Buscar:the worm

Marroon coloured vinyl.

1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.

Tape

1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.

Jeugdbrand is the voice (Dennis Tyfus) and the beat (Jeroen Stevens) of Antwerp. They perform a sparkling drama, a theatrical tragedy, marinated in our classic Antwerp anarchic sense of humor. Recorded at Joris Caluwaerts’ Finster Studios - a landmark in Belgian music.

Inside the multiverse that is Dennis Tyfus’ oeuvre there exists this body of detailed pencil drawings of various sizes. In these drawings the artist puts himself in many tragic situations. Like vomiting on his way home after a long night at the bar. Boiling right wing idiots. Telling sweet little lies on your Tinder profile. Or, you know, taking out the garbage on a Sunday evening. The horror. These seemingly hermetic pencil drawings show a deceivingly simple world. But you’re often stuck with a bitter aftertaste when you understand a bit more what is actually happening behind the colorful masque.

When it comes to his music - and in contrast to aforementioned drawings - Dennis pencils a more piecemeal picture. His recordings and performances often feel like spliced excerpts. Strange sentences and funny remarks waiver by and interconnect. Musical symbols are casually thrown on the table. Instead of a clear picture, we now have the feeling of looking at a bunch of different doodles. Like… sometimes I have the feeling compared to how focussed Dennis works on his drawings, how unfocussed and sketchy he treats his music. We are simply thrown from emotion to emotion. From laughter to tears. It’s a bumpy ride.

I’d like to imagine that Dennis constantly notates all the shards of conversation he picks up during his regular walks in the centre of Antwerp - a wormhole congested with characters, the one more tragic than the other. In a kind of R. Murray Schafer way, Dennis takes in every sentence very un-arbitrary… and that’s the soundscape. Dramatic, normal, boasted, silly, urgent…

Enter Jeroen Stevens. Antwerp’s number one percussionist. If I would have to list all the bands he performs in this text, well, we would be truly wasting data and printers. Jeroen is the grand gift of the wellschooled session musician. But thank the heavens of white improv, he is also sweet and creative. Jeugdbrand is his second entry in the Edições CN catalogue, after taking care of some of the percussive fragments on the “KAGIROI" LP with Sugai Ken (2021). Recently Jeroen has been performing very lengthy - thus correct - performances of Satie’s Vexations for midi instrumentation; Christmas music; and his famed De Stoeltjes project, where he covers Stooges songs on a camping chair. Apparently much to the confusion of Iggy himself. This might all feel like a big joke to you, but when you dare to listen, you will have to admit that Steven’s adventurous music is very rewarding. Special stuff.

The music of Jeugdbrand reminds me a bit of the music of the late Ghédalia Tazartès - especially when it comes to reinterpreting and combining musical idioms - but trying to put a direct reference on this album does it a bit short. Most important, this is music how it could be: incomprehensible, hilarious, serious, ludicrous, well crafted, sloppy, non-genre. With a strong sense of personality. You know, a fragmented beam for your own overstimulated temple. To shake things up a little … “They told us, they told her. I told everybody.”The albums comes with a drawing by German artist Albert Oehlen and with a text by Angela Sawyer of Weirdo Records, Boston.

Mark Grusane's latest offering, A House of My Own is a testament to his long-standing discipleship to the craft of producing hard-hitting house tracks with authenticity and depth. The title-bearing opener on A1 strongly demonstrates this notion with a slew of raw bass stabs and emotive pads leading through a battery of driven percussion in a manner that calls to mind those early 90's Mr. Fingers records. While A2's Essence of Life (Afterhours Mix) takes us further into the darkness with a spiraling timber of percussions lain over distorted vocal arrangements, the "Daytime Mix" of A3 builds on the momentum of its predecessor with a robust uplifting synth lead and sounds of atmospheric ambiance added to the mixture, effectively taking the composition to an entirely new level. B1 kicks off punching and swinging with the track Knock knock, Who's there?, a ferocious gut-puncher of a track that sees classic Chicago "beat-track" style 909 arrangements lay over an intense saturated 303 bassline that relentlessly worms its way throughout the mix with a booming urgency. B2 sees a turn for the naughty on the track Love And Lust with a xxx-rated vocal line slithering its way through the track, sandwiched in between high-pitched keys and a slinky drumline. Finally, Jack Your Ass Off closes out the album and ties it all together on B3 showcasing the full-fledged insanity of the classic trademark Chicago "jack" style that sees the title of the track frantically screamed over and over though a sampler amid hard hitting drums and 303s engineered to make you dance like a freak. A serious 'must have' for any selector or music enthusiast.

Multi-RIAA Platinum and Gold certified singer/songwriter and producer Cavetown, also known as Robin Skinner, announces a highly anticipated new album ‘worm food’ today to be released November 4th / Limited Green Vinyl released March 3rd 2023

The first full length since 2020’s Sleepyhead, ‘worm food’ finds Cavetown unpacking the inner workings of his mind and delivers some of his most intricate lyricism to date. The announcement is a long time coming for fans of Cavetown, who have been patiently awaiting news of a new album for over two years. In that time, the popularity of Cavetown songs has continued to snowball, with an ardent community of fans proliferating around the world.

Since the age of 14, Robin (he/they) has created self-produced songs both intensely diaristic and touched with offbeat imagination. Now 23, the Cambridge, UK-based artist has emerged as one of the preeminent voices in the DIY bedroom pop scene, with more than 1 billion global streams to date, including nearly 7.6 million monthly listeners and 2.5 million streams a day on Spotify alone. With over 2 million YouTube subscribers and 1 million Instagram followers, he kicked off 2022 with the release of “Fall In Love With A Girl” with beabadoobee, which was featured in Billboard’s “The 25 Best Pride Songs of 2022 (So Far)” and followed it with “Grocery Store” in July, a reimagination of his collaboration “Trying Not To Cry” with Kina Beats that received praise from PAPER and V Magazine. Robin has also co-written and produced for artists such as mxmtoon, Chloe Moriondo, Addison Grace, and more.

Cavetown opened for Bleachers this summer at the Kia Forum in Los Angeles, CA, following US Tour that wrapped up in May. With over 50,000 tickets sold, Robin sold out venues across the country including the Hollywood Palladium in Los Angeles and Terminal 5 in New York City. He will embark on an EU/UK tour this Fall with sold-out shows in Paris, Berlin, London, and more.

Mit dem ersten Album in voller Länge seit Sleepyhead
aus dem Jahr 2020, liefert Cavetown sein bisher
aufwändigstes Werk zum Thema "worm food" ab und
formt sein eigenwilliges Geschichtenerzählen zu Songs,
die letztendlich unseren eigenen intimsten Emotionen eine
Stimme verleihen. Wie alle seine Werke produzierte
Skinner das Album selbst in seinem Heimstudio,
verschanzte sich in seiner Garage und verlieh seinem
dezenten Alt-Pop eine kraftvolle neue Vitalität.
Neben dem Album hat Skinner kürzlich die Gründung
des This Is Home Projektes angekündigt. Das Ziel der
Stiftung ist es, an verschiedene Organisationen zu
spenden, um LGBTQ+-Jugendliche zu stärken und zu
unterstützen.
Er schließt derzeit eine Headliner-Tour in Europa und
Großbritannien ab und hat seine bisher größte
Headliner-Show in London im Eventim Apollo am 5.
November mit über 5.000 Fans ausverkauft

Sebastian Gummersbach's Yore debut brings with it a further refinement of the material he's created for the German label Raw Soul. It specializes in material infusing modern house and techno grooves with flavourings of jazz, funk, and soul, the result a timeless take on house music. Anyone who's been keeping tabs on Andy Vaz's Yore releases will realize immediately that the same description could be applied to his imprint.

Given all that, it's easy to understand why Gummersbach, a producer hailing from Neuss, Germany, is such a natural fit for Yore. There's no small amount of artistry in play in the EP's four tracks, each one arguing strongly on behalf of his skills as an arranger and mood shaper. No cut better shows that than the opening “Rough Edges,” which is, frankly, anything but rough. He builds the arrangement methodically, starting with warm, billowing washes and then layering in step-by-step dub atmospherics, a strutting house pulse, congas, and synth ear-worms—a seductively smooth intro to the release.Gummersbach might have been listening to Hall and Oates's “I Can't Go for That (No Can Do)” prior to crafting “Calming Solitude” when the latter sounds so much like a clubby instrumental riff on the hit. Here too silky chords and synth textures merge with a rousing beat pattern to draw listeners to the dance floor.
On the flip side, “Eden” initially changes things up with a classic B-Boy beat and handclaps, but the tune gradually aligns itself to the character of the EP's other body-movers, even if acid-tinged synths become part of the mix. Closing out the release is the most techno-oriented of the four cuts, “Undisclosed Thoughts,” acid once again central to the track's identity and the chugging groove frothy. The word Eden naturally calls to mind the Biblical paradise, and consistent with that the tone of Gummersbach's EP, its A-side cuts especially, is generally smooth, serene, and harmonious; it's also, as stated, a seamless addition to the Yore catalogue.

If Songs of Praise was fuelled by pint-sloshing teenage vitriol, then Drunk Tank Pink delved into a different kind of intensity. Wading into uncharted musical waters, emboldened by their wit and earned cynicism, they created something with the abandon of a band who had nothing to lose. Having forced their way through their second album's identity crisis, they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which Steen declares to be "the Lamborghini of shame records." It marks a sonic departure from anything they've done before, abandoning their post-punk beginnings for more eclectic influences, drawing from the tense atmospherics of

Merchandise, the sharp yet uncomplicated lyrics of Lou Reed and the more melodic works of 90s German band, Blumfeld For the first time, the band are not delving inwards, but seeking to capture the world around them. "I don't think you can be in your own head forever," says Steen. A conversation after one of their gigs with a friend prompted a stray thought that he held onto: "It's weird, isn't it? Popular music is always about love, heartbreak, or yourself. There isn't much about your mates." In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share

Exclusive Bundle LP+7"-
Exclusive lim.Yellow Vinyl + 7” Black Vinyl including exclusive Bonus Track “Slimbo”.

If Songs of Praise was fuelled by pint-sloshing teenage vitriol, then Drunk Tank Pink delved into a different kind of intensity. Wading into uncharted musical waters, emboldened by their wit and earned cynicism, they created something with the abandon of a band who had nothing to lose. Having forced their way through their second album's identity crisis, they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which Steen declares to be "the Lamborghini of shame records." It marks a sonic departure from anything they've done before, abandoning their post-punk beginnings for more eclectic influences, drawing from the tense atmospherics of

Merchandise, the sharp yet uncomplicated lyrics of Lou Reed and the more melodic works of 90s German band, Blumfeld For the first time, the band are not delving inwards, but seeking to capture the world around them. "I don't think you can be in your own head forever," says Steen. A conversation after one of their gigs with a friend prompted a stray thought that he held onto: "It's weird, isn't it? Popular music is always about love, heartbreak, or yourself. There isn't much about your mates." In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share

TRANSPARENT PURPLE VINYL

If Songs of Praise was fuelled by pint-sloshing teenage vitriol, then Drunk Tank Pink delved into a different kind of intensity. Wading into uncharted musical waters, emboldened by their wit and earned cynicism, they created something with the abandon of a band who had nothing to lose. Having forced their way through their second album's identity crisis, they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which Steen declares to be "the Lamborghini of shame records." It marks a sonic departure from anything they've done before, abandoning their post-punk beginnings for more eclectic influences, drawing from the tense atmospherics of

Merchandise, the sharp yet uncomplicated lyrics of Lou Reed and the more melodic works of 90s German band, Blumfeld For the first time, the band are not delving inwards, but seeking to capture the world around them. "I don't think you can be in your own head forever," says Steen. A conversation after one of their gigs with a friend prompted a stray thought that he held onto: "It's weird, isn't it? Popular music is always about love, heartbreak, or yourself. There isn't much about your mates." In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share

Tape

If Songs of Praise was fuelled by pint-sloshing teenage vitriol, then Drunk Tank Pink delved into a different kind of intensity. Wading into uncharted musical waters, emboldened by their wit and earned cynicism, they created something with the abandon of a band who had nothing to lose. Having forced their way through their second album's identity crisis, they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which Steen declares to be "the Lamborghini of shame records." It marks a sonic departure from anything they've done before, abandoning their post-punk beginnings for more eclectic influences, drawing from the tense atmospherics of

Merchandise, the sharp yet uncomplicated lyrics of Lou Reed and the more melodic works of 90s German band, Blumfeld For the first time, the band are not delving inwards, but seeking to capture the world around them. "I don't think you can be in your own head forever," says Steen. A conversation after one of their gigs with a friend prompted a stray thought that he held onto: "It's weird, isn't it? Popular music is always about love, heartbreak, or yourself. There isn't much about your mates." In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share

Inspired by the likes of old-school legends including Venom, Kreator, Sabbat JPN & Metallica, James McBain formed Hellripper in 2014, showcasing an electrifying brand of blackened thrash. Building on the already impressive foundations laid by their early EP & split releases, the first full-length album, Coagulating Darkness',
was released in 2017 to media acclaim, with the UK's Metal Hammer hailing Hellripper as Scotland's King of the arcane mosh & the band receiving notable attention throughout Europe & the US. This was followed by the Black Arts & Alchemy' EP, before an eventual deal was inked with Peaceville Records, resulting in the masterful The Affair Of The Poisons', further propelling the band to the forefront of the UK metal scene. Warlocks Grim & Withered Hags' - Hellripper's third studio album - establishes a new threshold of excellence & raises the bar further over The Affair Of The Poisons', with an opus standing at the crossroads between the sound that Hellripper has become known for & a whirlwind of different influences up until now yet to be explored, resulting in James McBain's most personal & diverse
work to date. With a greatly expanded scope to the tracks, incorporating more epic & melodic blackened anthems alongside the high- speed metal attack & blistering solos, Warlocks Grim & Withered Hags' marks a new highpoint for the band. Inspired by the landscapes & legends of the Scottish highlands, McBain explores the darker side of Scottish history & folklore - the title itself taken from a
line in the Robert Burns poem,Address to the Deil' - as well as including references to clan culture (including his own) throughout the album. For example, one of the tracks ( The Cursed Carrion Crown') is based on the legend of Sawney
Bean' & the Bean Clan (a spelling variation of McBain'') & tells the story of a family of cannibals that lived in a cave & committed various gruesome acts. As always, the writing & recording process was carried out by James McBain himself, with a few guests offering contributions in the form of additional vocals & instrumental
parts. With recording taking place between March 2021 & June 2022, the album was also mixed by McBain & mastered by Damian Herring at Subterranean Watchtower Studios. The suitably sinister & ominous artwork appears courtesy of Adam Burke. Hellripper will be embarking upon a series of shows in support of the album throughout 2023.

Blackploid has become one of Central Processing Unit's stalwarts in the past couple of years. Martin Matiske's project contributed a trio of EPs to the Sheffield label across 2021 and 2022, with each of them showing off the kind of electro chops and production sensibilities that made Blackploid an ideal fit for an imprint which also boasts the likes of Cygnus, Silicon Scally and Bochum Welt among its catalogue.

Now, for CPU's first release of 2023, Matiske levels things up with the debut Blackploid LPEnter Universe. Across these twelve tracks, Matiske leaves us in no doubt that he's a prime mover in the world of modern electronic music.Enter Universedoes not let up from start to finish, delivering a dozen pieces of leftfield electro that draws from the sound's greats while also showcasing an unpredictability and flair that is all of Blackploid's own.

The tone is set from the first frosty chords of opening cut 'Pulsation'. The track traverses the starscape on pitter-patter drums and chirruping synths, a lively and slightly dystopian roller with an adventurous undercurrent reminiscent of classic Rephlex drops. It's a style which Blackploid often draws for throughout the rest ofEnter Universe, albeit with elements added or subtracted at each stage.

Indeed, this album features some of the most unusual production you will hear on any record this year. While the grooves pulse away in a manner reminiscent of Drexciya or Legowelt, Blackploid layers the mixes with a whole cornucopia of synth tones. 'The Mission' boasts a bleep-bloop breakdown that sounds like malfunctioning rotary telephones; 'Silent Room' is a ghoulish jam which harks back to Warp's legendary Artificial Intelligence compilations; 'Automatik' and 'Wormhole' are defined by some brilliantly strange low-ends - you'll be thinking of Mr. Oizo's 'Flat Beat' with the wiggly former, while the gurgling, writhing anti-lead that dictates 'Wormhole' is oddly thrilling and more than befits the track's title.

This inventive approach is also apparent in some of the structural choices onEnter Universe. While the tracks here all keep a steady, dancefloor friendly pulse, several of them surprise you by switching up the approach after a minute or two. 'Pulsation', 'Automatik' and 'The Mission' all feature moments where a new element - extra hi-hats, a synth line entering from leftfield - inject fresh impetus into the tune to keep the listener on their toes.

Blackploid may push the sonic envelope onEnter Universe, but this does not mean there is no room for melody. In particular, the cuts here which most strongly channel 'Computer World'-era Kraftwerk do so by fronting some slyly tuneful work, particularly in the low end of the mix. 'Unidentified' serves up delightfully springy chords, 'Cell Mutation' leads from the bassline, and 'Space Curve' features little cells of melody and counter-melody working together to closeEnter Universeout on a high.

Blackploid's debut LP Enter Universe marries Drexciyan electro and Warp-school electronica with some brilliantly inventive production choices.

Sony Music Masterworks announces the vinyl format release of 'Sable (Original Video Game Soundtrack)', featuring instrumental and vocal music written by Japanese Breakfast’s Michelle Zauner for the globally acclaimed open world video game. The critically celebrated soundtrack is now being released as a stunning double coloured vinyl (purple/pink). This wasn’t Zauner’s only video game contribution of 2021: for the trailer to the new Sims 4 expansion pack 'Cottage Living', the singer/musician/director/bestselling author recorded a new version of her song 'Be Sweet' in Simlish, the fictional language featured in the Sims games. Drawing from her years of songwriting experience, Sable finds Zauner making new explorations into ambient and experimental music, the resulting soundtrack as breathtaking and otherworldly as the game itself. Sable had been hotly anticipated after being teased at E3 2018. The game is a unique and unforgettable journey accompanying guide Sable through her Gliding; a rite of passage that will take her across vast deserts and mesmerizing landscapes, capped by the remains of spaceships and ancient wonders. Of the soundtrack, Zauner says, “It was important to me that each biome in this world felt unique. I used woodwinds and vocal layering to make monumental ruins feel ancient and unknown, industrial samples and soft synths to make atomic ships feel cold and metallic, classical guitar and bright piano to make encampments feel cozy and familiar. I wanted the main themes to recall iconic works of Joe Hisaishi and Alan Menken, to fill the listener with the childlike wonder of someone on the precipice of a grand discovery."

Captain Planet has teamed up with 2 long-time collaborators (Zuzuka Poderosa & Raphael Futura) for a new Brazilian disco funk song, "Moqueca." The song harkens back to Brazil's legendary funk parties in the 70's and early 80's - where soundsystems bumped legends like Tim Maia, Sandra Da Sa & Gilberto Gil - while infusing some fresh contemporary energy and extra thump for today's dancefloors. Zuzuka's bright vocals bounce over a bubbly bassline, syncopated percussion and wormy vintage synthesizers, while an additional punch is brought in the form of horn arrangements by the prolific maestro Todd Simon, another frequent Captain Planet collaborator.

"Moqueca" takes inspiration from the Brazilian dish of the same name, a nationally famous fish stew that varies across the regions of Brazil. In her lyrics, Zuzuka talks about the origins and variations of Moqueca, starting with the style from Espirito Santo, her home state, and continuing to Moqueca Baiana, from Bahia, which incorporates African influences and ingredients. The result is a song that is as much an homage to Brazilian music as it is its food, culture and people.

2012 album from the Italian/Norwegian Metal band. Mixing and mastering sessions featured Stefano "Saul" Morabito behind the knobs and Marchello Baltadjiev for the cover artwork. 11 tracks, 46 minutes of what can be easily defined as relentless death metal at its finest. The lyrical concept is based on John Carpenter's immortal masterstroke "They Live", dramatically relevant testimony of a dark era that never ended. credits

Rhythm Nation is back on vinyl, with a master of the deeper side of UK house and Detroit-inflected techno, Jayson Wynters.

Following up his 'Exit Wound' digital-only release of last year, which also featured remixes from Phantasy Sound's James Welsh, Jayson drops two brand new tracks as well as a physical pressing of those two originals from the previous release.

'War Heads' is a true late-night wormhole of a track, embarking on a journey of percussion and atmosphere, leading inexorably to the emergence of the warmest pads and the deepest bass.

'Bandwidth' flips the switch to a fresh take on classic electro, maintaining the signature Hayson Wynters sound of drum machines and classic synths that seem to hit just slightly left of where the listener expects.

Orginally released digitally in 2022, 'Exit Wound' and 'Lost City' offer a similar contrast - the former is a bassline-driven peak-time stomper, while the latter takes things deep into real electro with an infectious groove and evergreen textures.

Rhythm Nation is part of the Hotflush Recordings label group, curated by Paul Rose aka Scuba, celebrating 20 years in 2023.

Purple Vinyl

Bristol don Ramu brings the latest edition of our Killer Cuts series. Bored In A Wormhole takes us on a journey through a kaleidoscopic journey through acid-tinged breakbeat, cosmic house, warped bassline breaks, techno, garage and earworm melody jungle. Strap in!

Bristolian power-improv duo Run Logan Run continue their link-up with Worm Discs and producer Riaan Vosloo on Nature Will Take Care Of You – a monumental slab of contemporary energy music that draws on the heavy soul of David Axelrod and the fiery commitment of Archie Shepp. Working with an expanded line-up that includes singer Annie Gardiner (daughter of the late guitarist Ricky Gardiner, who played and collaborated with Iggy Pop and David Bowie) plus a string quartet and a brass section, saxophonist Andrew Neil Hayes and drummer Matt Brown have once again steered Run Logan Run in a dramatic new direction. Churning, future-forwards and emotionally tuned in, Nature Will Take Care Of You reaches out towards propulsive rock and psychedelic soul, while keeping one foot in the radical jazz-not-jazz of Bristol’s ever fertile improv scene.

The core of Run Logan Run’s sound is the dynamic conjunction of Matt Brown’s agile and powerful drums with Andrew Hayes’ looping, pedal-treated sax motifs. No matter how the duo augment and enhance their music, the kernel of their art has always been the spiralling energies generated by this essential musical relationship. Explorations of repetition, dissolution and dervish-like disorientation remain a central part of their project, with Brown weaving a tight rhythmic armature for Hayes’ unshackled journeys into sound. But though they began within Bristol’s improvised music scene, their vision has been increasingly structured and expansive, and the arrival of producer and bassist Riaan Vosloo (Nostalgia 77) for 2021’s For a Brief Moment We Could Smell The Flowers allowed to them move outwards to explore pulsing, cinematic synth-scapes. Vosloo is behind the boards again on Nature Will Take Care of You – and the duo’s vision has broadened a step further.

Running Back regular Feater aka Daniel Meuzard puts his newly-transplanted studio through its paces for the first time since relocating from Vienna, swapping out the bustle of the city for the fresh mountain breeze of the West Alps. The Positive People EP proves that a change is as good as a rest, as the wide open nature not only had some rejuvenating effects on the creative process - it also gave Feater some room in his head to ponder questions about nature, nurture, and whether our inner morality is externally programmed.

The taut jazz funk of opening track Coding springs into action like the montage music of a lost ‘70s TV show, while the title track Positive People plays on the ambiguity of its title, with cascading synth notes, tastefully dubby 303 stabs, and an afro-cuban drum figure that forms the foundation for a spaced-out dancefloor workout. It's a combo of tracks that should appeal to chat room moderators and serotonin programmers alike.

Expensive Zeit kicks off sounding like grime maverick XTC had been brought up on Murder Capital electro rather than East London garage - before it morphs into a bumpin electrofunk and percussion session, with its sights set firmly on an aquatic worm hole. The EP rounds out with Decline All Cookies, which breaks out of a flanged-out half-time drum 'n' effects intro to reveal a lush chord progression, flipping a soul jazz piano mood into a trippy slice of modern instrumental funk.


Can man be the master of his own destiny? It seems with this change of location and musical direction, Feater might just have figured out the answer.

It's coming home, it's coming home - house music is coming home! A second instalment of the Groove Access: series Chicago Is Home offers us five fresh tracks from the windy city landing in a glorious cavalcade of razor edged snares and hypnotic jack house. Ed Nine & Kid Enigma's 'Bandleaders' opens side one in spectacular fashion with spoken mantras lying deep in the mix, distinctive phasing arpeggios, poking keyboard riffs and ringing cymbals. JSquare's 'Get Wicked' kicks with even more power, tribal rhythms bouncing of bleepy melodies, before 'Move' by Geto Mark rounds off the side with the strutting, beautifully brutal 'Move', a proper 3AM peak time pleaser. Steve Noah's 'The Hater' opens side two, a wily acid line worming its way across a raw, stripped down backing before exploding into serious gnarliness when you least expect it. AFTR's 'Undercover' rounds things off with another knuckle duster of a tune, leaving no doubt that Chicago is still the place to be when it comes to house.

San Diego born and raised DJ/Producer, Dillon Marinez, today releases his latest EP ‘Wormhole’, out now on Dirtybird.

Curated by Claude VonStroke, the compelling two-track project presents a dynamic soundscape showcasing the sonic duality of one of Dirtybird’s newest rising stars. The chaotic, high-energy sound of its titular track ‘Wormhole’ is instantly mesmerizing, while its companion ‘Facelift’ is a deep, rolling burner.

Regarding the EP, Dillon Marinez said, “My first Dirtybird Campout inspired both tracks. Claude’s set especially was full of some thick stabby bass which was right up my alley. This sound gave me an idea for each lead and the rest flowed naturally.”

Continuing to grow as a consistent member of the Dirtybird flock, Marinez’s latest EP, ‘Wormhole’ marks his fifth release on the esteemed label following last year’s ‘No Pressure’ EP and earlier singles like ‘Dance For Me.’

Taking inspiration from funk, hip hop, and reggae, Marinez credits his father and brother for exposing him as a kid to the multi-genre sounds that shape his music style today. A bassist since childhood, it was only natural for Dillon to be drawn to the ebbs and flows of house music. Learning Ableton in college, Marinez was able to incorporate a blend of rhythmic elements to create his unique bass lines and incredibly catchy beats known to captivate crowds.

Releasing music on Dirtybird marks a full circle moment for Dillon, as he has previously named Dirtybird’s artists Justin Martin and Shiba San as major sources of inspiration for his music.

Marinez invites fans to join him on his rhythmic journey and stream ‘Wormhole’ today.

"Viktor Marek is at home everywhere, even at home," DJ Booty Carrell recently remarked on his old companion. Marek is the outernational musician par excellence. When he's not working as general manager of the legendary Golden Pudel Club in Hamburg, he travels the world, meets people and records music with them. With his inimitable productions between HipHop, Acid and Dub, he has long been known as the "Madlib from the Waterkant" far beyond the borders of Hamburg! As a beatmaker and producer for artists such as Jacques Palminger and the Sufi Dub Brothers (Marek together with Ashraf Sharif Khan) and a lot more, he has already released countless great tracks and albums. Finally, he is going to release his first solo album for which he has invented the character Mr.Subtitle. A translator of cultures. An overcomer of distances. A humanistic spirit of research and comic hero who encounters many artists and cultures on the album "The lucky bag of Viktor Marek". Some of them are probably not even native to this planet. On the first hit single for instance, "Mr.Subtitle Theme", we hear Kurdish vocals by Hêja Netirk and Sicilian Rap by Don Colfit. Is it a piece about Palermo? Istanbul? Los Angeles? We don't know. But that's exactly the point! Mr.Subtitle overcomes national and genre boundaries in the blink of an eye and has created a kind of mission statement for the Fun in the church label with this work! Outernational music for interplanetary people. Truly.

Sunking is the experimental sights and sounds of Seattle natives Bobby Granfelt & Antoine Martel, an outlet for the duo whose music is "steeped in funk, fusion, and the dreamier end of the rock spectrum," said Seattle"s The Stranger. The Stranger also went on to say that "this city needs more groups like sunking, who flit among genres such as hip-hop, jazz, and shoegaze rock while messing with the DNAs of each style they address." Both Granfelt and Martel are also members of High Pulp, a jazz collective that draws influences from punk rock, shoegaze, hip-hop, and electronic music. Also signed to ANTI-, their album "Pursuit of Ends" came out in April of this year. "High Pulp blend old-school bebop with contemporary soul and electronica vibes, as though someone convinced the ghost of Duke Ellington to reinterpret a Chemical Brothers album," said the A.V. Club.

Walter Astral is a celestial explorer, roaming through parallel universes, and diving down wormholes hidden in gigantic sequoias. Stars living in the trees, candle-shaped men, witches and druids, these and other creatures accompany Walter Astral on his transcendental journey.

Hyperdruide is Walter Astral's first EP to be released. It combines French pop, psychedelic rock with the world of techno, acid and house. Tristan's drum machines and acid bass mix with the retro sound of Tino's guitar and a banjo so old it provides quarter tones, like a saz.

Regal Worm release Worm!, the fizzy, dizzy follow up to 2021's The Hideous Goblink. It’s hard to believe that it’s been nearly a decade since Regal Worm first emerged from the mud. And what a long segmented body of work it has been with no less than five albums under its clitellum! (look it up, it’s not a rude word). With a small bag of heavy friends, Varrod Goblink continues to create astonishing music in his very own loft laboratory. Crammed with a growing number of vintage, dusty instruments, clean vintage instruments, computer tech foolery and weird looking banks of machines festooned with twiddly knobs, a visitor might wonder if they’d accidentally wandered into some sort of TARDIS.

Take To The Sky is a sun soaked EP with four dance floor heaters soundtracking the summer; capturing the euphoria and release of collectively gracing sweaty dance floors again. Inspired by nostalgic 90s UK club music/Summer of Love, incorporating broken-beat, garage and street-soul rhythms carried by melodic ear-worm vocals performed and produced by J. Caesar with co-production and mixing by Z Lovecraft (Rhythm Section). This year the East London based producer, singer/songwriter blessed the BBC airwaves with the EP title track, ‘Take To The Sky’ premiered on 1Xtra by Jamz Supernova originally featured on the well-received Scenic Route compilation and has been testing out dubs at his club night, Space Ghettos co-run by Qendresa and Albertina.

The opening track “I Told You” is a balearic love letter of gratitude to his friends, “ all I had was love, love of my friends, love of music and love of living.” his sentiment of meaningful relationships evoked through his sparse vocal arrangements, sprinkled over downtempo street soul drums. Take To The Sky, similarly paying homage to the underground Black dance music of the 90's, is a tale of escapism whilst Give Me To The Night is a celebration of hedonism featuring Jim’s sultry vocals punctuated by broken-beat drums. Lost In Space co-produced by Z Lovecraft is a moody, Garage/D’n’B infused B-side with disorientating breaks capturing the essence of romantic turmoil he found himself in during COVID. In his words “Take To The Sky EP is an ode to freedom”.

Support from Jamz Supernova BBC 1Xtra, CC:Disco Track IDs, Stamp The Wax, NTS; Anu, Zakia,

Locklead arrives on LOCUS in style as he drops a quartet of cuts via his ‘Blue Monday’ EP.

An artist undeniably in a purple patch following releases via Dungeon Meat, Vatos Locos, Dark Side Of The Sun and his debut album ‘Square One’ on Up The Stuss, Utrecht’s Locklead continues to flourish as one of the Netherlands’ hottest emerging house talents. Showing no signs of slowing down, his next release provides another signal of intent as he heads to FUSE sister imprint LOCUS for the first time. Following multiple appearances for the label at their London showcases, he now unveils four diverse and expansive offerings showcasing his far-reaching sound across his ‘Blue Monday’ EP.


A track that’s been the subject of ID requests for months, title cut ‘Blue Monday’ kicks things off in style as infectious vocals and spiralling synths go to work above a wormhole of a bassline to provide a peak-time cut already proven to work dancefloors. ‘Join The Tribe’ leans on tight rolling grooves guided by crisp organic drums licks, rumbling low-ends and off-kilter samples, while ‘Orbiting’ is a spacey journey into the late night hours. To close, Locklead takes things deeper as he layers rich chords, swinging drums and hazy vocals across a classy house effort to wrap up proceedings.

Nach dem massiven Erfolg von "Foreverglade" im Jahr 2021 rührt sich der Sumpfin Florida wieder - WORM beschwören ihren nächsten Output herauf: "Bluenothing", ein 26-minütiges Mini-Album mit 4 Tracks ist ein ominöses nächtliches Klagelied, das zeigt, wo die sich ständig weiterentwickelnden Nebelbewohner schon waren und in welche fernen Gefilde sie sich noch wagen werden.

Die A-Seite von "Bluenothing" enthält zwei Tracks aus den mythischen "Foreverglade"-Sessions, die bisher in der Krypta eingeschlossen blieben, aber nicht weniger meisterhaft sind als die sechs Tracks des Albums. Der Titeltrack "Bluenothing" sollte einst den Abschluss des Albums "Foreverglade" bilden, und all die erdrückende Wucht und die geheimnisvolle Anziehungskraft, die dieses Werk zu einem neuen Klassiker machten, sind auch in diesen beiden Tracks enthalten. Dennoch haben diese Songs durch den neuen Gitarristen Wroth Septentrion (Atramentus, VoidCeremony, Chthe-ilist, Hulder live) eine weitere, nekromantische Klangdimension hinzugewonnen.

Die B-Seite offenbart eine andere, aber komplementäre stilistische Richtung, die in früheren Inkarnationen angedeutet wurde und nun voll und ganz verwirklicht wird - die geheimen Dimensionen und die unergründliche Dunkelheit der verhüllten Mysterien des Black Metal. "Invoking the Dragonmoon" ist ein rituelles Tor, das sich in diese obskure Galaxie öffnet, während "Shadowside Kingdom" die Ankunft in der abgelegenen Dämmerungsfestung am Rande der Schwärze bezeichnet, wo Phantom Slaughter's tyrannisch-himmlische Nekromantie ungestört von sterblicher Unruhe gedeihen kann und Axtschwinger Nihilistic Manifesto tausendende von Türme dunkel kaskadierender Melodien bastelt. Einfach einer der besten symphonischen Black Metal-Tracks seit dem Höhepunkt des Stils Ende der 90er Jahre.

Nach dem massiven Erfolg von "Foreverglade" im Jahr 2021 rührt sich der Sumpfin Florida wieder - WORM beschwören ihren nächsten Output herauf: "Bluenothing", ein 26-minütiges Mini-Album mit 4 Tracks ist ein ominöses nächtliches Klagelied, das zeigt, wo die sich ständig weiterentwickelnden Nebelbewohner schon waren und in welche fernen Gefilde sie sich noch wagen werden.

Die A-Seite von "Bluenothing" enthält zwei Tracks aus den mythischen "Foreverglade"-Sessions, die bisher in der Krypta eingeschlossen blieben, aber nicht weniger meisterhaft sind als die sechs Tracks des Albums. Der Titeltrack "Bluenothing" sollte einst den Abschluss des Albums "Foreverglade" bilden, und all die erdrückende Wucht und die geheimnisvolle Anziehungskraft, die dieses Werk zu einem neuen Klassiker machten, sind auch in diesen beiden Tracks enthalten. Dennoch haben diese Songs durch den neuen Gitarristen Wroth Septentrion (Atramentus, VoidCeremony, Chthe-ilist, Hulder live) eine weitere, nekromantische Klangdimension hinzugewonnen.

Die B-Seite offenbart eine andere, aber komplementäre stilistische Richtung, die in früheren Inkarnationen angedeutet wurde und nun voll und ganz verwirklicht wird - die geheimen Dimensionen und die unergründliche Dunkelheit der verhüllten Mysterien des Black Metal. "Invoking the Dragonmoon" ist ein rituelles Tor, das sich in diese obskure Galaxie öffnet, während "Shadowside Kingdom" die Ankunft in der abgelegenen Dämmerungsfestung am Rande der Schwärze bezeichnet, wo Phantom Slaughter's tyrannisch-himmlische Nekromantie ungestört von sterblicher Unruhe gedeihen kann und Axtschwinger Nihilistic Manifesto tausendende von Türme dunkel kaskadierender Melodien bastelt. Einfach einer der besten symphonischen Black Metal-Tracks seit dem Höhepunkt des Stils Ende der 90er Jahre.

Yazzus follows up her appearance on the Tresor 30 compilation with a new EP named BLACK METROPOLIS.

Within its, at times, rough-hewn textures lies a core
that explores joy and energy within the roots of black techno. In her words: “I want this release to be black and beautiful, to be queer, and playful, a nostalgic nod to the 90s but also reimagining it in the current times.”

The Ghana-born, London-bred, now Berlin-based producer’s research into afro-futurism, envisaging a path forward for science, technology and culture through the black experience, has impressed a deep
vision on this EP. Yazzus sets like a cartographer, using her tracks to explore a technologically advanced world, each representing dierent regions and environments.

Human Error Processor introduces an ear-worming percussion pattern nearly swamped by distorted bass drums and a vocal sample screwed just beyond recognition. Perforated leads with a 150bpm four to the floor stomp, infectious and supercharged. Gluey synth
motions soak in an otherworldliness, where industrious,
mechanical rhythms map out futurist structures in all directions.

Metro City Bay Area exhibits a ghettotech soul, lean and bouncy - this part of the galaxy is an infinite source of fun, with the heart of groove at it’s core. Three Deities brings adventurers of its region towards higher powers, its ravey synths and an engulfing bass provoke a complete NRG release, ascending into a spiritual trance where dense melodies bubble and fizz.

Digital-only track United By Fate meddles busy vocal samples with searching melodies, a fitting end to the kaleidoscopic that is BLACK METROPOLIS.

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red