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Finnish underground pioneers are back with six tracker Hidden Gems, Lost Memories. Limited vinyl is loaded with different moods nad grooves.

From Breakbeat, deep house to ambient and percussive dubby jammers.

There´s also a trippy Brawther dub version of Come Alive where the Helsinki production unit teams up with Detroit vocalist/producer Niko Marks from the UR-camp.

Sleep if ya will, but get this record first while you can..

Vinyl is hand customized and numbered 250 copies.

Nathan Fake's fourth album, Providence, crafted in the wake of a crippling two year spell of writer's block. Is his most personal and profoundly emotional work to date.
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Providence sees the British producer collaborate with vocalists for the first time, joining forces with Prurient (aka Vatican Shadow / founder of Hospital Productions) and Raphaelle Standell-Preston from Braids. Both arose from chance meetings in Geneva and Osaka as their tour schedules crossed. Prurient contributed the heavily distorted vocal to 'DEGREELESSNESS' - I was a huge fan of Dominic's (Prurient) music before we met and I love the way he situates his vocals in his productions. I really like how you can't make out what he's saying at all...' - whilst Raphaelle, who lends her voice to 'RVK', was introduced to Nathan by their mutual friend Jon Hopkins. I deliberately kept the first half of the track instrumental and I love the way her vocal lands,' he says. It's quite unexpected when she starts singing.'

It's the quickest album I've written and because of that it's got a close thread running throughout,' says Nathan of his creative process. It also has a distinct sonic signature as a result of the producer refreshing his set-up. I was feeling nostalgic and bought a cheap Korg Prophecy on a whim and it ended up being the backbone of the album,' he explains. I remember reading an article in Sound On Sound back in 1995-96 and I didn't really know much about music production then, but I remember thinking that it must be AMAZING. As it turns out, it's actually quite crap really... It's very hard to program, looks unimpressive, doesn't sound great (laughs), but I recorded it through loads of different pre-amps and tape and mixers and roughed it up. I'm always intrigued by low-end gear, I like the challenge and the limitations it poses.'

Norfolk born and bred, Nathan's first encounters with electronic music came via the radio (hearing the likes of Aphex Twin and Orbital) and reading about the equipment that they used in magazines. This was the stimulus for him to buy some gear and begin his own sonic experiments and, linking with James Holden in 2003, Nathan's early output came via his fledgling Border Community label. His debut album Drowning In A Sea Of Love' (2006) was a triumphant record, drawing a rapturous reception from the likes of Pitchfork, The Guardian and Mixmag (who hailed it among the best of the year). Recording two further albums for Border Community, Hard Islands' (2009) and Steam Days' (2012), Nathan found himself in frantic touring mode for two years and, in this nomadic state, found it impossible to write any new music. On his return, events in his personal life intertwined with, and exacerbated, this creative block. I didn't write any music at all for about two years,' Nathan explains. Overall there was roughly a three year break from writing.'

Emerging from this extended period of inactivity with renewed vigour and lust for life, Providence was recorded during the first six months of 2016 in Nathan's home studio / living room. The meaning behind the title is two-pronged: on the one hand it's a nod to the aforementioned Korg Prophecy synth that features so heavily on the record. But on a deeper level it means guidance or divine guidance' - not necessarily in a religious sense but more to be guided by a higher power - or more specifically to Nathan, music as therapy and a path out of a dark period in his life.

Repress in soon. For the third installment of his PeteStrumentals series, producer Pete Rock takes a departure from the sample-heavy style that has earned him recognition as a living Hip-Hop legend. This twelve-track project is instead a collection of beats crafted by the producer, then reimagined by his stellar band, The Soul Brothers - drummer Daru Jones (Jack White), keyboardist BigYuki, bassist MonoNeon (Prince), guitarist Marcus Machado and vocalist Jermaine Holmes (D'Angelo); all critically acclaimed musicians in their own rights. After performing together across Manhattan, cementing their creative bond, Pete Rock & The Soul Brothers combined their individual musical influences and experiences to craft a smooth sonic experience that is truly the sum of all of its stylistic and instrumental parts. PeteStrumentals 3 is a masterful blend of Funk, Jazz, Hip-Hop and Soul, a mellow soundtrack for any occasion.

Adding to what already has been a tremendous year for the Berlin-based producer, Nat Wendell returns home for his third release on his very own imprint, Depths of My Soul. On the surface, DMS 003 may appear to be vintage—and pulsating—Wendell. Under the cracks of these three tracks, though, is a producer moving towards music as a tool of political and musical advancement.

A1’s “Takes These Chains off My Mind” is an explicit cry from liberation away from mental slavery, an anthem for, in the words of Wendell himself, people “emancipating themselves from mental slavery, placed on black and people of colour alike.”

B1’s “Tha Music” plays on similar ideas of music as liberation, jolting dancers into submission with its rolling hats and snappy arrangements that will easily fit into any house head's bag. Judging by the name,

B2’s “Questioning Existence” may seem a tad existential—but, taking a late-nite 90’s garage cue from his own hometown, it’s anything but!

Following the release of their critically acclaimed self-titled debut EP in 2021, Antwerp's Lucid Lucia are set to release their debut album 'Ever-changing Light' on the 7th October via the groove-obsessed Belgian tastemaker label, Sdban Ultra.

Searching to unwrap the mystery that is a human life, across nine tracks of jazz and space funk-infused grooves, Lucid Lucia look to the sound of Herbie's 'Head Hunters' and Miles' acid funk of the mid-70s for inspiration.

'Ever-changing Light' is a mind-expanding celebration centered on freedom and rhythm. Free-spirited saxes, futuristic-sounding keys, monstrous bass lines and shifting drum beats unite, resulting in an uplifting and joyous celebration of jazz, funk and groove. From the loose, laidback stylings of 'Mumpsimus' and the jazz-funk odyssey that is 'Pigeons' to the sonic wonders of 'Reminiscence' and urgent flow of 'Quanked', Lucid Lucia is a marvelous journey of luminous sounds and vibrant rhythms. Elsewhere, the warped aesthetics of 'Oneironauts' and improv 'Pukti part 1' showcase a tight rhythm section, inventive horns, funky keys and guitar while the spiritual magnum opus 'Voor Pieter A.' is a magical example of the virtuosity of Lucid Lucia.

Born from the ashes of fusion outfit BRZZVLL, Lucid Lucia were founded by saxophonist Vincent Brijs, a household name in Antwerp and the Belgian jazz scene. Former winners of the Jong Jazztalent Gent, BRZZVLL released their debut album 'Days of Thunder, Days of Grace' in 2008 and would go on to release five more albums including teaming up with Trinidad-born poet, novelist and musician Anthony Joseph on the 2014 critically acclaimed album 'Engines' and with hip-hop MC, writer and producer Amir Sulaiman on the 2016 album 'First Let's Dance'. The 2017 album 'Waiho', the band's first instumental album and final album received glowing praise from numerous tastemakers including UNCUT magazine, The Line of Best Fit, XLR8R and Record Collector magazine.

To the present day and Lucid Lucia marks a brighter, clearer sound for the sextet. Consisting of Vincent Brijs: saxophones and EWI, Bart Borremans: saxophones, Stijn Cools: drums, Dries Laheye: bass, Dries Verhulst: guitar, Jan Willems: keys and James Williams: drums and percussion, they have honed their skills performing with numerous artists from home and around the world including Ursula Rucker, Joseph Bowie (Defunkt), Amir Sulaiman, Anthony Joseph, Zena Edwards, Ayanna Witter Johnson, Baloji, Mo & Grazz, Kain the Poet (The Last Poets), Marie Daulne, Dizzy Madjeku, Ida Nielsen and many others.

Super limited edition pressed on heavyweight 180g vinyl housed in a picture sleeve and clear plastic outer sleeve – never to be repressed. Only 175 units.

Tokyo-based DJ, producer and sound artist Yuu Udagawa inaugurates the freshly launched Cyphon Recordings with her debut EP, ‘Forever’.

Growing up on a cocktail of everything from rock, hip-hop and Latin jazz to techno and house, Yuu’s immersive musical output draws inspiration from this diverse pool of influences to create ‘uplifting and healing’ music for the mind and body. There’s an elegance and sophistication to her productions, which stems from her desire to make music guided by the Golden Mean philosophy of finding a middle ground between two extremes: excess and deficiency.

Active as a DJ since the millennium, which saw her playing at clubs, festivals and fashion shows across the country, she soon turned her attention to music production and has since self-released a handful of singles and contributed audio commissions for Sony Playstation3, museums, theatres and apparel brands. Yuu’s meditative pallet of sounds instantly grabbed Cyphon’s third ear which led to the tracks that make up ‘Forever’: a collection of analog slo-mo electronica and leftfield minimal house that strike a perfect balance between warmth and depth.

The release opens with the titular track: a deep, emotive electro cut punctuated by a twinkling synthline and blissful vocals. ‘Mojito’ continues the EP’s voyage into the deep, matching softly spoken word with jazz-tinged chords and meandering melodies, before ’Hug Close’ strips things back, guided by a crunchy minimal groove, warm, resolute keys and reflective synths.

The B-Side steers things on a soulful course. The dark, enveloping atmosphere of ‘Illuminated Night' is lifted by bright synth stabs and harmonic R&B-flavoured vocals. These influences continue on closer ‘Stay With Us’. Slowing down the pace, the track is a wash of shimmering funk-inspired chords and shuffling rhythms, laced once again with effortless, soaring vocal tones.

DJ Feedback:

Joyce Muniz - Nice one!

Andrew Wowk - "Mojito" is awesome - such a nice groove (followed up)

Geordie Elliot-kerr - Some really interesting stuff in here. Digging the whole thing.

Simon Caldwell - Cool and different.

Paul Beller - super star release.

Fred Peterkin - Dope...

Alex Barck - Sounds fresh to me

Ruben Mandolini – Nice

Gabriel Izarraraz - great music will play for sure

Kristijan Molnar - Very nice!

Chris Loxton - superb

Danton Eeprom - Really love the production and original vibe of this record. bring it on!

Raymundo Rodriguez - cool release

Jake Mehew's debut album Sage is a modern and contemporary take on spiritual jazz, a truly exceptional record from the eclectic and highly talented Leeds' artist.Whilst staying within the ethos of spontaneous, unedited performance, Mehew constantly pushes and manipulates the genre's boundaries.The recognisable and lush sound of the Fender Rhodes, layered on a bed of punchy, percussive, grooves, provides the bedrock for powerful improvisations, running alongside Meyhew's subtle analogue synth manipulation and production.

Sage was workshopped over one frantic lockdown week in August 2020. It's a truly honest experience of seven days of hard work, a multi tracked record, made without using overdub to capture the true energy of the performance.True to the spirit of albums made in a pre digital era Mehew set out to capture ideas, interaction and performance at their inception rather than post production.

Jake Mehew is an up and coming composer, performer and producer based in Leeds, UK. His work combines principles of free improvisation with the technological considerations of the avant-garde. Using a combination of acoustic instruments, modular synthesisers and samplers Mehew creates rich, meditative soundscapes that envelop the listener in an immersive sound field.

Herva started to work on 'Seez' right after the release of his last Planet Mu album 'Hyper Flux' back in 2017. He was experimenting with home-made hardware and after the album release wanted to raise the bar, challenging himself to build a point-to-point mixer from scratch. This task took almost a year of intense soldering and forced him to scrap music production. Eventually all this hard work grew into making studio hardware properly and he co-founded a new company making mixers and compressors that work with Eurorack, called Audio Gear Obsession. On 'Seez' Herva moves away completely from the sample-based music he's most known for and into programming and computational production, which he mixes and compresses with his newly-built hardware tools to give them the life and feeling he requires. There's also an element of randomness in 'Seez' as the music is generative, defined with numbers and ratios from his own software, tuned by ear rather than to set scales, with unexpected outcomes.To make the record, he spent more time digging between the different iterations of each track than coding the programs that generated them. He says "How I make music is kind of weird for most producers, but I like it, and I plan to dig further. You can think of 'Seez' as the alpha version of what I and my system are able to do." The new music still retains Herva's laid back airy feel. Each track is like a small ecosystem of chiming tones, wafting drones and skittering rhythms, hinting at formal patterns and melodies but developing on its own abstract terms. It feels as if it's the audio equivalent of watching sped-up recordings of a camera capturing different combinations of plants growing, a pleasant and curious experience to let yourself enjoy.

This one is highly recommended for fans of Khruangbin, Lord Echo, Leon Bridges or Fat Freddy's Drop.

Open is the sixth studio album from acclaimed composer, producer, filmmaker and multi-instrumentalist, Kutiman. It is an addictive & irresistible twelve-track trip taking in elements of classic soul, Middle Eastern psychedelia, Afrobeat, Thai funk, jazz fusion, cosmic library soundscapes and more.

The uptempo “Vanishing Point” opens proceedings, recalling both Abstract Orchestra’s 2017 Dilla tribute and the lounge OST/library music flips of Tosca and DJ Vadim fame.

My Everything introduces prominent guest & frequent Kutiman collaborator, Dekel, whose soul-pop vocals coupled with jangly acoustic guitar riffs tip to contemporary indie artists such as Michael Kiwanuka and SAULT. “A Day Off passes through” Anatolian psych and Khruangbin-esque Thai funk whilst the afrobeat/jazz fusion “Confetti” pays tribute to Kutiman’s other namesake, Fela Kuti.

Dekel rejoins for the beatdown, lilting dub-soul “Believe In You” with hints of Lord Echo and the sun-inflected New Zealand dub-soul sound. The Tuareg-leaning guitar lines on “Canoe” travel across the Saharan desert easterly towards Sudan and Ethiopia by the end, whilst meditative and Coltrane-adjacent album closer “Ripples” provides a final moment of reflection from a truly global excursion of soundscapes.

French outfit Happiness Therapy continues its release schedule this September with a brand new EP from Glasgow-based Spanish artist Dan Be. The four-tracker, aptly named Makes Me Happy, also features a collaboration with Portuguese talent Bernardo Mota.

Y4 Collective head Dan Be is no stranger to the Happiness Therapy family. An accomplished producer, he first debuted on the label in 2021 via Happy House, Volume. 3, before appearing on the VA’s fourth edition later that year. Now, Makes Me Happy marks his first full-length feature on the imprint, continuing a highlight 2022 for the fast-emerging Spaniard.

Inspired by space travel, arts and mental health, the primary aspiration of Kolibri Space Shuttle (KSS) is to offer ravers a trip full of emotions. Beyond the raw and hypnotic beats, Kolibri Space Shuttle EP delivers extraordinary atmospheres, superb sound design and highly driven grooves through 5 unique journeys. 5 tracks to make you travel and sweat. Side A is dark, strong and hypnotic whilst side B is driven, melodic and sometimes emotional, “featuring a cover of the incredible track ‘Rej’ by Âme”. Welcome aboard the Kolibri Space Shuttle – you’re in for a special journey. PETRU The Corsican techno artist and producer PETRU is a creative, charismatic and energetic Live performer. From the Kolibri Space Shuttle he observes and cruises through constellations that he translates into sonic experiences. His passion for storytelling drives him to experiment with various sub-genres of techno developed through NSTNKT, Kolibri, Grounded and Tribute series. PETRU’s music is oscillating between hypnotic and dark beats, melodic and beautiful journeys, from impactful techno rollers to experimental soundscapes – occasionally paying homage to his major sources of inspiration.

In 2002, New York producer Ursula 1000 released his groundbreaking, genre-busting album Kinda' Kinky, meshing groovy retro sampladelic licks with modern breaks and beats. For its 20th anniversary this year, Ursula revisits the 60's swinging London mod shaking title track with his own 2022 redux. UK breakbeat master A.Skillz remixes the flipside into a relentless, giggling funky disco monster! The cover design is by world renowned space-age bachelor pad artist Shag.

"Nuances", the third album by producer Les Gordon, is the first full-length to be released on his own label, Morning Crash Records.

In this opus to discover his new compositions, we oscillate between dancing electronics and soft atmospheres. This opus is also an invitation to sing, since it features many artists such as Lenparrot, Sauvane, ACES, Anika and Marie-Gold. The 14 tracks are harmonized around the producer's signature, mixing sampled voices, cut and heady beats.

The Japanese theme is finally present, retracing

Les Gordon's origins and roots.

They say: "Contemporary synthesizer sounds illustrating wide open space activities, environment and research."

We say: Panoramic proto-techno underwater-electro library dynamite.

One of the hardest pulls on the seminal Coloursound, Open Space Motion (Underscores) isn't just regarded as one of the best releases from library-funk overlord Klaus Weiss. It's one of the very best library records ever.

As cult as it gets when it comes to library music, the Klaus Weiss sound was built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums. AND YET! Open Space Motion departs from his drum-heavy approach by being completely...BEATLESS! That's right, the virtuoso beat smith, Mr "drumcrazy of Deutschland", a man known for snapping necks at will, crafted one of the most horizontally sumptuous, elegantly sweeping electronic masterpieces, sans-drums, a good decade before chill-out rooms became a thing. It features organic instruments married to pulsing synth bass atop brilliantly subdued yet irresistibly funky percussion. Possessing a very special vibe, that's at once futuristic yet cinematic, it overflows with atmosphere.

The highlights - unsurprisingly - are many. The very first track - the unstoppable "Wide Open Space Motion" - is a sinister, string-fried electro bomb that rides an unrelenting bass loop. "Incessant Efforts" is more reflective, with pastoral yet probing flutes atop strutting synth chords and head-nod percussion that really swings. The heavenly, uber-kosmiche "Pink Sails" hovers over swirling neon-synthy-strings and yet more unobtrusive percussion. The beautiful "Transiency" is a dramatic piano-led underscore, its creeping unease created by patient strings, unhurried percussion and some wonderfully strident keys. "Driving Sequences" is perhaps the key tune here, and if the Detroit crew weren't listening to this staggering piece then, well, imagine if they *were*.

The bubbling rhythms of "Southern Mentality", at first ominous, give way to a more optimistic vibe as the movement progresses. The lush, gorgeous "Bows" is deep-sea slow-motion magic whilst the bright-eyed "Outset" feels as fresh as the dawn, and no less beautiful. How these tracks haven't been gobbled up by sample-driven producers is beyond us. Equally calming is the sweeping majesty of "Constellation", again conjuring images of being at one with and fully beguiled by the wonders of nature, of space, of underwater worlds. "Changing Directions" is another fidgety, propulsive non-Detroit beatless bomb.

As with all our library music re-issues, the audio for Open Space Motion comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

Double LP documenting a realtime collaboration between Terrence Dixon (Metroplex/Tresor/Rush Hour) and Jordan GCZ (Off Minor/Minimal Detroit/Rush Hour). Finally the full results of these special sessions see the light of day (a ltd edition 12" of exclusive tracks owas released in 2020).
BIG TIP!

"In September 2019, Motor City techno legend Terrence Dixon made a rare trip to Europe. He was introduced to Jordan Czamanski AKA Jordan GCZ, a serial collaborator and electronic music improviser best known for his work as part of Juju & Jordash and, alongside David Moufang and Gal “Juju” Aner, as Magic Mountain High.

The pair hit it off immediately, so Czamanski powered up his studio and the pair began to jam. Over the following five days, the pair improvised extensively, stopping only periodically to drink coffee and discuss music, life and much more besides. While in the studio, they barely uttered a word to each other, instead responding almost psychically to the rhythms, grooves, riffs and musical motifs the other was spinning into the mix.

The results of these surprisingly magical 2019 studio sessions are showcased on Keep In Mind, I’m Out of My Mind, the pair’s first joint album and Dixon’s most significant musical collaboration since the Detroiter’s 2018 hook-up with German techno and ambient veteran Thomas Fehlmann.

In keeping with the project’s improvised roots, the six-track set is notable for its immediacy, pleasing looseness – it was mostly created using outboard equipment including synthesizers, drum machines and effects units – and sonic fluidity. It offers a neat, symmetrical blend of the two producers’ trademark styles, with Czamanski’s attractive chords, melodies and jazz-flecked motifs rising above hypnotic, cymbal-heavy rhythms that have long been the hallmark of Detroit’s sci-fi-fuelled techno sound.

This unique and appealing, dancefloor-focused sound ripples through album opener ‘Fretless’, an ultra-deep chunk of heady liquid techno, and the breathless bustle of ‘Operation Delete’, where bubbly synthesizer motifs, cascading ambient electronics and urgent bass cluster around a killer broken techno groove.

It’s there, too, throughout the surging, deliciously percussive ‘Space Chime’, an alien-sounding concoction that sounds like it was beamed down from some distant galaxy, the warming-but-intoxicating minor key swirl of ‘Axis Mundi’ – a two-part slab of techno psychedelia full of trippy electronics, dystopian jazz riffs and intergalactic intent – and the pitched-down, mind-altering oddness of closing cut ‘Above Ground’, when the pair goes all-out in pursuit of leftfield techno perfection.

Created from scratch in a few days by two of electronic music’s most accomplished improvisers, Keep In Mind, I’m Out of My Mind is an exemplary meeting of musical minds and sonic sensibilities."

Matt Annis

Comes with insert with photographs by Atelier Fantasma (Jop Verberne).

-Long-awaited fourth solo effort by one of today's most talented Brazilian artists and the follow up to the now classic Early Bird album.
-Entirely written and recorded at the Ilha Do Corvo studio in Belo Horizonte, Minas Gerais, Brazil.
-180g heavy vinyl pressing, reverse board print, comes with lyrics and their English translation.

"I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I've been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. " - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo's solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.

Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000's. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / RCA) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alice Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná).

Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

Hoshina Anniversary offers a new LP of fluid, alchemical dance music in the shape of Hisyochi, on Impatience. Moving well beyond the initial influence of jazz fusion, electronica and his Japanese heritage, Hoshina Anniversary continues to carve deeper into his own cosm, and Hisyochi arguably represents this prolific producer at his most singular, refined and potent yet.

With nowhere to go and little to do, Hoshina was making music at a seemingly unstoppable torrent throughout the pandemic, sometimes sketching close to 100 tracks in any given month. Opening up a session from a previous track, he would erase all but one element, using it as a starting point for a completely new experiment, lending the body of work a subtle yet tangible coherence. Hisyochi was pieced together from a swathe of productions that came out of a particularly fertile period in the first half of 2021, which also birthed his recent release on Patience, Hyakunin Isshu.

Roughly translating to “somewhere cool to relax during a hot summer” according to Hoshina, Hisyochi transcends seasons but undoubtedly runs hot. Drum patterns are crisp, varied and invariably body-moving, basslines ascend at vertigo-inducing velocity, and dimly-lit jazz-bar piano is often the only element anchoring the sound to terra firma.

Following the plaintive, palette cleansing introduction of Rakka, Irahu plots the course with a light arpeggiator over a chugging rhythm before a warbly piano line to creeps in the back door. Misebayana is a jolt of gyrating mutant dance, part video game suspense and part footwork for drums and koto, while Kokoro no Heisei (Peace Of Mind) sees Hoshina deliver a salvo to stillness over a meandering, dubby spacewalk. Roman is an invigorating cut of warped dancehall tango, while the closing title track perfectly encapsulates the essence of the record and Hoshina Anniversary in 2022 in one elegant, acidic rinse.

Hoshina Anniversary is Yoshinobu Hoshina, from Hachioji, outside of Tokyo. He’s released records as Hoshina Anniversary on ESP Institute, Alien Jams and Youth, under his Suemori moniker for Osare! Editions and as Shifting Gears for Toucan Sounds, amongst others.

Hisyochi was written, produced and mixed by Hoshina Anniversary. It was mastered by Josh Bonati in NYC, and artwork is by Luca Schenardi.

Emapea made his way into the world of beat-making after several releases and a first album in 2016.


The producer comes back with a second full-length record ‘Dreaming Zone’ to be released on the 18th of March 2022. Emapea didn’t lose his spark and brings a long player that reminds his connection to an old-school Hip-Hop style, yet always pushing towards freshness brought by the typical use of groovy piano leads and the addition of smooth vocals.

Between breakbeat and jazz, the thirteen tracks succeed each other in a delicate soundscape that favours dreaminess. ‘Dreaming Zone’ achieves a certain airiness yet thoughtfulness that will carry your spirits up in another auditive dimension.

12" Widespine Gloss Jacket, Full Color Printed Record Sleeves, 1x Red & Black Marbled Vinyl, 1x Blue & Black Marbled Vinyl and Free Digital Download Card. Growing up in his hometown of Atlanta, artist/producer Sol Messiah has always been inundated with the rich and energizing spirit of Hip Hop culture. Breakdancing from a young age eventually led him joining the legendary Rock Steady Crew out of New York City and learning and mastering the skill of DJing. From there, he began taking an interest in production too, which ultimately led him to working alongside legendary Atlanta producer, Dallas Austin. While Sol Messiah's time with Austin created a deep catalog filled with timeless tracks for TLC, Madonna, Boyz II Men and more, he eventually chose to pursue his own path independently and spent years building a stunning catalog of his own, producing popular tracks for Chamillionaire, David Banner, Nappy Roots, Dead Prez and more. Soon, Sol Messiah would embark on a fruitful musical partnership with a fierce lyricist named Sa-Roc. Together, Sa-Roc and Messiah have released over a dozen projects thus far, including Sa-Roc's groundbreaking 2020 debut on Rhymesayers Entertainment, The Sharecropper's Daughter. As a duo, Sa-Roc and Sol Messiah have amassed a global reach, touring internationally and rocking crowds across continents. They have performed at the legendary Jazz Cafe in London, performed live for BBC, and have shared the stage with luminaries such as Common, The Roots and Jay Electronica. On GOD CMPLX, Sol Messiah connects with some of the finest MCs in the game to create an impressive collection of Hip Hop music that's both innovative and inspiring. Featuring guest performances from KXNG Crooked, Sa-Roc, Evidence, Locksmith, Slug (Atmosphere), Murs, Aesop Rock, Baba Zumbi (Zion I), Che Noir, Lyric Jones and more, GOD CMPLX is a powerful and engaging project serving as a testament to Sol Messiah's skills both as a producer as well a visionary.

DJ Scriby - Izingoma zeGqomu / DJ MARIIO - ZULU MAN / DJ Skothan – Nevegation. Highlighting the continuing evolution of Durban's globally influential gqom sound, this special trilogy of releases showcases three separate artists from South Africa's fertile musical landscape. The set captures a fresh wave of gqom innovation from veteran producer DJ Skothan/DJ Scoturn, DJ Scriby, and 20-year-old DJ MaRiiO. DJ Skothan/DJ Scoturn has been a key figure in Durban's underground scene for many years, producing alongside Phelimuncasi, Bhejani, Tweeyking, Lafaristo, MaRiiO and DJ MP3. His gqom and house tracks have quietly provided a rumbling engine for the city's scene, and "Nevegation" is his debut full-length, providing a complex diagram of his dancefloor versatility. This isn't the gqom you might expect to hear: immediately on opener 'The Gringo' familiar sounds - shovel kicks, chopped vocals, sampled gasps, horror movie strings - are shuffled into atypical patterns, creating jerky soundscapes rather than the expected four-on-the-floor bump. 'Salut to DJ Lag' pays respect to Durban's Beyoncé-approved pioneer, but twists the template into a propulsive new form, adding rolling and evolving percussion that teases fractal shapes each bar. But the album's most unexpected and forward-thinking moment arrives with the aptly titled 'The King of Gqom', a track that simmers the genre's percussive sounds into limber sci-fi club futurism, tweaking the bass sounds into patterns that nod to dubstep, Jersey club and ballroom. 25-year-old DJ Scriby has been working behind the scenes since 2013, assisting the first wave of gqom innovators promote their sound both inside Durban and beyond. In 2017 he joined London's Trax Couture to release "The Clermont EP", and here he introduces his long-awaited follow-up "Izingoma zeGqomu". Scriby's approach to gqom is well-studied and self-aware, which gives him the ability to stretch the sound's scope across the diaspora: just peep the Atlanta trap synths on the dynamic 'Friday 13th', or the absorption of tight grime snares on opening track 'Goi'. Scriby's engineering skill pushes his productions to the next level, lending slithering downtempo tracks like 'Ouuu1' and 'Igqom Libuye' a widescreen, big-room punch without losing the genre's undulating funk. And the producer even eyes the EDM mainstage with 'Qumqum!!', balancing saccharine synths with jerky kicks, claps and rolling toms. The youngest artist featured in the collection, DJ MaRiiO started producing when he was just 12 years old, watching YouTube production videos. "No one told me how to use FL Studio," he admits, "and no one helped me doing different genres." This might be why his music sounds so completely unique; the basic structure of gqom is still present, but MaRiiO augments these elements with youthful energy and carefree use of unusual sounds and production methods. "Zulu Man" opener 'GQom NyeGe' manages to mash together trance synths, DMZ bass and a driving woodblock rhythm that reminds you of its Durban roots, while the bizarre 'Ngom ya Phesh', featuring MaRiiO's regular collaborator Hot Chicks on vocals, pushes the gqom template into the red, with overdriven kicks and disorienting environmental sounds. All three records provide a 360 degree view of Durban's contemporary underground, nodding to the past, present and future of gqom. It's a genre that's constantly in flux as it moves from South Africa's bedrooms and basements to main stages and movie screens across the globe.

WRWTFWW Records is so happy to announce Poly-Time Soundscapes / Forest Of The Shrine, a brand new release by Japanese producer Taro Nohara (Yakenohara). 8 tracks of pure environmental ambient bliss available on LP housed in a heavy 350gsm sleeve with an artwork from the artist himself.

Based in Tokyo, Taro Nohara is a producer, beatmaker, DJ, and music activist who made a mark with his electronic / ambient unit Unknown Me ( (of Not Not Fun Records fame). His new solo project, Poly-Time Soundscapes / Forest Of The Shrine, is a unique and modern take on Japanese environmental music, a free floating re-interpretation of the sub-genre made famous by Midori Takada, Hiroshi Yoshimura, or Satoshi Ashikawa (and more!) fused with subtle nuances of various origins: downtempo, hip hop, sound design, chill-out, experimental.

Conceived as a two-part adventure of contemplative peace, Taro Nohara’s organic soundscape takes you on a mind-soothing walk through time (or memories) and the beautiful mysteries of luscious forests - don’t resist, let yourself go, explore!

Chronophage’s third LP is a scarcely anticipated revelation full of poise and delicacy. Tough,tender, precise and unconstrained, it concentrates the tragic ingredients of the past two yearsinto ten songs. Each one is a decisive, well-cut crystal: sharp, clear, weighted. Can you envisiona midpoint between Big Star and the Homosexuals? Imagine Nick Lowe constructing defiantrejections of the civil structure? Chronophage’s unconstrained melodies and gleefullyimaginative structures enact such original, liberatory music.Chronophage began five years ago in Austin, Texas. Stout participants in the transgressive DIYpunk community patchworked throughout the world, the band have released two LPs and ahandful of cassettes, always demonstrating a kind of risk-taking that feels both gleeful and dire.It’s clear that they delight in making hard, unexpected decisions, but there’s a colder sense thattheir existence depends on this daring.Defying the band’s scratchy, 4-track history, ‘Chronophage’ blooms, distilling the warmest, mostcompelling, most vulnerable qualities of their music. It’s a product of their unhurried approach torecording this album, a six-week process of tinkering and clarifying. It’s also a product of thematerial conditions of their songwriting phase—”the pandemic making it where we just saw eachother all the time and were less influenced by scenes,” as explained by guitarist/singer ParkerAllen. Undoubtedly their most immediate record, but without sacrificing the mortalconsequences or thrills of their past. The danger and vigor remains, the spring is wound eventighter. It’s evidence of the band’s growing confidence, but speaks most clearly to the strength ofthe songs. Producer Craig Ross articulated this strength through his own experience of workingon ‘Chronophage’: "When I would run into a block, in terms of arrangement, the narrative of therecord told me exactly what to do. I realized I just had to stick to the record, it has all theanswers."‘Chronophage’ is released simultaneously by Post Present Medium (US) and Bruit Direct(Europe). TRACKLIST: A1 Love torn in a dream A2 after a storm A3 swimmer A4 summer to fall A5 cop in psyche B1 spirit armor B2 old city back again B3 black clouds B4 burst the shell B5 fear + agony Dooms horn

-Long-awaited fourth solo effort by one of today's most talented Brazilian artists and the follow up to the now classic Early Bird album.
-Entirely written and recorded at the Ilha Do Corvo studio in Belo Horizonte, Minas Gerais, Brazil.
-180g heavy vinyl pressing, reverse board print, comes with lyrics and their English translation.

"I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I've been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. " - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo's solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.

Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000's. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / RCA) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alice Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná).

Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

For Fans Of...El Michels Affair, Adrian Younge, Roy Ayers, Karriem Riggins, The Roots, Khruangbin. Deep, Hard Hitting Soul-Jazz Meets Dub Instrumental Analog Grooves For Your Psyche. In few words, Doctor Bionic can be described as Instrumental b-movie psych-hop. But that doesn't tell the whole story. Doctor Bionic is the brainchild of Cincinnati's Jason Grimes, formerly the producer of the hip-hop group MOOD (with emcees Main Flow & Donte). Having grown up in the Scribble Jam scene here in Cincy, and running in circles that included artists like Hi-Tek & Talib Kweli, Grimes' music has continued to evolve from sample-based loops, to live instrumentation with deep layering; provided by a revolving door of local musicians. The common thread in most Doctor Bionic tracks are the neck snapping drum breaks, but the tempo adjustments and varying instrumentation lends itself to a collection of non-genre specific songs - held together in unity by the flawless drums, often provided by Josiah Wolf (of indie-rock band Why?). The result of these recording sessions are a masterclass in musical juxtaposition. Spacious yet clustered. Futuristic nostalgia. Ideal for long car rides or setting the vibe during a laid back gathering of friends. Also Available From Doctor Bionic: The Invisible Hand LP. Tracks: 1.The Messengers 2. No Middle Ground 3. Purple Spark 4. Decades To Come 5. Shadows In The Sun 6. Snow Bird 7. In The Mirror 8. Dose Of Dank 9. The Things That We Love 10. History Lessons

While so many follow the status quo, Mat Zo has always danced to the beat of his own drum. From his days topping both the drum & bass and trance charts simultaneously (releasing on Hospital Records as MRSA), to his current status as a big room innovator, collaborating with Public Enemy's Chuck D and dropping genre-blurring 70-track contributions to BBC Radio 1's Essential Mix, the precocious talent is destined to play by his own rules.

Supported by DJs as diverse as Skrillex, Madeon, Pete Tong, Above & Beyond, Steve Aoki and A-Trak, the LA-living producer's much anticipated debut LP 'Damage Control' is a bold, brilliantly diverse statement of intent from one of the scene's most unique talents. In a world of EDM sound a likes, this is electronic dance music with integrity and ambition. The release of the album will coincide with an extensive upcoming world headline tour, which sees Zo playing renowned dance music hubs such as Ministry of Sound in London, Light in Las Vegas, Create/Avalon in Los Angeles, Miami's LIV nightclub, Toronto's Guvernment and New York City's famed Pacha. (See full list of dates below).

The product of nearly three years dedicated work, 'Damage Control' represents a star of the future coming of age. Including his Beatport No.1 smash 'Easy' (feat. Porter Robinson) and recent hook-up with hip-hop legend Chuck D (Public Enemy) on 'Pyramid Scheme', Zo's 14-track LP also features the sun-soaked melodies of his innovative future single 'Lucid Dreams' - another track that perfectly embodies his uniquely quirky take on big room sounds.

What really sets the album apart from the pack are its diversions away from the dancefloor. 'Damage Control' takes in everything from electro-charged French house ('Only For You' feat. Rachel K. Collier), classy trance vibes ('The Sky' feat. Linnea Schossow) and big room progressive, through to wonky, trap-styled beats ('Caller ID' and 'Little Damage'), UK garage updates ('EZ') and hip-hop ('Moderate Stimulation').

Retaining a cohesive thread throughout thanks to Zo's unmistakable sense of fun and infectious grasp of melody, 'Damage Control' is tipped as one of the most forward-thinking debut artist albums of 2013.

After almost a decade-long hiatus, cult 6-piece MFMB announced their
return with the long-awaited album - Sugar
The followup to 2012's critically- acclaimed "Colossus", "Sugar" revives the dark
and driven alt- rock the Swedes made their name with - equal parts rigor and
finesse, wracked with nervous tension. This time around, however, a democratic
approach to the writing process was decided on, with each member contributing
equally to the sound and feel of the record. The result is unmistakably the sound
of MFMB, but reinvented for these tempestuous times. The making of the album
is a story in itself. "Sugar" is seven years in the making. It has been a bumpy ride.
They were not always the best of friends. Priorities changed. Members quit, then
joined again. It was never easy. We believe you can hear it on the album, how
every song is a result of differing opinions fighting it out until they landed. In the
end, it's MFMB, but ringing purer than ever before. MFMB have remained prolific
throughout their hiatus, which includes Joakim Lindberg becoming one of the
underground scene's most in- demand producers, working with the likes of Hey
Elbow, Spunsugar, This Is Head, and many more.

From an offshoot of Salifornian funk/soul collective Banda Maje, here comes a new 7" single penned by the rapper, producer and band's co-founder Tonico 70. "Vic'l / Fantasie" is a tasty prelude to Tonico 70's forthcoming album "Antonico", due out this November on Four Flies Records.

Like the rest of the album, the two tracks on the single have been co-written and co-produced by Peppe Maiellano, Banda Maje's other founder, and offer a more intimate portrait of the artist. Tonico has put his 'tough-music-smuggler' persona aside to let his soulful side shine through.

"Vic'l", on side A, is a very autobiographical song. The flow of words you hear, almost a stream of consciousness, took place late one night in the privacy of home and was recorded on the spot. Tonico 70 evaluates his personal history, speaking about the people who are or were there for him. The sound is smooth and sweet, rife with contrapuntal notes and harmonies (those played on the Fender Rhodes and the flute especially stand out) and clearly reminiscent of 70s soul.

In the funky, uptempo "Fantasie", on the flip side, Tonico 70 lets his Salifornian flow roam free totalk about the strong bonds that bring us together and make us feel good.

Both tracks evoke images and stories while enveloping you in a warm embrace. Not unlike Banda Maje's music, they have a strong cinematic quality that Tonico 70's rap adds to nicely. We can't wait to listen to what's coming next!

George is Lord is a celebration of all things George Harrison - What began
as an exercise inlearning to play the drums, became a band - Anna
Pomerantz quit her job as Interior Designer to the stars and called upon
old friend Lindsay Glover, to teach her to play the drums
Lindsay, who has played in local LA favorites, Whiskey Biscuit and Future Pigeon,
began by teaching Anna the fundamentals and quickly it turned into learning
songs. "One of the first songs we learned was 'Something.' I've actually spent
most of my life hating the Beatles, but hearing them again for the first time
through the drums, made me fall completely in love, especially with George and
Ringo" recalls Anna. "I began teaching Lindsay the guitar and we started playing
together." The duo went on to learn a number of songs like, "Long, Long, Long," "All
Things Must Pass," and "Give me Love" when they realized they were ready to play
with other people. Lindsay asked friend Cody Porter of Pearl Harbor and Puro
Instinct to come play bass. "In our lessons, Lindsay had taught me how to sing
while playing the drums to keep my place in songs. I didn't think I was going to be
a singer in a band, it just happened." The missing ingredient was a lead guitar
player, and the trio invited Sam Blasucci of the popular LA folk duo Mapache if
he'd be willing to jam with us. He brought his magic and completed George Is
Lord. George is Lord recorded their first album of covers with producer Jason
Quever (Beach House, Cass McCombs). Dean Wareham (Luna, Galaxie 500)
appears as a guest. The ten song record includes a variety of George favorites
from the Beatles catalogue and throughout George's solo career.

Some people choose the pages of a diary to spill their innermost feelings
and recount their trials and tribulations - Instead, Chayse Porter has a
palace - It's this metaphorical place where I can go to express myself and
feel safe, he explains
It's this place where you can get all your secrets out in the open and feel at home.
But rather than luxuriate in his regal mental abode, Porter's latest for Earth
Libraries takes listeners on a grand tour, revealing the nooks and crannies of his
heart and mind.Recording on vintage gear and working with producer Brad Timko
redoubles that sense of intimacy, imbuing every take with a bronzy finish. € I've
always really appreciated records that opt for analog, so this one is all just raw
performance, straight to tape, € Porter says. € It gives me time to sit with each
part of the composition, to live more within the song. €
As the album rolls ever forward to its conclusion, the rough edges of the pain and
suffering have softened, and Porter has come to a sense of hopefulness. "It was
very tumultuous to put this album together and express myself openly in this way,
but at the end of the album I'm reassuring myself that there's an opportunity for
growth both personally and interpersonally, having gone through this challenging
time and coming out the other side, € Porter says. At the end of the long and
fascinating tour of Chay's Palace, Porter makes the listener feel the warmth at its
core that he himself has found.
Tracks: Purpling Dawn / Jet Lag / Nobody Wants You (More Than Me) / Penny /
Heat Lamp / Theme from Chay's Palace / Palace Doors / Pacific Inn / Purpling
Dawn Pt. 2 / Blue Star / Yoshi

Noah & The Whale were one of the leading protagonists of the small but
perfectly formed indie-folk scene of the early days of the 21st Century
Formed in Twickenham, the five-piece, led by vocalist and guitarist Charlie Fink,
originally boasted Laura Marling in their line- up, before she left to begin her
successful solo career.
Containing the Top 10 single L.I.F.E.G.O.E.S.O.N., Last Night On Earth was partially
recorded in LA with producer Jason Lader. On its release in 2011, Fink spoke of
capturing "that excitement of being young and being in the night," and being
influenced by Bruce Springsteen. That can be heard on Wild Thing, which blends
Springsteen and Lou Reed into something that is unmistakeably the group's own.
The Telegraph called it "Heartfelt, spirited, lyrical, moody and mostly magnificent
pop rock."
This re- issue faithfully recreates the original 2011 Mercury Records UK release
and is pressed onto high quality 180g vinyl. Also includes the original's bonus 7"
single featuring demo versions of Tonight's The Kind Of Night and Wild Thing.
...

Space Summit is a collaboration between the omnipresent Marty WillsonPiper (ex-The Church) and Minneapolitan Jed Bonniwell
Writing the music together, Marty handles the luminescent electric guitars and
the bass whilst Jed is in charge of lead vocal duties, and lyrics. The music
created on Space Summit's debut album is simultaneously modern and classic
dream pop – the subtle shading of dark and light with layered, sonic textures on
every track.Conceived in cyberspace, the album is produced by Marty and
producer/ engineer Dare Mason who also plays keyboards. Phoebe Tsen sings
harmony vocals, Olivia Willson- Piper plays the strings, Eddie John plays the
drums and Anekdoten's Nicklas Barker and Sophie Linder play Mellotron. All the
usual suspects from Marty's recent Noctorum and MOAT projects make an
appearance. Bringing together musicians from England, the USA, Sweden, and
even Borneo where Phoebe lives, is recognition of a new future in music.
This album is the first of Marty's intriguing Sessioneer Series working with newly
discovered collaborators from around the globe.

Private View is distinctly Blancmange while also expanding into new sonic terrain. There’s a deft marriage of futuristic electronic sounds, Neil Arthur’s unmistakable vocal hooks, and songs veer from buoyant and joyful to dark and brooding. Private View will be released on London Records almost exactly 40 years to the day since the label released Blancmange’s debut album Happy Families. This neat full circle of Blancmange re-signing to the same label that ignited things all those years ago is also reflected in the album itself, being the perfect crystallisation of four decades of creativity.

On Private View Neil returns with key collaborator Benge (Wrangler, John Foxx, John Grant), and David Rhodes (Kate Bush, Peter Gabriel, Scott Walker) also returns as the guitarist, having previously performed with the band as early as 1982’s Happy Families (as well as several other Blancmange albums).

Private View is a record that manages to capture an artist who is potently in the moment when it comes to creating new work, while also being able to draw on 40 years’ worth of knowledge, experience, and built-in intuition. “I'm really lucky to be able make the music completely on my own terms,” Arthur says. “Being able to just continue being creative...that's when I'm happiest.” As he said before: “within myself there are no limits.”

Blancmange is also reflected in the ongoing influence the music has on younger generations of artists and fans over the years. Contemporary electronic producers like Honey Dijon and Roman Flügel have paid tribute with remixes, Moby once called Blancmange “probably the most underrated electronic act of all time.”; while John Grant continues to profess his love for Arthur’s music, old and new, and has invited Blancmange to perform as part of Grace Jones’ Meltdown festival.

The Independent - 5 star Glastonbury set review “Making their Glastonbury review, IOW collective Plastic Mermaids are a joy to behold at the Croissant-Neuf stage.” New single 'Girl Boy Girl' Girl Boy Girl is an uncomfortable place, an unspoken awkwardness and tension. Always convoluting, never resolving. Just like this perpetual frustration when a relationship isn’t right but none has the language or understanding to fix it. And then thinking that adding a 3rd party to the mix is going to solve the problems…oh dear. We took some inspiration from the song ‘Night Call’ on the Drive soundtrack and also some of the slower Daft Punk tunes. Kinda wanted it to feel like something you’d stick on cruising in your car after dark in the 80’s. It has been two years since Plastic Mermaids released their critically acclaimed debut ‘Suddenly Everyone Explodes’, and now they return to spread some eagerly awaited blissed out joy with new single Disco Wings & b side Environmental with their second album due next year. The band have been working hard in the studio teaming up with producer Ant Whiting, who has worked with the likes of MIA, John Newman and Lana De Ray, in what proved to be an exciting mix of creative ideas.

(Cargo Collective Title) RIYL: Barker, burger/ink, Andy Stott, Shackleton, Monolake, Jan Jelinek, Perila, Fax. 180gLP in 350gsm jacket + 190gsm inner + DL. CD in custom mini-gatefold paperboard jacket. T. Gowdy has kept up a productive albeit mostly virtual pace since the release of Therapy With Colour (his third full-length album and first for Constellation) which dropped just as things were locking down back in spring 2020: performances at numerous festivals including MUTEK Montréal, Node Festival and NEW NOW; audiovisual pieces exhibited at various European galleries and events; a track and video for Constellation’s Corona Borealis Longplay Singles Series; sound design for the documentary Atalaya by filmmaker Emma Roufs. Gowdy now returns with Miracles, his second full-length for Constellation, which draws on source materials originally performed in 2018 for an unreleased audio/visual project based around surveillance footage—a precursor to video1capped, monitor-based horizons that soon took on new meanings. Re-immersing himself in those recordings, Gowdy disassembles and deploys them as raw source material for new experiments with vactrols, noise gates and analog-to-digital triggering and aliasing, the original recordings juxtaposed anew amidst their successive textural and rhythmic treatments. Gowdy keeps this re-composition process stripped down, elemental and purposive, guided by an ascetic Aufhebung: synthesis as sublation—subjecting a temporal material/theme to analysis and transformation, reintegrating to form a whole that overcomes what it preserves without erasure, reshaping and intrinsically carrying its origins forward. Where Therapy With Colour was strictly and rigorously a set of stereo live performances, Miracles fuses iterative—though still spartan—layers of performance. “Therapy With Colour was about healing through self-hypnosis; Miracles is about forging a future with memory through subjection to trigger mechanisms” notes Gowdy. The result is a captivating collection of minimal IDM and oscillated electronics from the Montréal/Berlin producer, working primarily in a 120-140 BPM zone of tonal percussion and corrugated pulse. Gowdy’s sensibility and sound palette gets deeper and dirtier, summoning new pathways of alluvial flicker and abraded euphoria. As the album progresses, low-pass gate vactrols coalesce into a clear and vital theme, conveying immanence through woody timbres at times reminiscent of the Shinrin-yoku aesthetic (Japanese ‘forest bathing’), though always with a grainy transcendence rather than invoking any clean pure sheen. Gowdy consistently heats and heightens the presence of each component in the mix, balancing different elements in democratic compression/distortion, attaining an unornamental and earnest form of mantric-industrial majesty. Miracles is live, corporeal, activated electronic music of the highest caliber, deployed with monastic and meditative focus. Tracklist: 1 350J 2 Miracles 3 Déneigeuse 4 Transcend I 5 U4A 6 Vidisions 7 Clipse 8 Transcend II

Tape

In Macrospace“. The monolithic album debut by Hamburg-based DJ x producer x electronic music activist baze.djunkiii, the essence of 25+ years on the scene and continuous research in sonic fields reaching far beyond your regular club music.
A dark and threatening journey through the realms of brooding DeathAmbient, cold, hostile sci-fi atmospheres and an innate feel of darkness, doom, desolation and industrial wastelands covered in toxic fumes and the aftermath of a nuclear apocalypse.
Generated solely and exclusively by a process of extensive vocal synthesis the ten tracks on
„In Macrospace“ represent a sonic manifestation of vantablack dystopia and mind threatening, braincell eroding claustrophobia, an ode to both minimalist sound structures as well as a
maximized psycho-acoustic impact that might overwhelm even those used to stare into and listen to their innermost void for extended periods of time.
Not for the faint-hearted. Listener discretion is advised.

Criminal, The Soft Moon's fourth studio album, is a confessional work. Through the stark lens of shame and guilt that has followed Luis Vasquez since a violent childhood growing up within the humming ambient sprawl of '80s Mojave Desert, here he documents the gut-wrenching sound of going to war with himself. Criminal marks a striking and important chapter in his self-exploration, both artistically and emotionally. As a young musician living in Oakland, Vasquez began to try and process the narrative of his difficult upbringing veiled through musical exploration. Working with producer Maurizio Baggio at La Distilleria in Bassano Del Grappa, Italy, Criminal sees Vasquez further explore putting his lyrics at the forefront and letting his raw emotions flow. Sacred Bones is now repressing this favourably received record in a bunch of new colors in celebration of the label's 15th year anniversary.

Breathing Tornados is the third studio album by Australian musician Ben Lee, released in 1998. It peaked at number 13 on the ARIA Albums Chart and has sold in excess of gold sales.

Breathing Tornados distinguished itself from Lee’s previous albums for its expanded instrumentation, hip hop inspired beats and its pop polish, which came with the help of producer Ed Buller (Psychedelic Furs).

The album features contemplative but catchy songs like ‘Nothing Much Happens’ (inspired by an early morning conversation with Evan Dando) and ‘Tornados’, as well as the emotional bitterness of ‘Cigarettes Will Kill You’ which came in at Number 2 in the Australian 1998 Triple J Hottest 100.

UK label Expel Your Demons is not slowing down. The entire first division of techno still hasn't tired of extremely playable Rian Wood recent release and they just striked with another standout intensive techno vinyl to keep dancefloors burning. Non Reversible - Change of Tendency EP EXPELVNL02 resemble a failed intergalactic journey that must continue. The direction of the extreme high-speed flight will be determined by repetitive disturbing sounds, distinctive alarms, fading vocals and wildly hypnotic melodies, while your body will be battered by powerful kicks. Futuristic industrial sweat squeezer with a touch of old-school 90's techno style. Pure mad ride through the perseids.

In the discography Berlin based Non Reversible has grown with standout he released on the legendary and highly influential labels like Soma, ARTS, EarToGround Records. In 2019 he has started his own Imprint Non Reversible Structures to pushing forward his vision and signature sound. With upcoming "Change of Tendency EP EXPELVNL02" vinyl release Non Reversible proves once again that he deserves for a place among the bests producers.