quête:synths

Combining elements of post-rock, trip-hop, and industrial music, HAAL have quickly become cult favourites in the UK live scene. Their psychotropic blend of samples, DIY pedals, and monolithic instrumentation, has seen the band play and tour alongside the likes of Kyoto Kyoto, WEB, Deliluh, Treeboy & Arc, Katy J Pearson, and Gurriers, as well as appearing at festivals such as ArcTanGent, Dot To Dot and more. Coming off the heels of their recent singles “Janus” and “Judy” (and subsequent remixes by Water From My Eyes and Crimewave), the new EP “Back To Shilmarine” arrives as a blistering snapshot of the band’s protean dynamism.

The band celebrate their late-90s / early-00s influences in a caustic yet melodic blend of tracks that nod as much to the output of labels such as Dischord, Touch & Go, and Nothing Records, as they do their contemporaries in the UK scene such as SCALER, Famous, deathcrash, and LICE. The EP sees them bring all these touchstones together to create a unique and uninhibited maelstrom of sound that spans everything from intricate math-inflected guitar lines and pensive vocals to propulsive drumming, totemic riffing, and warped synths.

Arguably some of HAAL’s heaviest material to date, “Platform 1, 18:19” offers the first look into this new material melding motorik rhythms and hypnotic riffs with sudden explosions of noise and power. However, as ever with HAAL, there is more than meets the eye – the track also features samples completely abstracted from their sources, for instance, the drone that begins the song is taken from a video of frontman Alfie Hay and his friends beating Bop It.

Elsewhere on the EP, the lyrics explore themes of cosmic existentialism, absurdism, meaning, transhumanism, inner reflection, science, history, and general philosophy. “All the lyrics are musings or verses that I wrote at very different times in my life” says Hay. “I then had to fit them around the music, despite being written at wildly different periods.” The record was once again recorded with long-time collaborator Alfie Tyson Brown (Katy J Pearson, LICE, Lazarus Kane) at The Louisiana in Bristol. The band have a tight knit collaborative circle around them, this is particularly notable around the band’s imagery

Parallelle & Nicolas Masseyeff return to Crosstown Rebels to deliver the excellent ‘Surrender’, backed by a remix from Axel Boman. Returning to the iconic imprint following the trio’s stand-out ‘Renegade’ EP in 2023, the new collaborative release, set for release on 10th May 2024, welcomes two hypnotic cuts alongside a slick rework from the Studio Barnhus co-founder.

Three talents with a long-standing and innate musical connection stretching back years, Dutch brother duo Parallelle and French DJ/producer Nicolas Masseyef have been connecting and collaborating to shape a series of lauded projects released via renowned imprints such as DGTL, Systematic, and Masseyef’s own Diversions Music. Reuniting for a second outing on Damian Lazarus’ Crosstown
Rebels imprint, following the success of their 2023 debut with the heavily championed ‘Renegade’, the trio return in style with two fresh, original productions backed by an ever-stylish remix from Studio Barnhus co-founder Axel Boman, who returns to deliver his second remix on the label following his debut remixing Dinky in 2016.

The EP’s title track ‘Surrender’ is a rumbling and impactful percussive journey through the darker territories of the night, with skittering synths and echoed vocal interjections adding glimpses of brightness to the otherwise murky sound. Meanwhile, ‘She Says’ keeps the playful vocal elements front and centre, introducing warping melodies and dub-tinged textures. Providing his flip on the latter, Boman’s take on ‘She Says’ is classy and engaging from the off, stripping the track back to expose a raw yet polished interpretation while drawing on hazy pads, eerie tones and sweeping atmospherics for a wonky and trippy excursion.

Another well kept secret from the Italian cult electronic music imprint - Interactive Test. A 4 track EP with a wide range of flavours in "house" music, very much dependent on the different samples employed. A side starts off with a deep house track echoing similar atmospheric qualities as to some of the dancefloor oriented productions making their way into US underground scene around that time, specifically Chicago and Detroit. The Percapella Mix makes the dedication to the Canadian Disco legend Gino Soccio very clear with a lengthy sample of "There's a Woman", a track which uses early electronics in a pioneering way, with what could possibly be one of the first examples of an Acid Bass line. On the B-side, things slow down a a notch with more clear cut explorations in Acid house featuring layers of synths and percussive samples and occasional placement of vocal samples from countries far away from Italy, all made possible thanks to the new exciting technologies that had recently been made available to producers at the time. Remastered by Man Made Mastering in Berlin and re-released with new full cover artwork.

2024 Repress
Clear Vinyl

This is the second installment of the Warm Up Bandcamp Vinyl series and comes again signed by label boss Oscar Mulero. Limited edition vinyl EP with three cuts of merciless techno designed to shake minds and feet.

"Gradual Blending" starts with the core elements up, distorted kicks, shuffled hats, resonant percussive components, super reverberated claps, density and obscurity aligned in an hypnotic structure.

"Evolutionary Decay" is elastic and physical, a solid subbass / kick / hat groove, phased synthetic layers, atmospheres and liquidness: Intelligent tool.

"Natural Resources" relies again on distorted drums, asymmetrical sinoidal sequences and Fm synths all designed in a wise arrangement.

Timeless, hard and mental for the real players out there.

Portland based act Dancing Plague has been a steady presence in the dark/cold electronic music scene for quite a few years now.

Since 2016 Conor Knowles’ solo project has been putting out one constant flow of independent releases on multiple formats such as vinyl LPs, EPs, tapes and CDs, creating one sonic palette rich with Ebm, goth, industrial and synth influences.

On their 5th studio album, Dancing Plague continues to flesh out and perfect their unique brand of crushing darkwave.

Elogium explores themes of loss, regret, rebirth and growth coupled with throbbing basslines, rave synths, and pounding drums. Knowles balances aggressive waves of electronics with enough pop sensibilities and catchy hooks to be inviting to those new to the genre.

His skills can be clearly appreciated on tracks like the first single Fading Forms which explores the somber feeling of the years passing you by. Knowles’ emotive baritone crooning paints a melancholic picture of the slow fading of time as you feel like you’re fading with it. The words fall like snow onto cold fields of pulsing 80s synths and pounding drum machine rhythms that bring forth nostalgic familiarity but feel fresh at the same time.

Fans of classic icons such as Depeche Mode, Ministry, Nine Inch Nails as well as contemporary torchbearers Cold Cave and Kontravoid do not sleep on this.
Plenty of disturbing beauty to be found in the depths of the underground

HYPERWIDE LUSTRE is Orchestroll’s debut record, a mini-LP released on Montreal’s GARMO – a highly curious and deeply devolved collection of music produced and performed for a run of live club sets by the duo.

Jester-like, this is music that laughs at you: because it’s funny, because it’s not; because you did too much, because you did too little. Because you’re too loud; too quiet. Wrapped in the exquisite production chops of Richard-Robitaille and Osborne-Lanthier, Hyperwide Lustre is quasi-sarcastic and fully irreverent, a shimmering hybrid of spectral dance music and avant classical; psychedelic, cinematic, fluid, and yet bejeweled with a crushing opulence. Lovelorn synths and haunted, clattering, percussion rolls through these halls. Will you follow them to their source? Or turn away?

Like a slow labyrinthine descent into ever-less-familiar passages, Orchestroll have crafted an album that feels genuinely puzzling and new. A warm welcome into a strange world. Two puppetmasters who lost control of their puppets long ago. The keyboard whispers, but the mouse decides the tale.

Warehouse Find! Test Pressing!

Simbad makes a welcome return to Freerange following last year’s brilliant Take My Hand EP featuring South African vocalist Brian Temba. Now based predominantly in Cape Town, the French Londoner producer and DJ is one of the most prolific artists in the scene having notched up countless EP’s, remixes and production work for labels like Apron, G.A.M.M. Faces, Hyperdub, Atjazz, BBE & Brownswood. His association with Gilles Peterson and Worldwide runs deep, hosting regular shows on WWFM as well as traversing the globe delivering his unique and eclectic sets from Africa
to Asia and beyond.

Peaceful Revolution is one of those special house tracks which transcends boundaries, encapsulating an outernational sound in a way that Simbad excels in. Featuring South African upcoming producer Zito Mowa & vocalist Lwandile Zulu who brings a raw and impassioned energy to the deep and soulful mood, this tune was recorded in support of the troubled events from the past few months (Black Lives Matter movement).

Next up we have a track entitled Let Go which could quite easily be the lead track of the EP if they weren’t all as good as each other! This is late night emotive house music at its most sublime. Drop this at the right time and watch the floor come together in collective bliss.

Flip over for SMBD’s Shaolin Dub remix of Peaceful Revolution which pushes the original to the outer limits of the audio spectrum. Sub-sonic low end rumbles sitting in contrast to the ghost like whispers, glitches and industrial noises that pierce the ethereal pads.

Closing out this special release we find the unassumingly titled Soulful Jam, a low-slung groove which sees Simbad going heavy on fizzing analogue synths with a serene synth solo takin centre stage amongst the lush chords.

Mammoth Penguins are a 3-piece indie powerhouse, showcasing the songwriting and vocal talents of Emma Kupa (Standard Fare) backed up by the noisiest rhythm section in indie pop. May 2024 sees the release of their fourth album Here on Fika Recordings. After 2019’s big, bold and confident There’s No Fight We Can’t Both Win, and the initial shock of the global pandemic cancelling a trip to SXSW in 2020, the band returned to the studio in the summer of 2021 to start recording. The new record leans into a raw pop-punk power-trio sound more than ever, with a deep growl in layered guitars and bursts of percussion and harmony. The songs and artwork explore themes about finding a place for yourself and familiarity with people and places. Although it turns back towards a classic three-piece sound, the band weren’t restricted by that palette, adding finishing touches of percussion, extra guitars and backing vocals in short bursts in a garden shed, and also bringing in gorgeous strings to sweeten the title track. The sound builds on the band’s first album, Hide and Seek, which was released with the much-loved and sorely missed Fortuna POP! in 2015. The follow-up LP John Doe in 2017 was an ambitious concept album, exploring the feelings of loss and anger at a man who fakes his own death only to return years later, expanding well beyond the 3-piece rock‘n’roll template, with washes of strings, synths and samples. The ‘Penguins have been smashing it at some high-profile support slots in the lead up to this album release, including at Allo Darlin’s joyous reunion at Islington Assembly Hall (Oct 2023) and Muncie Girls last ever London show (Dec 2023). They play the Leicester Indiepop all-dayer and Wales Goes Pop in March, before heading out on tour in support of the new album in May. Those big singalong choruses need your voice shouting back from the crowd with joy and defiance. Mammoth Penguins are Emma Kupa (guitar, vocals), Mark Boxall (bass, vocals) and Tom Barden (drums, vocals). Reminiscent of the pop melodies of The Beths, the indie dissonance of Land of Talk, and the guitar forward slacker rock of Weezer, Mammoth Penguins marry heart-ache indiepop with spiky guitars and Emma’s frank confessional songwriting. “wonderfully awkward indie pop with a literate flair, sounding a lot like a Weezer record or even a more feminine Wedding Present” Clash // “eminently relatable earworms” Brooklyn Vegan // “one of the finest examples of simple and true indie rock around” All Music // “her characterful voice still carrying masses of charm and the messier, grungey approach bringing a strength all of its own, aided by a clutch of cheerful hooks and riffs that contrast nicely with lyrics dealing mostly with heartbreak and misery” Drowned In Sound

Razor-sharp production of the highest order from two of the masters of the early 80™s Rio de Janeiro boogie sound, Robson Jorge and Lincoln Olivetti. Both were highly acclaimed music producers of the time, starting around the mid-70™s. Over the course of his career Olivetti worked with artists including Rita Lee, Erasmo Carlos, Don Beto, Marcos Valle, Tim Maia, Gilberto Gil, Gal Costa, Sandra Sa, Painel de Controle and many more. The album takes in mid-tempo, AOR, boogie and even latin all way through the tempo™s to ultra-quick Prince style disco-funk workouts. Includes several standout tracks  ˜Aleluia™ and ™Ginga™ being our two favourites. Synths, horns, claps, drum machines, guitars, keys and vocal harmonies combine effortlessly.

LIMITED 200 COPIES CRYSTAL CLEAR 10" POSTER EDITION (stickers included)

Our third Trip 10" with two long storytelling acid tracks is from our resident artist SOUR, boss of the Warehouse303 club in Florence, Italy.
SOUR takes you on an acid journey with twisted basslines, deep and distorted sounds and trippy synths!

On a cold December's night, we packed the Paradiso in Amsterdam, ending our tour in glorious fashion. This night felt like a homecoming show, marking my seventh time headlining the "pop temple". The "creme de la crème" line up included one of my oldest friends Marnix. Slider returned on keys for this tour, having been a crucial member of our musical family for years. We brought out the big guns for these shows, having a crazy variety of classic keys on stage. These included an electric grand, clavinet, multiple synths and multiple electric pianos. Needless to say, the stage was pretty full! Willem being the powerhouse he is, raised the bar as usual. An amazing drummer and an amazing singer! Last but not least, returning to Paradiso with Xander felt incredible. Him and I have been doing this even before I descended down to earth and became Jett Rebel. All of us are friends and being on stage with these people is a privilege and a blessing. You'll be able to hear the crowd's excitement in the way we play. My primary goal was to make it feel like you were actually there. I live for this...

The Path is the latest album from Belbury Poly (aka Ghost Box records founder Jim Jupp). This time round Jupp has recruited a full band roster to expand his own unique electronica. He is joined by occasional Belbury Poly collaborator Christopher Budd on Bass and Guitar, Jesse Chandler (of Midlake, Mercury Rev & Pneumatic Tubes) on flute, clarinet and keyboards, Max Saidi on drums plus narration from author and poet, Justin Hopper.

Musically it takes as its starting point a particular moment of early 1970s British film soundtracks by the likes of Roy Budd and Roger Webb; a soundworld of easy-going jazz and funky rhythms gently coloured with pastoral strings and flutes. The Path, however, is unmoored from time or place thanks to Hopper’s narrative style, Chandler’s rustic flutes and keys, Budd’s soulful psychedelic guitars and Jupp’s production and electronics. The co-writers were all chosen for their unique abilities and an
intuitive understanding of the ongoing Belbury Poly project. The spoken word elements form a loose, open-ended narrative; very much an album with spoken word rather than a spoken word album.

The Band and Album Recording:
Christopher Budd: Electric Bass, Double Bass, Guitars, Electric Sitar
Jesse Chandler: Piano, Synths, Mellotron, Flute, Clarinet
Justin Hopper: Narration
Jim Jupp: Electric Piano, Synths, Mellotron, Percussion, Sound Effects
Max Saidi: Drums, Percussion

The project came together over two years, beginning with a conversation between Hopper and Jupp during a walk on the Sussex South Downs. Originally, it was to tell the tale of an American academic unravelling while adrift in an alienating English landscape. From the beginning, the pair wanted on a narration integrated lyrically into the piece, rather than dropped on top. The words gradually became more film-noir and open to interpretation; occasionally a little tongue-in-cheek. The final
texts explore a folklore of alienation; the way we impact the landscape and it impacts us.

Belbury Poly:
Jim Jupp has released EPs, singles and seven albums on Ghost Box as Belbury Poly. It’s generally a solo project, but he calls on a floating roster of like-minded musicians to extend the sound beyond studio based electronica. He is also one half of The Belbury Circle along with Cate Brooks (of The Advisory Circle) - occasional collaborators with John Foxx. He has recorded library tracks for KPM, BMG and Lo-Editions. He’s remixed tracks for several artists including Beautify Junkyards,
John Foxx and Bill Ryder-Jones (The Coral) and co-written a song with Paul Weller for his 2020 album On Sunset.

The music of Large Plants could be characterised as psych rock, with this outing having a folkier, proggier and more fantastic feel than the heavier biker-rock of the 2022 debut, The Carrier. The tracks on The Thorn also weave synths into the traditional four-piece sound palette.

The Thorn was partly recorded at the same time as the The Carrier, with more songs added subsequently. However, all tracks for both albums were recorded and performed entirely by Jack Sharp in a barn, since demolished. “It was a dirty, rusty, metal shack with no insulation or sound treatment, and it was full of junk, but it sounded weirdly great, and I loved it.” Sharp told Shindig magazine.

In the dimly lit corners of a nondescript basement party, amidst the cacophony of laughter and clinking glasses, a pulsating beat cuts through the haze of alcohol-induced euphoria. It's a track that none have heard before, yet it feels instantly familiar, echoing the electrifying energy of Underworld's iconic 'Born Slippy'. The song, discovered by accident during a drunken deep-dive into the depths of an online music platform, becomes the unexpected anthem of the night. Titled "Macht over het Stuur", this track is an odyssey of sound, blending relentless techno rhythms with haunting, ethereal vocals that seem to drift in from another world. The opening notes are a siren call, drawing listeners into a whirlpool of synths and beats that mimic the heartbeat of the city at night. It's music that doesn't just want to be heard; it demands to be felt, pulsating through the veins and igniting a fire in the soul. As "Macht over het Stuur" unfolds, it weaves a narrative without words, telling tales of fleeting connections, electric glances, and the raw, unfiltered essence of human emotion. It captures the spirit of those who chase the dawn, those who find beauty in the blur of lights as they speed past on their way to nowhere. The track is a paradox, both a celebration of the present moment and a longing for something just out of reach, a sound that encapsulates the feeling of being utterly lost yet exactly where you're supposed to be. The discovery of "Macht over het Stuur" on that drunken night feels like unearthing a treasure, a secret shared among friends that would soon ripple out to captivate a wider audience. As word of the track spreads, it becomes more than just a song; it's a movement, a collective memory etched into the minds of those who experienced it firsthand. It stands as a testament to the power of music to unite, to transform an ordinary night into something magical, a reminder that sometimes, the most unforgettable moments are those we never see coming.

Afro-Cuban star Daymé Arocena has announced her new album 'Al-Kemi' which will be released on February 23 via Brownswood Recordings. It is her first album since 'Sonocardiogram' in 2019.



Dayme's new single "American Boy" accompanies her album announcement. No other song on the album embodies Arocena’s artistic liberation like “American Boy” - an exhilarating, futuristic slice of progressive pop. “I wrote it ten years ago, but thought it was too much of a pop song,” Dayme reflects. “In an indirect way, the music industry had shown me that I wasn’t welcome in that world. There isn’t a Black woman like me who enjoys the kind of success usually reserved for Rosalía or KAROL G. The image of music genres like salsa or bachata has been painfully distorted throughout the years. You are supposed to clone and fuse yourself in order to conceal your Black or indigenous side. They told me I didn’t fit in that world, but I’m going to prove them wrong.”



When Daymé decided to switch gears and record her fourth studio album in Puerto Rico with the iconic producer Eduardo Cabra (Calle 13), she never imagined that she would end up moving there.



“From the moment I stepped foot on the island, I realized that I never wanted to leave,” says the 31 year-old Cuban singer/songwriter with a hearty laugh. “At the time, I had spent three years away from Cuba, living in Canada with my husband. I called and asked him to come over to Puerto Rico, and to please bring all my stuff. It wasn’t a conscious decision on my part. It was simply love at first sight.”



Relying on instinct and intuition is how Daymé has managed her career since she burst on the international scene with 'Nueva Era,' her prodigious debut album, in 2015. Now, she has fully reinvented her sound with 'Al-Kemi,' a revolutionary – and transformative – fusion of neo soul singing, Afro-Caribbean beats and slick new millennium pop.



The album is titled 'Al-Kemi' with the Yoruba word for alchemy. "It means the cosmovision of transformation," she explains. "It is mixing all the elements to achieve an unbeatable result, full of shine and light, like gold springing from the skin."



From the cosmopolitan smoothness of lead single “Suave y Pegao” – an effortless fusion of jazz, bossa nova and urbano stylings with reggaeton star Rafa Pabön on guest vocals – to the smoldering neo-soul of “A Fuego Lento,” with Dominican singer Vicente García, Daymé’s latest album relies on sacred formats of the past but rearranges them in a conscious quest to redraw the very definition of what Latin pop is supposed to sound like.



“It was definitely a team effort,” she reflects from her new home in San Juan. “Flexibility may well be my biggest virtue. I’m always open to every possible suggestion when it comes to making things better. My piano player, Jorge Luis "Yoyi" Lagarza, and I worked on the demos with the rest of my band. Then with Eduardo Cabra’s direction, we enlisted musicians from all over the Caribbean – Cuba, Puerto Rico, the Dominican Republic. Everybody added their energy and coloring.”



It was Daymé’s piano player who originally suggested she contact Eduardo Cabra known for combining commercial aptitude with a refined sense of craftsmanship. Not only did Cabra accept the singer’s offer, but he also invited her to stay at his home during the four months when they recorded 'Al-Kemi' in his Puerto Rico studio.



“I had no idea that he was familiar with my music,” she enthuses. “Eduardo has been in the industry for a long time, and he comes from a world that is more global and commercial than mine. He was the ideal candidate for this project, but I initially didn’t know if he would understand the social, psychological and personal complexities of the message that I wanted to express.”



“Daymé is one of the most talented musicians that I’ve ever worked with,” says Cabra. “Working together was a joy, because she knew exactly the kind of fusion that she was going for: a cross between her Afro-Cuban roots – which clearly are strong on this album – with the more contemporary vein of analogue synths, samples and a bit of electronica. We wanted both worlds to communicate, to be both respectful and disrespectful to the ancestral colors. I feel comfortable with both, and even Calle 13 walked the two paths. This is also the album where Daymé opened up to the Caribbean at large. Her understanding of harmony and her performance skills are out of this world.”



Born in Havana in 1992, Daymé grew up immersed in Afro-Cuban folk, but also listening to cassette tapes of Sade Adu, her father’s favorite singer. She was identified as a prodigious



talent at only 8 years old and soon started studying music. After studying at the prestigious Amadeo Roldán conservatory, she became co-founder and band member of the Cuban-Canadian jazz collective Maqueque in 2017. With the collective, she launched several international tours and earned a GRAMMY nomination.



“In Cuba, the emphasis on technique is exacerbated,” Daymé explains. "At the same time, opportunities are scarce on the island. A career in music provides a potential for escape, which is why the competitiveness is off the charts.”

New Year, same old Omar S - turning out the top quality tunes on a regular basis, all with his own unique sonic imprint but always with a fresh twist each time. This first outing of 2024 on his own FXHE opens up with 'Life Force' which pairs Smith's unique drum sounds - brushed metal, scruffy, raw - with his super sweet synths that always bring the warmth and soul. 'All The Little Hand's Around' is another metallic sound tech house cut with celebratory chord loops up top and well-treated samples, then 'Evil J' shuts down with rasping basslines and glistening 80s keys. Another fine 12" from the Detroit don.

2025 Repress

Following the success of last years Babe Roots EP, Echocord revisits the package with reworks from Forest Drive West, Mike Schommer, Felix K, DB1 and Babe Roots themself.

London’s DB1 leads the package with his take on ‘Work Hard’, a mostly beatless interpretation fuelled by oscillating white noise, winding dub chords and snippets of the original’s dub reggae vocals. Hidden Hawai’s Felix K then ups the energy levels with a high-octane take on ‘Sufferation Time’, driven by upfront, shuffled and distorted drums and unfaltering, tension building dub swells.

The hotly tipped Forest Drive West steps up next to remix ‘Jah Nuh Dead’, a typically classy reimagining from the Livity Sound artist, stipping things back to ethereal pads, off-kilter percussion and sporadic echoes of the original composition. Former Deepchord member Mike Schommer’s take on ‘Bless Me’ follows, the pioneer of contemporary dub techno delivers a cinematic rework employing sweeping voices, glitched out electronics and resonant swells alongside the bouncy dub reggae groove of the original.

Lastly Babe Roots revisit one of their own compositions, ‘Sufferation Time’, delivering a more refined feel this time round with more impetus on drums and dark, hypnotic synths to contrast the original’s more vocal focused feel.

VILLAGES ist ein seltenes Kunststück geglückt. Die zweite LP des Indie/Postpunk-Trios "Excessive Demand" schafft es tatsächlich aus komplexen Zutaten einen absolut eingängigen, fesselnden Sound zu erschaffen. Das Vinyl-Release erscheint am 28. Oktober 2022 gemeinsam auf It's Eleven Records und Pike Records. Ungewöhnliche Drum Grooves treiben die acht Songs voran, während analoge Synthesizer und verhallte Gitarren Schicht um Schicht hinzufügen - die elektronische Kühle trifft dabei auf einen warmen Bass-Sound und einen oft fragilen, mehrstimmigen Gesang. Verschiedenste Einflüsse aus Synth-Pop, Indie/Artrock und Postrock verschmelzen VILLAGES zu ihrem originären, detailverliebten Sound, der bei jedem Hören neue Facetten offenbart. Darin spiegeln sich so unterschiedliche Inspirationsquellen für das Trio wie u.a. Battles, Trail of Dead, LCD Soundsystem, Deerhunter, Pttrns, Chad VanGaalen u.v.m. Der Albumtitel "Excessive Demand" steht für den energiefressenden Alltag, der alle utopistischen Gedanken und Bemühungen um eine gerechtere Zukunft überlagert und zunichte macht. In ihren Texten setzt sich die Band kritisch mit persönlichen, aber auch gesellschaftlichen Themen wie Gewalt, psychischen Erkrankungen, Privilegien, überholten Rollenbildern und Selbstinszenierung auseinander. "Excessive Demand" wurde im Sommer 2021 mit Roland Wiegner (Produktionen u.a. Jungbluth, Düsenjäger, The Hirsch Effekt) in der Tonmeisterei Oldenburg aufgenommen und von der Band in Eigenregie um Synths und Vocals in Dresden ergänzt. Mix und Mastering sind ebenfalls von Roland Wiegner. Das Artwork stammt von Fabian Bremer aus Leipzig (Radare, AUA).

You get older, you have a family, and you start to slow down-that's how things are supposed to go, right? Not for Montreal band Corridor, who have returned on their fourth album, Mimi, with a sound and style that's more widescreen and expansive than anything that's preceded it. The follow-up to 2019's Junior is a huge step forward for the band, as the members themselves have undergone the type of personal changes that accompany the passage of time; even as these eight songs reflect a newfound and contemplative maturity, however, Corridor are branching out more than ever with richly detailed music, resulting in a record that feels like a fresh break for a band that's already established themselves as forward-thinkers. Mimi immediately recalls the best of the best when it comes to indie rock-Deerhunter's silvery atmospherics immediately come to mind, as well as the spiky effervescence of classic post-punk-but despite these easy comparisons, Corridor remain impossible to pin down from song to song, which makes Mimi all the more thrilling as a listen. "The goal was to work differently, which is the goal we have every time we work on a new album-to build something in a new way," Robert explains. "This time, we took our time." And so in the summer of 2020, Corridor's members-Robert, vocalist/bassist Dominic Berthiaume, drummer Julien Bakvis, and multi-instrumentalist Samuel Gougoux-holed away in a cottage to engage in the sort of creative experimentation that would lead to Mimi's ultimate creation. Corridor tinkered with the songs' raw parts digitally and remotely over the next few years, with co-producer Joojoo Ashworth (Dummy, Automatic) lending their own specific talents in the theoretical booth. The process was a byproduct of not having access to their rehearsal space due to the COVID-19 pandemic, but also a result of the four-piece leaning harder into incorporating electronic textures than on previous records. "For a long time, we identified as a guitar-oriented band, and the goal of making this whole record was trying to get away from that," Berthiaume states. Berthiaume also describes Mimi as a record about "getting older" and "figuring out new parts of life"-but despite any claims of transitional growing pains from the band, Mimi is a record bursting with new energy and life, a vibrance that's owed in no small part to Gougoux joining the band full-time after pitching in on live performances in the past. "I come more from a background of electronic music, so it was nice to involve that with the band more," he explains, and Mimi contains a distinct rhythmic pulse reminiscent of classic era-post-punk's own melding of dance and rock textures. Over bright, chiming guitars and ascending synths, Robert addresses his looming mortality on "Mourir Demain": "I wrote it when my girlfriend and I were shopping for life insurance," he laughs. With our little daughter growing up, we also considered making our will. I said to myself, 'Oh shit, from now on I'm slowly starting to plan my death." Don't mistake this as music about dead ends, though, as Mimi embraces and champions unfettered creativity while paving a way for Corridor's own bright future. "We just focused on making a record that sounded the way we wanted," Gougoux exclaims while discussing the band's aims. "There were no limitations when it came to what was possible."

After 20 years of living on the road in different places, Six Organs of Admittance had returned home to Humboldt County - a far country, to some, but still part of the world through which creatures of all kinds are moving through and contributing to. And some of them are human. Alone together - forming connection and exchange out of thought and expression - no different from the people on the other side of the Redwood Curtain. It was there, where Six Organs had long ago emerged, in the name of everything cycling, of circles that spiral concentrically and remain unbroken, the new music was conceived. In moments, it was as if the future had somehow wrapped around 360 degrees; elsewhere, the systems and patterns inside the writing and recording only became evident later - like a recognition that cumulus and nimbus clouds which passed through the sky the day before contained familiar shapes. Informing the songs accordingly as he went, Ben picked up on modes both musical and lyrical, threading backward through the time of Six Organs of Admittance. Almost marinating in it as a way of life. Working on the music and the vocals, then spending some time with them while stepping away from them. Walking the dog and coming back to them Time is Glass is made of that kind of time. Alone time. Recorded in the visceral environs of home, Time is Glass is sharply focused, even as misty impressionist mountains float through the background. Sweet and spiny, "The Mission" sings its purpose, before turning abruptly to the orchestral rumble of "Hephaestus": rural industrial psychedelia, ecosystem goth, synths arcing to lift a helplessly earthbound community into the firmament above. Winding almost imperceptibly back into song with "Slip Away", the time of the record becomes clear, moves fluidly, relaxed but aware, from event to event. People and things coming around again. The intuit, passing through wormholes and time, sounding deep then dissolving into the universal. The acoustic sounds ringing, layered suddenly, then clear again. Explosions of a new kind of distortion. Ecstatic melodies. Communing. The space of a day. The space of a season. Time is Glass, and Six Organs of Admittance is here and will be here, again.

Equal Spirits brings together a genre-defying mix of South African spiritual jazz, ambient improvised introspection, bursts of old-school hip-hop and electronica, soaring melodies, synths, samples and gospel-infused grooves, woven together with sung and spoken languages from Zulu, Sotho, Yoruba and Xhosa to Arabic and English.

Black Truffle is pleased to announce The Mountains Pass, a major new work from Olivia Block. A key player in Chicago’s vibrant experimental music scene since the late 1990s, Block has developed an extensive body of work grounded in a personalised, at times emotive approach to the studio-based practices of the musique concrète tradition, while also encompassing improvisation, orchestral pieces, sound installations, and a sustained engagement with the piano. On The Mountains Pass, recorded by Greg Norman at Steve Albini’s Electrical Audio and meticulously edited and constructed over the course of three years, Block pushes into new terrain, introducing her singing voice and drums played by Jon Mueller into flowing assemblages that move seamlessly from ruminative organ tones and fragmented piano airs to explosions of sizzling synths and thundering percussion. Like many of Block’s past works, which include, for example, a sculptural installation using the sound of oyster beds, The Mountains Pass draws inspiration from nature and the animal world. Time spent in a particular mountain range in Northern New Mexico informs this suite of pieces, whose lyrics and titles refer particularly to animal life in the area. Beginning with bursts of white noise and delicate synthetic pops and squeaks, opener ‘Northward’ very soon reveals the special direction the album will take, as lyrical piano lines are joined by Block’s fragile voice, singing words written from the perspective of f2754, an endangered Mexican gray wolf who wandered more than five hundred miles from Arizona to New Mexico in 2022. The fragment of song quickly breaks off, leaving us with a ghostly electronic hum. ‘The Hermit’s Peak’ follows, one of two epic pieces at the album’s core. Beginning with chiming, almost harpsichord-like tones, it moves through episodes of spacious, ruminative piano, Jon Mueller’s sparkling cymbals, stuttering cut-up piano sounds, and a climax of keening organ and trumpet tones (performed by Thomas Madeja). Continuing the exploration of vintage keyboard and synth tones heard on Block’s Innocent Passage in the Territorial Sea (Room 40, 2021), the music sometimes suggests the great outer-limits works of 70s Italian prog figures like Franco Battiato or Arturo Stalteri in the languorous drift of synthesizer, organ, and piano tones and the meticulous yet organic flow of its construction. ‘Violet-Green’ opens the second side with another epic journey, its lyrical content concerning ‘a mysterious bird die-off and a forest fire’. Block’s crystalline voice and rich piano chords at times call up the restrained chamber songs of Janet Sherbourne, but fragmented and threaded through passages of woozy pitch-bent keyboards, hypnotic distant thuds, tinkling bells, and searing distorted synth tones. On ‘f2754’, the freedom of the roaming wolf surges through dense layers of rapid keyboard attacks and long organ tones over a propulsive drum performance straight out of Animal Magnetism-era Arnold Dreyblatt. This distinctive sound world is then reencountered in a darkened mirror image in the uneasy, metallic shimmer of the closing ‘Ungulates’, named in reference to a heard of elk roaming through the mountains. Like Battiato’s Clic or Gastr del Sol’s Upgrade & Afterlife, The Mountains Pass inhabits the underexplored terrain where the beauty of song coexists with a radical formal openness, illuminating the deep musicality and warmth that have been present in Block’s work all along.

Mutant präsentiert den OST zur US-Horrorkomödie LISA FRANKENSTEIN (2024). Zelda Williams' Filmdebüt kitschig und bissig und zelebriert auf gewagte Weise eine Vintage-Attitüde, unterlegt mit einer einzigartigen Playlist aus Post-Punk-/Alternative-Highlights (Pixies, Galaxie 500), modernen Coverversionen von Klassikern ("I Can See Cleary Now", "Can't Fight That Feeling") und einem unglaublichen Score von Isabella Summers (Florence & The Machine), die mit inspirierten Synths, Streichern und Keyboards sowohl das Monströse als auch das Wunderbare feiert. Rotes Vinyl mit exklusiven Linernotes von Drehbuchautor und Oscar-Gewinner Diablo Cody.

Wenn du nach Jena willst, dann musst du erst einmal durch diese einschüchternde, massive Mauer von elfgeschossigen Plattenbauten in Jena-Lobeda. Und SNOW TRAIL aus eben jener Stadt liefern mit "Abandoned Capsule" den perfekten Soundtrack fürs nächtliche Schlafwandeln durch diese oder andere Betonwüsten. Auf ihrem Debütalbum für It's Eleven Records treibt der Rhythmus mit stoischer Gelassenheit die Schatten voran, während die verhallte Gitarre und der pulsierende Bass in Melodiebögen durch die Dunkelheit mäandern. Der Gesang transportiert eine unterschwellige Aggression, die sich in gelegentlichen Ausbrüchen manifestiert, doch eine spröde, fließende Anmut behält insgesamt die Oberhand. Das Trio agiert minimalistisch und konzentriert die Songs auf ihre Essenz. Behutsam eingesetzte Synths (z.B. bei "Fragments Repeated" oder "Constructions") oder überraschend Alt-Saxophon bei "Murky Acrylic Windows" verstärken die düstere Sogwirkung. Die Songs für "Abandoned Capsule" entstanden größtenteils in den Pandemie-geprägten Jahren 2021/22. Die Perspektivlosigkeit dieser Zeit wirkt als Hintergrundstrahlung auch in den Texten noch nach. Dennoch haben SNOW TRAIL nun mit ihrem Album und einer stärkeren Einbindung von elektronischen Klängen einen neuen Weg beschritten, der ihren ursprünglichen Sound trotzdem nicht verleugnet.

Legendary DJ SPINNA creates a cosmic future classic w/ his remix of TAMARA WELLONS' vocal masterpiece. A perfect dance floor groove drenched in intergalactic synths, in a deep & soulful setting. On the flip COFLO gives a double dose of two wildly different iterations of "YOU ARE".

UK mainstay Subb-An makes a welcome return with this fresh new EP on Aesthetic. It finds him in great form with opener 'Seeing Colours' heading off down a nice liquid minimal route with crisp tech drums and twinkling synths up top to bring the magic. On the flip side is 'Plants', a rather serene and sublime cut with more rolling drums and plenty of deft synth designs that bring a certain celestial charm to the fizzing leads. Snad's remix then shuts things down with a more driving sense of tech house rhythm to complete a tasteful EP of heady sounds.

The collaborative project from Vincent Lemieux and Guillaume Coutu-Dumont, Flabbergast, returns this March with a new EP, entitled ‘Default Mode Network’ and coming via Swiss imprint Adam’s Bite.

Vincent Lemieux is a staple of the Montreal, Canada underground and a widely beloved DJ for his impeccable technique and selections, he’s also offered up productions on the Studio Club and DISDAT labels and a collaborative EP alongside Ohm Hourani for Jigit and co-founding the Musique Risquée alongside Akufen, Deadbeat and Stephen Beaupré.

Guillaume Coutu-Dumont, a fellow Montrealer has long been a prized producer for his unique spin on micro house and
deep house music with his music finding a home on the likes of Mule Musiq, Meander and Dokutoku among others. In 2015 the two joined forces for their Flabbergast debut on Circus Company, have gone on to release with Yoyaku and Copier/Coller, and here makes a triumphant return for Switzerland’s Adam’s Bite with four fresh original cuts.

Opening the EP is the playful ‘Peppermint Poddle’, fuelled by oscillating synth tones, twitchy percussion and saturated bass alongside a spoken word vocal. ‘Manger Du Bon Manger’ then
shifts focus to cinematic organ lines, jazzy drums and a snaking bass groove throughout.

‘Mou D’état’ kicks off the B-side and sees the duo dive deeper via ethereal atmospherics, their signature wonky, mind bending synths and an amalgamation of processed vocal murmurs. Lastly
‘Dans L’oeil’ sees César Merveille join the party, the trio working collectively to create a unique slice of percussion fueled microhouse with intricately intertwined organic percussion, dubby
synth flutters, cinematic pads and pulsating subs.

Available on ltd edition white vinyl, only 300 pressed. Includes extended album download.

Ivan The Tolerable is the alter ego solo project of Middlesbrough based musical wizard Oli Heffernan. Aside from his solo work as ITT, Oli has played in numerous bands over the years including Year Of Birds, King Champion Sounds with members of the Ex, Detective Instinct, and Shrug, and has collaborated with icons like Mike Watts of the Minutemen, and J Mascis of Dinosaur Jr.

On Black Water/Brown Earth, Heff called in the help of his Dutch friends Mees and Elsa in King Champion Sounds again and wrote the album in a long-distance session. The album feels like an excursion in nature, featuring bird song, flowing water, pots and pans percussion, and a genuine feel of wandering about and experiencing the outside world with eyes and ears wide open. It is a band effort too, with organic sounding drums, the characteristic saxophone, and droning synths.

‘Elsewhere, gentle intonations of morning with almost childlike embellishments and rhythmic beats, and more flute, might lull and comfort but nothing ever sits exactly in time which might make this Ivan The Tolerable’s most frustrating album at times but also one of his most interesting to really delve into aurally. ‘Sawdust’ is another sonic interlude, little more than a purge of effects and ideas but in a place where effects and ideas are plentiful. However, it’s centrepieces ‘Seaweed’ and ‘Signs’ that provide the pulsing, grooving dual that makes the second half of Black Water/Brown Earth a sheer delight. The former being simply kind of folky with a bit of sitar but utterly immersive, the latter oddly upbeat with eastern vibes and tubular rhythms, combined it is nearly twenty minutes of serene experimentalism.
The shorter tracks are perhaps designed to temper the mood or counter and reflect the passage of time on an album of mostly structured improvisation, and it may only be closer ‘Memory’ that is truly free to roam musically, its long jazzy segments skipping off into the farthest corners of the left field’.

Warehouse Find!

Time to welcome Soul 223 to the label with his debut Delusions EP entitled Fear Of Stopping. Something of a complete legend in our eyes and ears, Steve Pickton has been releasing top drawer tuneage for over two decades both as Stasis on influential labels such as B12 and Peacefrog and more recently as Soul 223 on equally well regarded imprints like Delsin, Soul Jazz and Neroli. Always one to shy away from any limelight or self promotion it's true to say that this underrated British producer remains something of an anomaly, staying true to his underground roots where faceless, shadowy and obscure reigns supreme over the latest over-exposed cover star. This ethos naturally carries through into his music where you will always find both expansive beauty and unrefined rawness in equal measures ensuring his tracks always sound fresh rather than over produced or contrived.

Fear Of Stopping opens the EP with a low-slung disco groove providing the backbone for intermittent pad washes and reversing stabs. The focus here is firmly on the drums and simple conga riff with thankfully very little else to deter you from this sublime slice of abstract dance music.

Next up we have a remix from another ridiculously talented producer who chooses quality over quantity, having only ever had one release under his own name, albeit for one of the most respected labels in the world; Rush Hour. Maxi Mill came to our attention having released one of the tracks of 2011 namely To The Next. On this, his first ever solo remix he brings a brilliant bump to the EP with a raw, warehousey and bass-heavy workout. Just the right amount of strings and pads keep the deep vibe intact but the filtering bass and jacking drums definitely take this one to the floor.

Flipping over we have Walberswick in it's Hoist Covert Mix incarnation. Almost thirteen minutes of spaced out, deep Detroit house music awaits you, ready to lure you in and cocoon you with it's warm and hypnotizing machine funk. Lovely to hear the old Stasis influence working it's way into this one sounding both decidedly old-school and completely futuristic and otherworldly as only the best tracks ever do.

Closing the EP we have Birdbrook Rain dropping the BPM's for a beautifully sparse track that brings with it an almost desolate and disconnected feeling, echoing synths providing a naive melody while a dusty pad shifts simply beneath. A little slice of magic concluding a fresh and interesting EP, we hope you agree.

Factor City kicks off its third decade in full swing, led by Undo solo and accompanied by its usual partners Casiowaves and Vicknoise.

It all began in 2003 when Undo & Vicknoise laid the foundation for the label with "Noctámbula," and over the years, they continued to collaborate closely, managing the label and producing "hits" such as "Orca" or "Happy Monday." From 2011 onward, following an amicable parting, Undo began to run the label solo while maintaining the same spirit and distinctive sound of the Barcelona-based label, always at the forefront of dance music produced in Spain.

Now, in 2024, in a "digital” world where fewer and fewer things can be touched with our fingers and where 100,000 songs are uploaded to Spotify every day, Factor City is charting a different course and starts a new decade on the dance floors by returning to vinyl releases and persisting in their low key and relaxed approach, releasing few and carefully curated records from their artists each year.

“Ciudad Futura” opens with "Good Times," a track by Undo that radiates joy and positivity. An euphoric ride through landscapes of analog synthesizers and drum machines. The second track on side A is signed by Undo & Vicknoise, who hadn't produced together in 15 years. And we hope they won't take as long to get back in the studio together after hearing the fantastic track "Electric Rainbow." A delightful slice of electro-disco. The B side is signed by the recent combo of Undo and Casiowaves. The first track, "Secret Worlds," follows in the wake of their recent releases on Factor City and Melodize with that winning combination of retro 80s and 90s synths with vocoders and a more contemporary production. Closing out the record is "Astralia," a vibrant "power synth pop" anthem adorned with FM synths and acid-tinged melodies. Thanks for listening!

Swedish synth-pop phenomenon Kite's second 7 inch since signing with Dais in 2023 finds the duo of Nicklas Stenemo and Christian Hutchinson Berg swinging for new heights of romantic desolation and baroque grandeur. They describe the A Side, "Losing," as a "six-minute empty call for emotional response." Stately piano and anguished voice reverberate in a vaulted hall, before gradually building into a widescreen anthem of synths, drums, and soaring vocals decrying the steady deadening of life and love: "It's deadly quiet in your old heart / Are you there? / I see dark skies on the rise / And daylight shows no remorse / And I realize it is my life / But It's losing all meaning." Swedish dark music icons Anna von Hausswolff and Henric de la Cour join the chorus as the song cascades towards an ominous horizon. The B Side, "Glassy Eyes," showcases Kite's mastery of somber, sweeping balladry. Hushed church organ elevates and anchors Stenemo's devastated confessional, swaying between resilience and defeat. The band describes the song as a reckoning with "the privileged and existential anxiety of drifting through life dispassionately," contrasted with "the yearning to connect profoundly with others and a desire for experiences that stir the soul before facing one's final moments." Like a hymn, the emotion thickens as it deepens, approaching both darkness and divinity: "Deep as I go, nothing to find / Oh catatonia, I won't cry / Nothing can grow, everything dies / Behind my glassy eyes."

Swedish synth-pop phenomenon Kite's second 7 inch since signing with Dais in 2023 finds the duo of Nicklas Stenemo and Christian Hutchinson Berg swinging for new heights of romantic desolation and baroque grandeur. They describe the A Side, "Losing," as a "six-minute empty call for emotional response." Stately piano and anguished voice reverberate in a vaulted hall, before gradually building into a widescreen anthem of synths, drums, and soaring vocals decrying the steady deadening of life and love: "It's deadly quiet in your old heart / Are you there? / I see dark skies on the rise / And daylight shows no remorse / And I realize it is my life / But It's losing all meaning." Swedish dark music icons Anna von Hausswolff and Henric de la Cour join the chorus as the song cascades towards an ominous horizon. The B Side, "Glassy Eyes," showcases Kite's mastery of somber, sweeping balladry. Hushed church organ elevates and anchors Stenemo's devastated confessional, swaying between resilience and defeat. The band describes the song as a reckoning with "the privileged and existential anxiety of drifting through life dispassionately," contrasted with "the yearning to connect profoundly with others and a desire for experiences that stir the soul before facing one's final moments." Like a hymn, the emotion thickens as it deepens, approaching both darkness and divinity: "Deep as I go, nothing to find / Oh catatonia, I won't cry / Nothing can grow, everything dies / Behind my glassy eyes."

12" - Fully Authorised Reissue on Original Release Label!

Canadian deep house don Nick Holder's Fruit Loops EP is next to get the remaster and reissue treatment from Definitive Recordings. This label, now overseen by Get Physical Music, first released the EP back in 1995 when Toronto-based Holder had already become one of house music's most tasteful operators. He went on to release over 125 EPs and singles under countless aliases, in various groups, and on his labels DNH Records and Treehouse Records, as well as !K7 Records and NRK. His style spans house, disco loops and minimal Chicago grooves and is always high on immersive atmosphere. Opener 'Dance Dance Dance' brings together all those aspects of the Holder sound with its funky guitar riffs looping beneath raw drums and disco basslines. Classic Chic samples burst out of the mix to bring an air of celebration and party, and it makes for an irresistibly feel-good sound. 'Keep on Running' is a steamy and sweaty house jam with loopy drums and bass and more smartly chosen samples, this time from Roy Ayers, that bring the funk and never let up. It has long been a go-to anthem for house DJs, and the realness and rawness of the emotions in Holder's work also shine through with the filtered synths and jazzy keys of 'The Message of Love', which is complete with bumpy and irresistible drums. Last of all is the unfettered party spirit and diva vocals of the brilliantly lo-fi funk-house pumper that is 'Clap Ya Hands'. This EP hasn't aged one bit and remains a definitive piece of early Deep House history.

Grain is the third Innode release following on from Gridshifter in 2013 and syn in 2021.

A new methodology to make the album is applied yet again from the trio of Bernhard Breuer, Steven Hess and Stefan Németh. The approach is more an anti approach where the trio let the process of creation itself steer the development of the recording, without any prior conceptual agenda.

Irregular rhythmic patterns often served as the initial springboard for each piece with Breuer creating a loop either by playing drums or with the aid of a modelling percussion synthesizer. The results often bypass existing formulaic grids. The outfit embraced these anti-precision steps building shapes around the tarnished templates.

The process of building upon the core structures laid forth alters throughout. In the case of "Splitter" you can hear an example of Bernhard´s core loops dominating a skeletal audio sphere. The title of the track "Impactopium" reflects the process of its construction being a conglomeration of individual titles meshed into a whole. The audio is a non-linear compendium of several fragments of individual elements. A conscious method of exploring a more decentralised architecture saw three disparate elements layered randomly on top of each other with some synths added as a sonic seasoning at the later stages.

Elsewhere sonic elements are restructured in unusual ways. One member's contribution is completely stripped away, quiet sounds captured with contact mics are highly amplified, the last track introduces twisted themes of the first track.

The title Grain refers to the roughness resulting from these explorations. It also takes note of the term grain as used in analogue photography or in the case of audio as a distorted signal, or "noise". All of these elements, normally eschewed, are here embraced as a thematic thread to instigate the exploratory proceedings.

This is a playbox of inventiveness, a hall of mirrors and an endless search for unusual tactics and fresh results.

Tackling the initial loop tracks from a wide variety of strategic approaches Innode has concocted a strangely cohesive work. From sparse source material to heavy overdubs of overdubs grain is a uplifting collection of works from this relentlessly curious and exploratory Austrian outfit. Humans make the work but the random embracing of unexpected processes means the gentleman of the outfit is not fully ruling what becomes of these works.

In the ever-evolving landscape of the underground music scene, few bands have made an impact quite like Selofan, an immensely talented duo of Joanna Pavlidou and Dimitris Pavlidis, has carved a niche for themselves within the international pantheon of darkwave, post-punk, and '80s synthpop, blending these influences to create a sound uniquely their own. Their journey, marked by a commitment to artistic integrity and evolution, has taken them from the cozy confines of local venues to the grand stages of international festivals, earning them a dedicated following and critical acclaim along the way. Their sixth album, Partners in Hell, released in October 2020, navigated the band through unprecedented times, testing their adaptability and resilience. Despite the hurdles to performing live and the global pandemic's challenges, Selofan emerged stronger, embarking on international tours with a newfound appreciation and connection with their global audience, during this period of introspection and isolation, Joanna Pavlidou embarked on a new venture, GIOVANNA, released under Selofan’s house label, Fabrika Records. GIOVANNA, which places Pavlidou at the helm of vocal and lyrical composition, represents a full on foray into synth-pop. showcasing a different facet of her artistic identity, with lyrics entirely in Greek. In 2023, Selofan hit the circuit hard, lighting up revered festivals with their presence. They stood shoulder to shoulder with heavy hitters like Molchat Doma and Lebanon Hanover at Grey Scale and performed with with the likes of The Sisters of Mercy, VNV Nation, and She Past Away at the Death Disco fest in their hometown of Athens. With each album they have released Selofan made significant strides in their evolution, deepening their engagement with their art. And their forthcoming seventh full length studio release, Animal Mentality, is poised to be their most compelling work yet. Animal Mentality unfolds as a labyrinthine journey through the elemental aspects of human emotion and experience, set against the backdrop of Selofan's signature darkwave sound. Each track on the album delves into different facets of the human condition, from the depths of desire to the pangs of isolation, encapsulating the duo's profound understanding of the intricate spectrum of human emotion and subjective experiences. The album kicks off with "Sticky Fingers," a track that melds cinematic scope with a haunting storyline, reminiscent of Jean-Michel Jarre's icy synths and a lyrical nod to Joy Division. This opening salvo revisits the tragic allure of classic car accident songs, weaving a tale of joy turned to sorrow amidst the snowy Alps. "Love's Secret Game" delves into the depths of forbidden desire, with vocals that echo the melancholy timbre of Xmal Deutschland, Lebanon Hanover, and Nico. It's a tale of passion and ephemeral connection, promising an enduring presence despite the inevitable fracture of time and distance. In "Lucille," sung by Dimitris Pavlidis, the plot is ensnared in the machinations of a tempestuous affair, with gothic undertones evoking the dramatic soundscapes of Ultravox and Clan of Xymox. The lyrics are steeped in danger and desire - a dance with the shadows. "Sacrifice Me" plunges into the abyss of despair, driven by a Bauhaus-esque bassline. It's a plea for release from the chains of alienation, a yearning for a final gesture of solace in the face of overwhelming darkness. "Bluebirds" offers a poignant reflection on solitude, with the fleeting imagery of bluebirds symbolizing the elusive quest for happiness. The song serves as a meditation on the internal struggle to maintain hope in a world shaded by sorrow. The narrative shifts with "Glassplitter," where German lyrics paint a portrait of deceptive allure and toxic entanglement. We are confronted with irresistible danger, masked by a veneer of beauty. "Ignoranz" continues the exploration in German, pondering the universality of misunderstanding. It's a reflection on the subjective nature of truth and the shared human experience of ignorance. "Behind My Eyelids" closes the odyssey, a contemplation on melancholy and metamorphosis. The phoenix rises from the ashes of betrayal to the brighter realm of renewal - a beautiful homage to the resilience of the human spirit amidst the often harrowing cycles of life. More than just an album, Animal Mentality is a milestone in Selofan's career, marking a decade of musical innovation and growth. It's a testament to their enduring spirit and a bold step into new realms of artistic expression. As Selofan continues to evolve, they remain at the forefront of their genre, pushing boundaries and exploring the depths of the human psyche through their haunting melodies and poignant lyrics.

In the ever-evolving landscape of the underground music scene, few bands have made an impact quite like Selofan, an immensely talented duo of Joanna Pavlidou and Dimitris Pavlidis, has carved a niche for themselves within the international pantheon of darkwave, post-punk, and '80s synthpop, blending these influences to create a sound uniquely their own. Their journey, marked by a commitment to artistic integrity and evolution, has taken them from the cozy confines of local venues to the grand stages of international festivals, earning them a dedicated following and critical acclaim along the way. Their sixth album, Partners in Hell, released in October 2020, navigated the band through unprecedented times, testing their adaptability and resilience. Despite the hurdles to performing live and the global pandemic's challenges, Selofan emerged stronger, embarking on international tours with a newfound appreciation and connection with their global audience, during this period of introspection and isolation, Joanna Pavlidou embarked on a new venture, GIOVANNA, released under Selofan’s house label, Fabrika Records. GIOVANNA, which places Pavlidou at the helm of vocal and lyrical composition, represents a full on foray into synth-pop. showcasing a different facet of her artistic identity, with lyrics entirely in Greek. In 2023, Selofan hit the circuit hard, lighting up revered festivals with their presence. They stood shoulder to shoulder with heavy hitters like Molchat Doma and Lebanon Hanover at Grey Scale and performed with with the likes of The Sisters of Mercy, VNV Nation, and She Past Away at the Death Disco fest in their hometown of Athens. With each album they have released Selofan made significant strides in their evolution, deepening their engagement with their art. And their forthcoming seventh full length studio release, Animal Mentality, is poised to be their most compelling work yet. Animal Mentality unfolds as a labyrinthine journey through the elemental aspects of human emotion and experience, set against the backdrop of Selofan's signature darkwave sound. Each track on the album delves into different facets of the human condition, from the depths of desire to the pangs of isolation, encapsulating the duo's profound understanding of the intricate spectrum of human emotion and subjective experiences. The album kicks off with "Sticky Fingers," a track that melds cinematic scope with a haunting storyline, reminiscent of Jean-Michel Jarre's icy synths and a lyrical nod to Joy Division. This opening salvo revisits the tragic allure of classic car accident songs, weaving a tale of joy turned to sorrow amidst the snowy Alps. "Love's Secret Game" delves into the depths of forbidden desire, with vocals that echo the melancholy timbre of Xmal Deutschland, Lebanon Hanover, and Nico. It's a tale of passion and ephemeral connection, promising an enduring presence despite the inevitable fracture of time and distance. In "Lucille," sung by Dimitris Pavlidis, the plot is ensnared in the machinations of a tempestuous affair, with gothic undertones evoking the dramatic soundscapes of Ultravox and Clan of Xymox. The lyrics are steeped in danger and desire - a dance with the shadows. "Sacrifice Me" plunges into the abyss of despair, driven by a Bauhaus-esque bassline. It's a plea for release from the chains of alienation, a yearning for a final gesture of solace in the face of overwhelming darkness. "Bluebirds" offers a poignant reflection on solitude, with the fleeting imagery of bluebirds symbolizing the elusive quest for happiness. The song serves as a meditation on the internal struggle to maintain hope in a world shaded by sorrow. The narrative shifts with "Glassplitter," where German lyrics paint a portrait of deceptive allure and toxic entanglement. We are confronted with irresistible danger, masked by a veneer of beauty. "Ignoranz" continues the exploration in German, pondering the universality of misunderstanding. It's a reflection on the subjective nature of truth and the shared human experience of ignorance. "Behind My Eyelids" closes the odyssey, a contemplation on melancholy and metamorphosis. The phoenix rises from the ashes of betrayal to the brighter realm of renewal - a beautiful homage to the resilience of the human spirit amidst the often harrowing cycles of life. More than just an album, Animal Mentality is a milestone in Selofan's career, marking a decade of musical innovation and growth. It's a testament to their enduring spirit and a bold step into new realms of artistic expression. As Selofan continues to evolve, they remain at the forefront of their genre, pushing boundaries and exploring the depths of the human psyche through their haunting melodies and poignant lyrics.

Label mainstays Fouk just dropped the perfect dancefloor Bomb with ‘Mirage’ paired with a high-octane Elisa Bee remix

We all know Dutch duo Fouk from their soulful, bouncy take on house music. They’re also responsible for some of Heist’s biggest tracks like Kill Frenzy or their Lil Louis inspired 2021 release ‘Blue Steel’. On their new EP, the talented duo shows us a fresh side of their sound: the main-room hands-in-the-air-going-wild side. To top things off, Italian producer Elisa Bee made time in her busy schedule of DJ’ing and releasing for artists like Ben Sims on his Hardgroove imprint and Unknown to the Unknown to deliver a killer remix of the title track.

Fouk’s return to Heist after 3 years is a welcome one and with ‘Mirage’, they might just have given us their biggest house track in their decade spanning career. The track is built around a stuttering synth loop and a seductive female vocal chanting ‘What made you wanna…” The real star here is the bassline, which propels the track into a seriously infectious groove. Add some lush strings and moody changeovers and you’ve got yourself a full-blown dancefloor weapon. Mirage has been a staple in Dam Swindle’s sets for the past months and has been one of their set highlights ever since.

“Coffee” is one for the classic Fouk fans. It’s got lovely Rhodes, a joyous combination of whoo’s, snare-rolls and synth hits grooving on top of an infectious orchestral background loop. “Tapioca” is a hybrid latin-electronic groove that builds on punchy synths, live percussion and drunk keys to balance the energy of the track.

Elisa Bee’s remix of ‘Mirage’ is an intense percussive workout that builds on a breakbeat loop and a rave-bassline. The tempo is turned up a notch or 2 and that stutter synth and vocal of the original make this remix a wild warehouse affair.

Closing track of the EP is ‘Abalone’; A lovely bleep-house affair that still has a bit of that warehouse vibe. It’s got the perfect amount of distortion the drums while keeping things dreamy with some face-melting pads throughout the track.

As always, enjoy the music and play it loud!

Lars & Maarten

FIRST 100 ORDERS COME WITH A DOUGLAS DARE OMNI CONDOM, ON A FIRST COME FIRST SERVED BASIS**First Pressing on Limited Translucent Red Vinyl**British artist Douglas Dare announces the release of his fourth album Omni. Seen by Douglas himself as a bold rebirth and embrace of the electronic, Omni is all at once a throbbing, avant-garde, queer, dark and cinematic record imbued with a love of rave culture and sense of fearless storytelling that’s deeply evocative. Omni will be released on May 10 via Erased Tapes. To mark the announcement, Douglas today shares the first taster of the record with ‘Mouth To Mouth’, a pulsing, synth-laden track that begs to be played loud. ‘Mouth To Mouth’ sees a collaboration with label mate Daniel Brandt who appears on production duties, with beats supplied by Rival Consoles. Speaking on the track, Douglas says, “life, death, fate and orgies; this is the heartfelt club track I always wanted to write.” Since 2013, Douglas has blurred classical, chamber-pop, folk and avant-garde to dazzling effect, with a startling voice that can stop you in your tracks. It’s why he’s played with luminaries like Nils Frahm, Perfume Genius and Ólafur Arnalds, and was selected by David Lynch and The Cure’s Robert Smith for their respective cultural festivals in Manchester (MIF) and London (Meltdown). But Douglas’s fourth album, Omni, is a fresh awakening. Encouraged by Erased Tapes founder Robert Raths, he decided to step away from acoustic instruments, especially the piano he grew up playing, and swapped them for synths and drum machines. His new music has much in common with Arca and the late SOPHIE, two artists for whom self-expression meant liberation. “I got to hang out in the studio with her,” says Douglas of the latter musician, “the way she made music made a big impression on me.” And yet Omni is steeped in the kind of deft storytelling, sweeping strings, elegant contrasts and fairytale atmosphere that marks Douglas out as a crucial and singular voice. It’s not often you hear a strutting electro banger that could have been straight out of 90s Soho, with vocal loops inspired by US experimentalist Meredith Monk. For Douglas, Omni is about reconciling all those different sides of himself – the songwriter, the raver, the lover, the observer. It’s a hugely queer record: seductive, sexy, lusty, untethered from the genre binary. “It’s even got sailors on it!” laughs Douglas. “You don’t get more queer than that.

Das neue Flamingods-Album 'Head Of Pomegranate' wurde vom Grammy-gekrönten Produzenten Ben H. Allen (Animal Collective, Deerhunter, M.I.A.) aufgenommen. Die Londoner Band kreiert seit über einem Jahrzehnt unverwechselbare, genreübergreifende Musik. Das Durchdringen von Genres wie Psychedelia, New Wave, Electronica und Punk – oft innerhalb desselben Songs – ist ihre Spezialität, ebenso wie das Talent, Einflüsse aus dem einzigartigen kulturellen Erbe und die Liebe zum UK Rock'n Roll der 70er Jahre zu vermischen. Opener und erste Single 'Dreams (On The Strip)' geben mit stimmungsvollen Synths, düsteren Drum-Machines und dem euphorischen Refrain den Ton vor. Es ist eine neue Ära für die Band und sie möchte, dass wir dies von Anfang an wissen.

Das neue Flamingods-Album 'Head Of Pomegranate' wurde vom Grammy-gekrönten Produzenten Ben H. Allen (Animal Collective, Deerhunter, M.I.A.) aufgenommen. Die Londoner Band kreiert seit über einem Jahrzehnt unverwechselbare, genreübergreifende Musik. Das Durchdringen von Genres wie Psychedelia, New Wave, Electronica und Punk – oft innerhalb desselben Songs – ist ihre Spezialität, ebenso wie das Talent, Einflüsse aus dem einzigartigen kulturellen Erbe und die Liebe zum UK Rock'n Roll der 70er Jahre zu vermischen. Opener und erste Single 'Dreams (On The Strip)' geben mit stimmungsvollen Synths, düsteren Drum-Machines und dem euphorischen Refrain den Ton vor. Es ist eine neue Ära für die Band und sie möchte, dass wir dies von Anfang an wissen.