giving a context and insight that adds to
the experience of hearing these extraordinary performances

On January 28, 2022, Lady Wray released her Piece Of Me album. A deeply personal record that takes on the good and the bad in life from deception and abuse to the joys of motherhood and triumph. The accolades the album has received in the year it has been out speak volumes. Performing on The Stephen Colbert Show, selling out multiple US tours, cleaning up in the best of 2022 lists, and then crushing an NPR Tiny Desk on the 1 year anniversary of the album.

Piece Of Me continues to find its way to new ears and has already proved itself a timeless classic. So where do you go from here? When Ghostface Killah reaches out and says he wants to do a remix of the title track you do that. The A side, "Piece Of Me" (Remix) features Ironman himself who puts down a verse about a relationship that ran its course but no one is sure they did the right thing in. Ghostface sounds right at home over the gully Leon Michels produced track and takes the already rock solid tune to another level. Then what do you do for a B side.... You call The Chocolate Boy Wonder, Pete Rock and get him to remix "Joy & Pain". Pete takes one of the stand out tunes on the album and gives it an entirely different energy with thundering drums and a bassline that shake the windows in the car.

Pretty Sneaky slips deep down the dub-hole for the sweet 4 tracker on Private Stress (Brussels). Refined stuff. TIP!

The sneaky one is slowly carving out quite a reputation with a super-solid back catalogue of releases next to some ultra dope radio shows and DJ appearances.

Yasushi Ide, the Japanese Street Music Icon Unleashed "Cosmic Suite 2" in a Revolutionary Blend of Genres.

Yasushi Ide, the revered figure in Japanese street music, has recently unveiled his latest musical opus titled "Cosmic Suite 2," a rebel music masterpiece that pushes the boundaries of musical genres.

This groundbreaking album features collaborations with esteemed pioneers including Afrika Bambaataa, Don Letts, Josh Millan, Jeff Mills, DJ Krush, Tony Allen, and more. By transcending the limitations of time, genre, and even mortality, Ide has crafted a truly unique and eclectic street music experience unlike anything seen before.
Notably, Ide enlisted the expertise of Grammy-winning sound engineer Steven Stanley to embark on the reconstruction of "Cosmic Suite 2" using his renowned dub mix techniques. The outcome of this collaboration is the birth of "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub," a mesmerizing rendition that showcases the genius of both artists.

Hailing from Jamaica, Steven Stanley is a highly regarded sound engineer and producer whose illustrious career spans several decades, primarily in the realms of reggae, dub, and rock music. Having worked with acclaimed acts such as Talking Heads, Black Uhuru, and Tom Tom Club, Stanley has solidified his status as a living legend within the industry. His contributions to Tom Tom Club's "Genius of Love" and his Grammy-winning work on Black Uhuru's "Anthem" further exemplify his unparalleled expertise. Additionally, Stanley has collaborated with notable artists including Grace Jones and B-52's.

In "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub," Stanley expertly integrates elements from the original "Cosmic Suite 2" tracks, employing his unique dubbing techniques to enhance the sonic experience. Through the addition of his signature dubby reverb and other distinctive sound manipulations, Stanley elevates the album to an entirely new dimension.
"The Battle" Transformed into an Enchanting Disco Dub Experience, Infused with Stanley's Horn Section Effects for a smoky ambience.

In the mesmerizing track "Galactic Beats," the legendary Afrobeat pioneer Tony Allen's powerful drums take center stage. Skillfully applying his dub effects, Stanley adds vibrant layers and new dimensions to the composition, further enhancing its sonic palette.
Another standout is the dub version of "LAVA," featuring acclaimed Japanese singer UA. The track, which was already a fan favorite in its original form, undergoes a remarkable transformation in this dub rendition, further accentuating its appeal.

"Outer Space" Transcends Time and Genre with a Dream Collaboration Between the Late Legendary Reggae Drummer Style Scott and Japan's Turntablist Extraordinaire, DJ Krush. While the original track exudes a stoic and deep cosmic dub essence, Stanley ingeniously reimagines it as a nostalgic old-school dancehall masterpiece.

"Sumimasen" is a track that exemplifies Stanley's mastery, where the unique Japanese word "Sumimasen" (meaning "I'm sorry") is transformed into a psychedelic and deeply immersive dub journey. The track features captivating echoes on the vocals and twisted synth elements, transporting listeners to a cosmic realm of sonic exploration.
Furthermore, it is crucial to highlight "Hear, There, and Beyond," a collaboration between Yasushi Ide, Kan Takagi, the pioneering figure of Japanese hip-hop, and RECK, the bassist from the legendary punk rock band FRICTION. This reconstructed version takes the original track to unprecedented heights. With a remarkable shift to tribal drums in the midst of the song, the energy intensifies, resulting in a wild and exhilarating musical experience.
The reconstruction of this album evokes memories of Mad Professor's "No Protection," a renowned dub reconstruction of Massive Attack's work that remains an enduring masterpiece in the genre. With its exceptional craftsmanship and artistic vision, "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub" has the potential to be regarded as another timeless dub reconstruction masterpiece, solidifying its place in music history.

From the city of Tampere, Finland, comes Type-303 with a brand new EP ”Näsinpuisto” on a new local label VERRAZZANO. This time we take a detour from his usual acid sounds and head to the park for summer vibes.

Taking inspiration from early 90’s Italo house and balearic scene, ”Näsinpuisto” EP gives four sunny, mysterious and long drink fuelled cuts to cheer up the thirsty crowd.

Opening with a lovely haunting flute melody, ”Is It Magic” asks the question if there is some special magic in northern summer days, and the answer is fairy whistling YES! Part nostalgic and part forward looking, the song is relaxing house par excellence.

Second track ”Sexy Sax” sounds something like it was meant for fashion shows in Milan, or to be played at terraces with international tasteful clientele. With solid bass, sophisticated rhythms, sax melody and sea-breeze sounds, 90’s N.Y. house vibes are evident.

”Garden Of Love” is a playful tune that might be playing in the background when you stumble upon a secret garden in the park. The question is dare you enter in? Because Ecstasy comes to those who dare to step out of their comfort zone.

Lastly ”Summer Nights” is a relaxing late evening tune, ending the summer day journey with reassuring sounds in the after glow. Still with enough punch to work great either as set starter, or when you want to chill the dance floor.

Verrazzano calls you to enjoy summer, love and friendships!

Prince Daddy & The Hyena’s first full-length record, I Thought You Didn’t Even Like Leaving, is a collection of songs did a solid job building off of the foundation laid by their previously released Adult Summers EP and showcased a band that was onto something special by effortlessly marrying the worlds of pop music and the throaty, anxiety-fueled punk.

To call Current Affairs a Glasgow band may initially seem misdirection. Though Joan Sweeney (ex-Rose McDowall’s Band, Aggi Doom, The Royal We) is a lifer, Sebastian Ymai (Comidillo Tapes, Pissy, Anxiety) came from Chile via York, recently relocating to Berlin in 2021, and new member Gemma Fleet (The Wharves, Order of the Toad, Dancer) alongside Andrew Milk (Shopping, Pink Pound) were persuaded to leave London for the ‘second city’ after touring through with previous bands. However, Glasgow is the heart and hub of the band’s music, musical life and the place where Off the Tongue was solidified and produced. Their current line up formed in 2020, but the four have been circling each other for years, touring and playing with their previous bands within the close UK network of DIY music. Stalwarts of their respective scenes they finally began working together through the creation of the Spitehouse collective – a project designed to promote Queer and female-fronted music through events mainly held at Transmission Gallery and Glasgow Autonomous Space, putting on many local and international acts (Sneaks, Sacred Paws, Still House Plants and Comfort amongst others). When an opening for a new bassist arrived, Gemma was the obvious compliment, the slogan of Spitehouse being the language of Current Affairs – “Everyone’s welcome, but don’t get it twisted.” Following on from 2019’s singles collection, Object & Subject, the wait for their debut full-length may belie the urgency of its sound. Songs that were written in pieces over a long time and distance, but fully formed in the instant of the recording room across just a few days by producer Ross McGowan at Chime Studio. Current Affairs’ song-writing process has always been collaborative. Songs are developed responsively, with each of the band’s members sending/bringing elements or hooks to each other, but practices being the place where the songs flesh out, structure and are fully realised. These new songs feel a little brighter than their previous offerings, yet still hold true to their propulsive and caterwauling sound. Still embryonic in the most exciting way that that can be. Current Affairs’ music straddles new-wave pop and gothic post-punk in the way that you should expect a Glasgow-Berlin band to do so: with grit and panache. Written from within the world of crumbling services, broken bonds and wounded spirits, Off the Tongue rolls off an ecstatic rage, filled with hope for you, them and everyone else. It’s a rallying cry away from hopelessness, forgiving your fears and laying them to waste. Their album holds a place for you to be angry and to be focussed. In lieu of having anything else, we’ve always got each other, and an uncertain future is open game for us too

Back in stock!

Produced by Philadelphia's Legendary Sonny Hopson, Santiago is Indeed Neftali Santiago from Mandrill who took a break from the band in 1975 and did a little experimenting, this came out of a 6 hour sessions in which 3 tracks were recording, two being on this 45 and is Santiago's only lead vocal to date . The band lasted a year in that time supporting Gil Scott Heron and The Ohio Players live. A two sided disco stormer with all the right ingredients, great guitar hook, solid horn section and great vocal.Essential Disco

Founded in 1971, Matumbi was among the earliest and best British reggae bands. They did, however, also record under different guises, including 4th Street Orchestra. In their acclaimed Rough Guide to Reggae, Steve Barrow and Peter Dalton rate this album (and its counterpart Ah Who She? Go Deh!) as 'the best showcases for Matumbi's talents'. This release marks the first LP reissue of this genuine UK roots monument since 1976.

Original member Dennis “Blackbeard” Bovell (of LKJ and Dub Band fame) knew the local sound system scene like the back of his hand, and most tracks on Leggo! Ah-Fi-We-Dis were initially cut as exclusive 'specials' for his own Jah Sufferer sound system and for fellow soundmen. Hardly anyone hearing these tunes at reggae parties would have guessed they didn't originate in Kingston but were recorded in London. And neither did many who bought the records when they were released a few years later. That's hardly surprising, as the material Bovell & Co churned out could easily compete with the toughest output of their Jamaican counterparts. The solid interpretation of Junior Delgado's "Tichion" and a scorching, melodica-led version of Ras Michael's "None-Ah-Jah-Children" are the most familiar tunes here. And a militant update of Max Steiner's "Theme From A Summer Place" displays good fun as well as guts. But the band's outstanding originals will give many '70s Jamaican classics a good run for their money.

If you are a death metal fan, GRACELESS shouldn’t need an introduction. Three full lengths and two split EPs have granted the Dutch ensemble a respectable reputation across the globe. Closer to home, the four piece has played countless live shows since their 2016 inception. The rock solid line up -unchanged since day one- has delivered ferocious, high energy live performances at Eindhoven Metal Meeting, Into the Grave, Party San Metal Open Air, Ruhrpott Metal Meeting, Stonehenge, SDF2021 and many more festivals and clubs. Joining forces with LISTENABLE RECORDS in 2023 is the next thundering milestone for GRACELESS. Tirelessly working on their fourth full-length, the next chapter for GRACELESS will be another step deeper into the abyss that started with Shadowlands (2018), via Where Vultures Know Your Name (2020), to Chants from Purgatory (2022). For fans of DEATH, ASPHYX, GORGUTS, BOLT THROWER, AMON AMARTH, BLOODBATH

If you are a death metal fan, GRACELESS shouldn’t need an introduction. Three full lengths and two split EPs have granted the Dutch ensemble a respectable reputation across the globe. Closer to home, the four piece has played countless live shows since their 2016 inception. The rock solid line up -unchanged since day one- has delivered ferocious, high energy live performances at Eindhoven Metal Meeting, Into the Grave, Party San Metal Open Air, Ruhrpott Metal Meeting, Stonehenge, SDF2021 and many more festivals and clubs. Joining forces with LISTENABLE RECORDS in 2023 is the next thundering milestone for GRACELESS. Tirelessly working on their fourth full-length, the next chapter for GRACELESS will be another step deeper into the abyss that started with Shadowlands (2018), via Where Vultures Know Your Name (2020), to Chants from Purgatory (2022). For fans of DEATH, ASPHYX, GOREFEST, BOLT THROWER, AMON AMARTH, BLOODBATH

A superb gatefold Sleeve by Mad Karma and a clean powerfull mastering by Stefan ZMK

The music brings a Banging Electro Hardcore, with a solid story telling and lots of sparkling Electro bright frequences... A bit like that Teknosuck 100% DJ Y.
But more in a live-set mode...

An OVNI in the actual music production. And then... A pure pleasure of course !

If you are a death metal fan, GRACELESS shouldn’t need an introduction. Three full lengths and two split EPs have granted the Dutch ensemble a respectable reputation across the globe. Closer to home, the four piece has played countless live shows since their 2016 inception. The rock solid line up -unchanged since day one- has delivered ferocious, high energy live performances at Eindhoven Metal Meeting, Into the Grave, Party San Metal Open Air, Ruhrpott Metal Meeting, Stonehenge, SDF2021 and many more festivals and clubs. Joining forces with LISTENABLE RECORDS in 2023 is the next thundering milestone for GRACELESS. Tirelessly working on their fourth full-length, the next chapter for GRACELESS will be another step deeper into the abyss that started with Shadowlands (2018), via Where Vultures Know Your Name (2020), to Chants from Purgatory (2022). For fans of DEATH, ASPHYX, GOREFEST, BOLT THROWER, AMON AMARTH, BLOODBATH

First time on wax for P.0.3 and BLUMET!!!

Printed sleeve

A1 TRASHIN is a POWERFUL 194 bpm melodic hardfloor banger, old school off beat bass, full of mini breaks and surprises with a stomping kick!! FIRST DEBUT FOR P.0.3 ON VINYL!!!

A2 ANTRAX is a mega TRIBE CORE track with an impressing solid kick and mental melodies. Slowing down a bit to 165 bpm, driving off beat bass and ghosty effects, nice mixing tool!! FIRST DEBUT FOR P.0.3 ON VINYL ALSO!!!

B1 BLUE ANGER is the very first debut on vinyl for BLUMET, 2013 RS7000 drum machine remake. The track recall IVAR THE BONELESS war cry saying "you cannot kill me". Mad 210 bpm angry tune to make the crowd gabber kick the air! Edit and mix from STITCH!

B2 THE NAME OF DOVA is an old school hardfloor unreleased banger at 180 bpm from the infamous UZI. Stomping and deep first part with fidget recalls and digi sound effects, second part goes melodic on a Zelda Epic theme sound like, very cool!

MASTER from the very talented producer and Master engineer 1NC1N.

GRAPHICS from STITCH!!

In loving memory of Darrell - you will be missed. "On Wednesday the 15th of June we lost our best friend, our Bobby. Words can’t describe how shocked and heartbroken we are. The joy, or what he would call ‘hot sauce’, that he brought to our lives has left a massive hole in our hearts. This is a photo taken at our last show on Saturday night. After we finished our set, he said “that was fucken sick, I think that was the best show we have ever played.” Darrell, we will love you forever." Love always, Greg & Steph x Eora/Sydney 3-piece Display Homes are back with new music! The asymmetric guitars, bass grooves and dynamic drums we’ve come to love on their previous two EPs are all there brighter than ever on forthcoming debut album What If You’re Right & They’re Wrong?. It’s raw but sharp, minimalist and danceable. Their pop sensibilities make it accessible while their post-punk leanings make it exciting. We’re calling it now as one of our favourite albums of the year! When I put this on I listen all the way through. The other day two times in a row. Unbelievably catchy. I will love this even years and years from now, for sure. Can’t pick a favorite song. This sounds like it could have been released in any of the last 5-6 decades. Solid, tight songs that warm the soul. I’m picking up on a wide diversity of sounds, from The Pixies to Blondie. Really glad to have stumbled across these guys! Extremely catchy, every song is a bop.

Shapes of Rhythm is proud to present the self-titled debut LP of Turkish psychedelic pop from MLDVA & Çınar Timur. This record is a celebration of the classic music and culture typically of the 70s and 80s, but which also leans into western jazz funk and soul jazz moments. If you're into the Turkish music legends of the 70s and 80s such as Barış Manço and more recently Altın Gün or Derya Yıldırım & Grup Şimşek, you've come to the right place.

MLDVA were formed in Krakow, Poland in 2013 as a DJ and production outfit. Under the influence of Greek and Turkish folk and psych-rock music they began to transform into a band, taking up instruments including the Saz which is one of the most recognisable trademarks of the Turkish sound. Two years later in 2015 they invited Turkish instrumentalist Çınar Timur to join them and this completes the line up on their debut. This electric album is packed with excellently-recorded expansive tracks which are full of energy, psychedelic deep grooves, hard-hitting breakbeats and everything else you'd expect with classic Turkish sounds.

The instrumental double-header of Neşat Erkaş' Zülüf Dökülmüş Yüze, moving into the time-honoured traditional Kozan Dağıis the perfect opening track. The introduction is an overture of sorts with two minutes of Çınar Timur's pondering guitar. This tees up the record perfectly before heading into a break-beat driven workout with the band matching Çınar's evocative and energetic riffing. The result is a tight sound and a heavy groove that sets the tone for what's to come.

With the band unveiled, Sarı Çizmeli Mehmet Ağa, written by Barış Manço (a legend in Turkish popular music), hits a relaxed, deeper and more psychedelic groove, dominated by Wojciech Długosz's dreamy Rhodes piano, set against choppy wah-wah guitar licks that characterize that classic electric Turkish pop sound. We're introduced to Ulaş Çıbuk's vocals for the first time, telling the historic tale of a charitable village lord Mehmet Ağa from 19c Anatolia known for his generosity. He shared his fortune with people inneed and as a result, died penniless. This track also features the unique sound of Çınar's Mictrotonal electric guitar.

Bir Adım Öte is MLDVA & Çınar Timur's magnificent mellow moment, marking the halfway point in their debut. The group shows that it's not all about the frenetic in a nod to western Soul-Jazz constructs. They showcase restraint, emotion and that joy in repetition of a wonderful guitar refrain. Not content with holding this down, Wojciech Długosz's Rhodes solo steps into a world that's US-influenced Soul jazzand is a lesson in reduction and feeling. Çınar Timur then takes a solo turn, keeping it western-influenced with an on the spot improvisation. When the three minutes of solos are over, we're brought back out of thedream and towards the East again.

Adımız Miskindir Bizim kicks off like a hip hop/funk crossover tune, until the chord changes muscle in, to remind you where you are in the world. As with other tracks on the debut, the tune is marked by recurring motifs, this time from Çınar's microtonal electric guitar. We've more solo Rhodes action, thist ime busier and more urgent. The lyrics–originally written by Yunus Emre – criticizevalues such as holding grudges that destroy ideas of love, friendship and peace among people which causes hostility. Adımız Miskindir Bizim concludes with an uplifting vocal vamp which switches it up unlike any of thetracks on the LP.

In Fesupanallah– made most popular by Erkin Koray – Ulaş Çıbuk sings about the simple subject ofbeing patient with never ending problems in life, and trying to find a solution for them. This cut takes a rhythmical side-step to the rest of the album. The kick drum maps out a solid four-four, but the vocals and guitar lines move around it to impose Fesupanallah as being the record's most traditionally Turkish-sounding cut.

The album's closing track Ölüm Allah'ın Emri (another Manço classic) was recorded live in the band's more familiar surroundings of Krakow's Cheder Cafe during 2020's Jewish Culture Festival. The lyrics tell the tale of someone who has accepted death but cannot accept the separation that comes with it. We open with a dreamy, psychedelic mood before progressing into a heavy-riffing rock feeling with probing synths. Ulaş delivers his vocals over the top of a stripped back, shuffling groove. As the track progresses towards a frenetic conclusion, drummer Szymon Piotrowski cuts loose, combining with Grzegorz Dąbek's synth lines.

MLDVA & Çınar Timur's debut LP is not the sound of a band starting out. Taking time to hone their craft and let influences across the global spectrum of music mature, this is the result of years of jamming, gigging and collaborating. Now, after prestigious festival appearances and their place on Saz Power – an essential modern Turkish music compilation – they're making a lasting contribution to a rich, time-honored culture. MLDVA & Çınar Timur releases Friday 30 June 2023 on limited edition vinyl LP and digital download/streaming services on Shapes of Rhythm. Global distribution by Kudos Records.

repressed !

Portuguese sci-fi maker Lewis Fautzi is here again with his very own recipe about how the music of the future should sound like.

His style has evolved to harsher territories lately, with distortion appearing as one of the main components here.

First cut "Induced Pulse" is a broken groove exercise, with pounding kicks and vocal samples providing the introduction while obscure components join the march as the minutes go.

"Undirected Differential" goes straight to the point from the beginning, with obsessive sequences running across a solid paced rhythm. The synth line evolves continuously, changing the filter frequency, mutating and constantly changing.

The B-side opens with "Intense Mechanism", in a galactic mood with one bar arpeggiated sounds, modulated wisely running over a blurred and distorted drum line.

Last slice is "Stimulated Desorption", again hypnosis and repetition as leitmotiv with similar sound components as the previous one but with a more shuffled drum approach.

Habibi Funk is excited to share “Marzipan” - our first full length contemporary release courtesy of Beirut’s multi-instrumental phenom Charif Megarbane, also known as the man behind prolific Cosmic Analog Ensemble. The LP is a journey into Charif’s styling, one he terms “Lebrary”: a vision of Lebanon + Mediterranean expressed through the kaleidoscopic sonics of library music. Drawing from artists that encapsulates the HF sound, such as Ziad Rahbani, Ahmed Malek and Issam Hajali, Charif translates these influences into an LP that is equally at home in ’23. We always wondered why Charif’s music stayed under the radar for so long, that all changes with “Marzipan”.
Charif Megarbane, the staggeringly prolific producer, instrumentalist, and all-around musical mastermind returns with full LP “Marzipan.” Following his previous release of EP “Tayara Warak” in 2022, “Marzipan” is a sonic journey that seeks to capture the full scope of Megarbane’s habitus. As a composer and producer, Megarbane touts hugely versatile, sometimes volatile musicianship — his 100+ catalogue of projects (including legendary groups like the Cosmic Analog Ensemble, Free Association Syndicate, Monumental Detail, etc.) features a huge domain of sonic direction. This collection was previously developed in Megarbane’s own Hisstology label which hosts a wealth of collaborative efforts. Now, Habibi Funk represents Megarbane under his own name. Megarbane finds a sonic through-line in his surrounding soundscapes as he draws on the chaotic energy of the crowded Beirut metropolis (“Souk El Ahad”), the warm atmosphere of the Lebanese countryside (“Chez Mounir”), or the lushness of a Mediterranean beach resort (“Portemilio”). Reflecting the aural composition of his direct surroundings into kaleidoscopic instrumentation provides a unique insight into how one musical phenomenon transposes sight into sound. Habibi Funk is thrilled to share “Marzipan” and finally throttle this under-theradar phenomenon into the solo spotlight. Despite the magnitude of his catalog, Megarbane’s LP sounds as fresh—as resolutely inspired—as a debut record. “Marzipan” continues down the winding path he trod on EP “Tayyara Warak” (released Decmber, 2022) which features solid footing in the hectic city sounds Megarbane hears as home. Despite his obvious musical acumen, Megarbane’s greatest talent seems to be his open ears. In many ways, “Marzipan” is a cartographic feat — it travels and traces a journey across many dimensions (both sonic and physical). Megarbane’s instrumental catalogue is vast: toy glockenspiel, harpsichord, pedal steel, a classic Wurlitzer, et al are used liberally on the record. The resultant sound is as sprawling as the musician’s instrumental dexterity. “Marzipan’s” closing track “Bala 3anouan” can be translated loosely to “without address” — a fitting final word. Despite the entire record being a sincere testament to Megarbane’s environmental approach to music-making, the record is not bound to any particular coordinates, or any particular sound for that matter. The vastness of his influences — beloved artists like Ahmed Malek and Issam Hajali (both Habibi Funk veterans); West African funk deep cuts; European cinematic scores; et al — result in a record of somewhat unparalleled expansiveness. Floating melodies and frantic rhythmic interludes both find natural homes across “Marzipan.” The record is tinged with psychedelic elements—fuzz-drenched guitar, sliding microtonal interludes, hypnotic rhythmic breakdowns. Reflecting on his creative process, Megarbane cites a stream of consciousness approach: “It’s a very spontaneous, playful, and diary-like approach and workflow…I trust my instinct because instinct is based on experience.” Lead single “Souk El Ahad” opens the roll-out with a raucous energy, out June 12. Megarbane abstracts busy city sounds into a psychedelic framework, casting technicolor hues on everyday experience. Following is second single “Pas de Dialogue” out June 23. The track jerks the listener towards a more meditative state with lulling harpsichord and expanding, cinematic sound. “Marzipan” will be available physically and digitally everywhere on July 14, 2023. Be sure to listen for focus track “Chez Mounir” that captures the warmth of community in a joyful, laidback groove.
Uncover greater insight into the world of Charif Megarbane in the booklet accompanying the LP

Excellent Acidcore/Trancecore. Banging solid bass and 303 sounds. Nederland's Acid masterpiece.

For more than a decade, Freak Heat Waves have been steadily amassing a cult following and earning acclaim from both critics and underground aficionados alike. Their music is a heady cocktail that defies easy categorization, blending elements of post-punk, psych, dub, ambient, house, and techno.

Their eclectic sound has served as the soundtrack to countless DIY punk shows, outsider galleries and sleazy discos, establishing the duo as iconoclasts with a reputation for ignoring expectations and subverting genre conventions. While at times, the term ‘acquired taste’ may have seemed fitting, their latest release offers their most alluring output to date.

Mondo Tempo, the duo's fifth LP, released through Vancouver's Mood Hut, was primarily recorded at their home studios in Montreal and Victoria. Building upon the electronic explorations of their previous record, Zap The Planet (Telephone Explosion), they inject their signature sound with a smoother and sweeter blend of dance music. The album’s tracks feature midi smoothness, trance mantras, dancehall grooves, ambient textures and vocal samples, creating a world that is both captivating and immersive.

Notably, the lead single “In A Moment Divine” features a collaboration with Cindy Lee, resulting in a dance floor number that boldly ventures beyond the familiar wheelhouses of both acts. With Mondo Tempo Freak Heat Waves solidify their reputation as one of the most exciting and unpredictable acts around.

Ches Was born in Barbados, and from that faraway small group of islands comes this outstanding piece of Caribbean Soul. Like many of the artists we love, Ches had his fair share of travels and troubles. He dedicated his whole life to music pursuing that ideal of living by the dream we all keep sticking to when it comes to soul music. After the teenage years spent listenting to the sound of the American Black Music legends of the times, whose frequencies made it to the radio stations in the middle of the Atlantic Ocean, he decided to pack up and go big studying music in New York City thus finding he was gifted with songwriting, where he always puts soul, jazz and a touch of reggae music. Wirl label (West Indies Record Ltd.) was his recording home with which he released a number of tunes both solo and with his band The Outfits. He then traveled far and wide, spending a couple of years in Canada (another proof of Canada’s music industry solid ties with the sound from the islands), eventually ending up where Funk Investigators’ patrol member Yann Vatiste has found him and secured the license for this release. Stay tuned for more tales about this man, he might be closer to you than you think.

N8noface is globally acclaimed as one of the most fresh and raw acts of the United States. For his debut in Oráculo N8noface presents an album where reviews some of his classic tracks exploring his most dark and minimal side, but not forgetting his unique new-punk sound for the likes of Sleaford Mods.

His proposal is extremely minimalistic but effective at the same time with that classic 90’s west-coast attitude that could remind even to the best era of Cypress Hill.

The whole thing surely deserves a place in the best vinyl collections. Presented in a one-off truly limited edition of 300 copies, lacquered pressed on 180gr. high quality solid black vinyl. All tracks have been specially restored and remastered for long cut vinyl by Daniel Hallhuber at Young and Cold Studios.