Cerca:tribal man

Wokrs from 1993-2004. Compilation of Taras Bulba, a German studio group that could be labelled Tribal? Trance? Pop? Folk? Ambient? ... or something else.

Concept Of Man is Martin Knorz - Berlin based keyboarder, producer and DJ.

A studied jazz pianist, Knorz is known for playing keys in the highly acclaimed, german experimental pop band Hope, with whom he’s been touring around Europe and UK over the past couple of years, as well as forming the sound of Austrian pop icon Teresa Rotschopf‘s solo debut „Messiah“.

In 2019 he started devoting himself to modular sound-synthesis, playing live shows and remixing acts as Hellotrip (Mutant Rebuilds) and Hara Crash (Bali).

His debut “Regularities” will be released on Patrick Pulsinger’s Big Beak Recordings in 2022. It’s a modular infused tape majestically crafted by a sound surgeon. Drawing inspiration from Robag Wruhme, James Holden and Patrick Pulsinger (with whom he has collaborated on his album Impassive Skies and the EP Nocturnal Cat), „Regularities“ consists of four minimal tracks and a durational modularsynth-only-performance, both of which feed the realm of sound caviar. Tribal rhythms join the darkness of modular sounds, regular beats oscillate on irregular impulses, while intriguing basslines and uplifting chords remind us that Knorz is first and foremost a pianist, a master of melody.

Wooden but soft percussive chords create a tribal rhythm that carries through the song, interrupted by a contrapuntal rhythm. Another drum group provocatively steps in the arena, together they build a rolling total. Then a „squelching“, juicy, nearly acid melody grounds the track, to be drummed out by the two groups when approaching the end.

Emerging Netherlands-based pairing Parallells will land on Damian Lazarus’ Crosstown Rebels imprint for the first time next month. Gifting us an emotive offering in Ashes of Snow (The Rebirth Of The Phoenix), it acts as a tribute to their favourite Portuguese beach club, Yamba, which was tragically destroyed by a fire last year.

The title track hits a wonderful sweet spot between electronic elements and organic instrumentals. It feels raw and authentic, blending saxophone segments, electric guitar tones and a jazzy-like backbone to form a cut that feels ripe for both sunrise or sunset. On The Banks of The River comes next, manifesting as a more toughened dance music number thanks to deep bass components whilst still retaining the boys’ natural sound. Rounding off proceedings is Clive Henry, who’s remix of Ashes of Snow flies the flag for contemporary minimal. Weighty kicks reside next to delicate hats before ethereal synths are brought in, creating a romanian-inspired piece that you can’t help but dance to.

Parallells are two Amsterdam-based brothers hailing from the south of France. Multi-instrumentalists, composers, producers and label owners (Klassified), their music cuts across electronica, electro-jazz and underground dance music. Their live, hybrid and DJ sets have graced some of the world’s most esteemed stages, including DGTL, Robot Heart, Mayan Warrior, The Gardens of Babylon, Wonderfruit and many more besides. Their music is also heavily influenced by world culture, a feat that led them to launch their video series concept A Day In. Through this, they immerse in diverse cultures around the world, capturing sounds from their day-to-day life and unfold the story through the medium of music. Clive Henry is a linchpin of house music as we know it today. Cutting his teeth as one half of the tribal house duo Peace Division, he has held a long-term residency at Circoloco, Ibiza and has racked up bookings at standout venues and festivals including Printworks and Houghton to name a few.

The subterranean slumber of Nile mastermind Karl Sanders’ Eastern-ambient Saurian series finally ceases with the third chapter of his darkly hypnotizing saga, Saurian Apocalypse! The album’s musical and lyrical themes detail the vexing fictional journey of Dr. Eduardo Lucciani, one of very few survivors of mankind’s self-destruction, who descends into madness after discovering the violent horrors occurring at the hands of the Saurian Masters. Emphasized by unique instruments like the baglama saz (Turkish lute), Ancient Egyptian Anubis Sistrum, Dumbek (Middle Eastern goblet drum), glissentar and gongs, the album’s score weaves cinematic auras and deep grooves, accented by the tribal percussive stylings of original Nile drummer Pete Hammoura and returning Saurian vocalist Mike Breazeale. Whispering atop the ominous sands of opener “The Sun Has Set on the Age of Man” are resonant flutes, forewarning percussion, and an exquisitely tasteful and contextual acoustic guest solo by guitar virtuoso Rusty Cooley – kicking in the massive doors of Saurian Apocalypse. Immediately, the album’s impactful production and crystal clarity versus its predecessors is apparent

White Vinyl

Remastered reissue of Het Zweet's 1987 self-titled LP + a bonus LP, consisting of previously unreleased material.

Marien Van Oers work under the name Het Zweet (“The Sweat” in English) originally came out in the 1980s (specifically 1983-1988), but listening to the new reissue of this self-titled album from 1987 can feel like one is listening to something that’s both much more current and also much, much older than that. Van Oers, who passed away in 2013, made music that tended to get classed as “industrial”, and tracks here like the steady, clanging churn of “From the Lowland” or “On Earth” show why, but he was as or more inspired by tribal music intended to produce trance-like effects via rhythm and (percussive and vocal) repetition. Using instruments made by himself out of anything from shopping carts to cardboard tubes, the music of Het Zweet locks into grooves that somehow feel more elemental and physical than many of his contemporaries. It never quite feels like Van Oers is emulating or echoing the music of any particular region or tradition so much as trying to synthesize all the ones he’s heard into some sort of ur-pulse, an overtone so powerful as to compel the “Massive Trance” the title of the last song on the record evokes.

While the 1987 Het Zweet has four track titles per side, and on listening you can discern some segues and places where it feels like new movements do shift into place, it’s fitting to have this record on vinyl where the listener is encouraged to experience each side as one uninterrupted piece. The bonus material included on this reissue expands Het Zweet from one LP to two, the second LP consisting entirely of previously unreleased material. This bonus LP is sequenced similarly, with three untitled tracks and two live excerpts presented as side-long experiences that belie their disparate origins with a unity of sound and purpose. Van Oers’ percussive nous and distantly yelled chants certainly sound capable of working up a sweat in both the performer and any movement- minded listeners, but maybe the most striking thing about Het Zweet is how vital it still sounds, despite its age and relative obscurity.

Rome’s own disco wizard L.U.C.A. aka Francesco De Bellis is back for his second LP Terra, hot on the heels of his Venus 12” EP earlier this year. In this far-reaching album, the Edizioni Mondo founder explores the deteriorating relationship between Man and Nature, and the dire consequences. The album is split into two themes - part one is Consacrazione (Consecration) and side two is Coscienza (Conscience) - as L.U.C.A. charts a trip through mankind’s psychic universe, and imagines worlds beyond our physical dimension.

The opening composition Cities is an uptempo number that slowly comes into focus, as dreamy drum machines emerge from the urban bustle, before settling into a soulful groove as keyboard, upright bass and guitar figures dance across bright percussion. As it builds up a head of steam, the piece gives way to an ambient, tribal breakdown, which is also echoed in the following song, Drum Talk. This second tune sets up in a fourth world dreamscape of drums, synths, and abstracted echo effects, and is peppered with word fragments from the bush of ghosts. By the time we’ve reached the third track, Congiunzione sounds like travelling at singularity speed, beaming in from a future where human consciousness and gaia can finally dance on a cosmic plain.

Part two of Terra details how revelation of the spirit can guide the mind, as Time Spirals rises out of a drum motif with a nod to classic ragas, as a disembodied voice asks questions on the nature of corporeality. The sound design is just as front and centre as the sitar and fretless bass, and the song gives way to a richly-layered soup that sounds like the vast space between atoms. It’s this shift from composition to ambience that is the dynamic core of Terra, giving L.U.C.A. plenty of space to showcase his next-level audio and arranging skills. Midway through part two, Giallo Assoluto begins with reverb tails and choral voices before expanding in brightness and texture until the audio field is practically levitating your hi-fi speakers, vibrating them with drones, twinkling keys and shards of digital noise. The closing composition Ritorno al Domani is a perfect balance of optimism and mystery. Tension and release collapse in on themselves as waves of ambient pads crescendo and then break over stretched-out sonic turbulence, before reversed synths bring the listener to a closing door, and the end of the journey.

It’s a mind-expanding musical exploration of other worlds and parallel universes which are surely all around us, and in many ways serve to remind us of the marvel that is our own planet.

Historical power metal force CIVIL WAR enter their fourth battle with Invaders! Swedish historical modern power metal outfit CIVIL WAR fly the flags of international strife once again with their brand new, fourth album, Invaders, set for release on June 17, 2022 via Napalm Records. The band founded by former members of Sabaton returns with 10 new wartime anthems detailing harrowing stories of sorrow and tales of turbulent triumph from around the globe, as well as human nature itself. Invaders marks the band’s first album with masterful frontman Kelly Sundown Carpenter and formidable shredder Thobbe Englund (ex-Sabaton), and grips with riveting accounts ranging from Viking invasions and the greed of powerful nations to legendary Native American battles and magical Arthurian fantasy – all amid a profusion of enthrallingly dynamic vocals, epic soundscapes and impressive, technical instrumentals. The album starts off with the captivating “Oblivion”, inviting the listener into an apocalyptic world with its exotic, menacing sound, strong vocals and heavy guitar riffs. Packed with epic symphonic power, Invaders continues with the war anthem “Dead Man’s Glory”, telling a story of Irish resistance – fighting to preserve their way of life against a Viking invasion. The album rages on with the retelling of a legendary Native American victory at the Battle of the Wabash on the fast-paced “Invaders” and then settles into the pulsating, atmospheric “Heart of Darkness” before arriving at “Andersonville” – recounting the horrors of Confederate prisoner-of-war camp Andersonville Prison through the letters of a Union soldier to his wife. This song soars as a massive power ballad with heart-rending symphonics, choirs and emotive vocals. “Battle of Life” delivers the grand finale of Invaders as a pummeling, fiery power metal pinnacle, summoning listeners of all walks of life to persevere and call on inner strength in times of trouble. In keeping with the album’s Native American theme, the Western-inspired heavy metal battle cry “Custer’s Last Stand” sees its 10th anniversary re-recording and re-release as a bonus track, entrancing the listener with Carpenter’s passionate vocal delivery, searing guitar harmonics, keyboard fanfares and tribal drums. With Invaders, CIVIL WAR prove they’ve once again etched a position all their own in the annals of modern power and heavy metal while proving their deft storytelling skill and knack for engaging lyricism. Invaders is a must-listen! .

140g Black vinyl LP – Printed inner sleeve – Sealed plastic sleeve



In Trux We Pux is an editorial project organized by the Porto based label and collective Favela Discos. Focusing on the city’s thriving experimental and improvised music scene, it sets out to portrait in a series of four volumes some of the characteristic sounds and collaborative practices that have been in development in Porto during the last few years.

In Trux We Pux 04 is the last in a series of four records organized by Favela Discos, set out to shine a light on Porto’s thriving experimental and improvised music scene. Throughout the collection the label tries to expose the eclectic sound and collaborative practices that have been in development in the last few years in the city by promoting the collaboration between artists and the creation of new collective improvisation pieces.

As the first album dwelled into the electronic spectre of the scene, this volume veers itself to the physical side of experimental and improvised explorations. Although there is space for outsiders manipulating the sound by electronic means, most of the music in this album is plucked, bowed, percussed or sung. The artists themselves are as varied as the music they played, among the 13 artists that collaborated for the creation of this album are many promising newcomers but also some of the more recognizable and relevant names in the scene, with the presence of the Sonoscopia founder Gustavo Costa, João Pais Filipe one of the most characteristic drummers in Portugal, and the DIY duo and underground staple Calhau!.

As we could suspect, the diverse selection of musicians, while providing us a view on the various kinds of musical languages that populate the city’s scene, also creates a dynamic collection of sounds. Spanning a large gamut of sub-sub-genres, from near-musique concrète to tribal noise, the album is a rollercoaster collage that miraculously achieves logic and cohesion, like a voyeur listener taking us on a journey through an abandoned mall where most of the bands in Porto rehearse, whose halls reverberate with a cacophony of music.

Dirk Dresselhaus (Die Angel, Schneider TM), John Duncan, Ilpo Väisänen (Die Angel, Pan Sonic), Zappi (Faust) LP + CD released by Improved Sequence. Strange attractors. Zappi's subtle tribal rhythms. Powerdrone electronics by Dresselhaus and Väisänen. Duncan's lyrics and vocals. Sublime and daunting. Tanzcandid stumbling wobbling shuffling muddling wallowing careening blundering toppling faltering unravelling bungling entangled snarling blustering bullying wrecking butchering mangling

Samosa Records continue their hot streak with ‘The Difference EP’ - a superb four tracker from a producer who is all about the funk, Gledd.

This wonderfully constructed EP kicks off with the first track on the A-side - ‘I Don’t Know’. From the get go, this is a slinky, catchy funky number. The warm, all consuming bass line jogs along, aided by subtle guitar riffs that light up the melody. The chugging train suddenly breaks for an outrageous blues vocal - deep growls and female backing singers take control before the track launches straight into the stratosphere. A guaranteed dance floor bomb.

Next up on the A-side is ‘Amapola Sunrise’, a latin infused 125bpm slice of heaven. Gledd knows these rhythms inside out - and this hypnotic ‘love dance’ of a track proves it. You can only imagine the sunrises and sunsets this will provide the soundtrack to. It’s a deep, glorious journey into hedonism - let the lead guitar and sax take you by the hand to the rug-pull breakdown. Gledd at his incomparible best.

Meanwhile, over on Side B, De Gama is setting out the party stall early with his ‘Re-Groove’ of Muni. When De Gama masters the grooves in the ‘Re’Groove’ workshop, the flames can be seen for miles. African horns, organ stabs and Mali-inspired guitar riffs combine with the superb vocals. It’s a tribal, ethereal and very spiritual funk dream, which is De Gama’s trademark.

Closing off this excellent EP is B.2 - ‘Japan Lips’. In no time, we’re off around the seedy back street bars where gifted but washed up bass players hang out to find work. The bass line is as clean as a whistle as it kicks against the snares and cymbals of the beat, and the melody wraps around you instantly with rhythm guitar, jazz flute and breaks. Another mesmerising piece from a man who knows how to mesmerise. The perfect topper to this thoroughbred release.

‘The Difference EP’ is a welcome Samosa debut for Gledd and is sure to be a hit with lovers of the groove. This has to be in your collection.

New York-based duo Bottler, Pat Butler and Phil Shore, are the vanguard of their own distinctly eclectic sound. Raw, emotive, bold and highly creative, the duo has successfully carved out their own path with a series of EPs that represent the broad scope of their production prowess. Over the last five years Bottler have been working on their debut album, ‘Journey Work’, a milestone achievement that marks a pivotal moment in their music career. The LP is a distillation of the duo’s multifaceted upbringing, blending a variety of styles together bound together by an overarching attitude and approach that embraces creative freedom and self-acceptance.



Pat and Phil are childhood friends whose bond is akin to that of blood relatives. Their parents are best friends and they grew up side by side, developing their deep love for music together; sharing discoveries and inspirations, learning to play and perform, and nurturing their creativity together. Now formally ordained as Bottler, they channel their eclectic tastes into a sound that encapsulates the love and trust that forms the foundation of the friendship. The duo blends a myriad of styles to create songs that emanate warmth, joy, sorrow, pain and the full spectrum of human emotion.



The album title, like their music, is open to interpretation. The duo reveals themes related to chronicling life’s many ups and downs, the deep preparation that must be taken ahead of a spiritual ceremony or psychedelic experience, and, simply, the journey taken during the conception and creation of an album. A quote from Walt Whitman also partly inspired the title; “every leaf of grass is no less than the journey work of the stars”. However, the intention behind the title is to allow for ambiguity, giving the listener an opportunity to write their own narrative.



Across 11 cuts Bottler illustrate their distinct take on electronic music, weaving in elements of indie, pop, rock, house and techno with confidence and panache. ‘Journey Work’ starts at ‘Home’, a song that is fizzing with positive energy, Pat’s vocals welcoming the listener to the start of this meandering audio adventure.

‘Chrysalis’ opens with delicate piano keys that guide us into a bombastic bassline and energising drum beats. As it progresses, scintillating layers of synth and strings are added, creating a highly affecting, uplifting atmosphere.



‘Melatonin’ follows up next, merging heartfelt vocal delivery with a sombre instrumental, and a stirring guitar riff. A glorious demonstration of Bottler’s songwriting capabilities, which are also evident on ‘Vinyl’, an uptempo dance number with an unbelievably catchy chorus. Here we see the duo channel their experience of playing in multi-member bands, as the breaks and arrangement feel perfectly suited to a festival-sized crowd.



On ‘Tacoma’, Pat and Phil channel their appreciation of house and techno into a haunting cut that utilises reverse strings and extended vocal refrains to chilling effect. A heady club track for the twilight hours. ‘Meds’ incorporates muted singing, mystical pad work and a mesmerising riff to produce a captivating slice of uncomplicated dance music.



This is followed by ‘Hot Water’, which feels like a trip to a Californian beach, circa 1965. The vocals drift over a bouncing bassline with a complementary guitar riff. ‘Mako’ features Samurai Velvet singing about fireflies and afterlife in a wonderfully heartrending manner, Bottler’s instrumental keeping things simple, yet highly effective.



We head back underground with ‘Weed’, a dense, gloomy cut with inspired use of chopped up vocal clips, stuttered throughout, alongside a mean bassline. ‘You’re Old’ is the soundtrack to an explosion of festival euphoria, dancing shoulder to shoulder with your best friends, forgetting all your troubles and living in the moment. An anthemic song that transposes Bottler’s idiosyncratic style onto the pop blueprint. Finally, ‘Cicada Rhythm’ closes the LP with a pensive, yet joyful feeling. A chunky bassline is juxtaposed with Pat’s angelic vocals cascading over the top. A hint of tribalism comes through, as we approach the end of the Journey Work…



Five years in the making, fuelled by the desire to express their deep love for music of all varieties, Journey Work is symbolic of the long road it takes to accept oneself and be comfortable expressing one’s truth. Diverse, dynamic and daring with a rawness and honesty that is rare to find, the album marks a triumphant debut for Bottler and one that crystalises their unique identity.

Without the West German-born Väth, techno would look, sound and feel very different. Since falling in love with electronic music and DJing in 1981, his dedication to the art has never faltered. He plays every party as if it were his last. His broad smile has connected with millions of people around the world. His colourful and curious character has imbued techno with a personality it was often lacking. His selections remain hugely unpredictable, despite the fact that he has been playing around the world for more than 40 years. To remain not only relevant but innovative after so long is a testament to Sven's ability to connect through music on a deeper level.

Technically, of course, he is a DJ who can play for thirty hours and not miss a beat. His track selections seem almost divine, and his aura is certainly otherworldly. But more than that, he is a ringleader who is able to mix the artful side of techno with the playful side of partying. Most famously he has done this for more than 20 years at his iconic Cocoon parties in Ibiza. They single-handedly introduced techno to the White Isle and have been its beating heart ever since. Under his charge, strict style guidelines and exaggerated pigeonholing no longer apply. Instead, he has perfected the art of playing far and wide while always remaining true to his own musical identity.

In the studio, Sven has always been just as unique. He has worked under several aliases but always brought a fresh perspective. Whether securing chart hits as part of OFF in the eighties, serving up brutalist techno and trance-tinged sounds in the nineties or crafting major label albums in the 2000s, his music has remained utterly forward-looking. That legacy continues with Catharsis as Sven teams up with highly respected producer Gregor Tresher for his latest long-form offering. Tresher has long been part of the Cocoon family and is a revered artist in his own right, when the two got together in the studio it was clear they had an instant connection and there would only be one person fit to co-author this LP.

It is a record inspired by Sven's interest in the physical and spiritual processes that take place when we dance. "They are realms into which we immerse ourselves to experience our own mysticism and ecstasy," he muses. "Dancing is a conversation between body and soul and it spiritually connects us with each other." Because of the pandemic, that is of course a feeling that we all missed out on for so long. "No dancing, no paradise!" says Sven. "My imagination for this record was fueled by the many cultural experiences and encounters I have had in my life. They gave me the strength to find a way, the way to myself." And that way to himself is through music, through purifying dancing rituals and the exchange of spiritual energies that are generated in the club.

The thirteen-track album explores all facets of Sven's sound. It opens with the stomping drums but sleek synths of 'What I Used To Play' and unfolds through deep and dirty rhythms like 'The Worm', subtly euphoric highs on 'The Inner Voice' and the bubbly tribalism of the title track. There is the impassioned call-to-arms that is 'Feiern', peak-time melodic workout 'Mystic Voices' and soothing electronic lullabies like 'Being In Love'. The second half of the album takes in many more twists and turns such as the exotic strings and driving drums of 'Butoh', the paranoid techno minimalism of 'NYX' and expansive synthscapes of ambient gem 'The Cranes Of Gangtey Valley' before things play out though rugged beats and emotive chords on 'We Are', which is named after the idea that we are what we think. "With our thoughts, we make the world.? says Sven.

Then comes the moody reflection of 'Silvi's Dream', which was written in French for Sven's girlfriend. Last but not least we have the immersive dream that is 'Panta Rhei', which completes a trio of electronica tunes on the album. Ambient music has been an integral part on almost every album Sven has written because it can bring a certain emotional deepness, a quality that Sven always has been looking for.

'Catharsis' is an adventurous album that captures the good times, the sad times and, most importantly, the times of hope.

repressed !

Emotional Rescue reissue 'Into Dark Water', the second album from UK post-industrial ambient pioneers O Yuki Conjugate (OYC).

The willfully obscure OYC formed in Nottingham in 1982 and have had a sporadic career on the outskirts of musical culture ever since. Initially associated with the early 80s post-industrial scene - along with Soviet France and Muslimgauze - OYC quietly forged their own brand of ambient music at a time when it was distinctly unfashionable to do so.

Always reluctant to categorise their sounds, OYC have been variously described as post-industrial, ambient, darkwave, tribal ambient, chill out, electronica and Fourth World. Take your pick.

'Into Dark Water' was recorded in 1986 over four days in an eight-track garage studio in Nottingham. Produced and engineered by John Kaukis, the result was a blend of flutes, percussion, electronics and loops that focused their sound and became for many the definitive OYC album.

Originally released in 1987 on the Leeds-based Final Image label, 'Into Dark Water' quickly sold out and has been highly sought after ever since. The re-issue, featuring a lovingly recreated sleeve, makes a vinyl version of this classic available again for the first time in over 30 years.

The eagerly anticipated second remix package of André Hommen’s More Than This album is set for release in April on his These Eyes imprint. Following the Remixes Pt.1, featuring Robag Wruhme and Jonathan Kaspar, André recruits heavy-weight’s Donato Dozzy, Michael Mayer and Manuel Tur to deliver the remixes of Pantone. Donato Dozzy kicks things off with a tribal-esque remix. A bass-heavy, rolling drum at the heart of the track is met with intricate percussion and bird sounds, which take you on a tropical journey. Michael Mayer’s remix gets to work with a punchy, up-tempo bassline, perfectly partnered with airy synths and soothing pads. Rounding off the release, Manuel Tur’s remix offers darker drums that progressively build, enhanced with finely chopped vocals that echo in and out combined with minimalistic melodies. Italian native Donato Dozzy is widely acclaimed in techno circles across the globe. Displaying a large variation in terms of sound and method, his releases can be found on Tresor, Spectrum Spools and his own Spazio Disponibile. As a co-founder of Kompakt, Michael Mayer works closely with artists on their releases for the label. With three studio albums under his belt and numerous remixes for the likes of Miss Kittin, Pet Shop Boys and Depeche Mode, it’s easy to see why Mayer has such an acclaimed status in the dance world. Manuel Tur was born and raised in Essen, Germany. He released his debut EP at the age of sixteen and has gone on to release on labels such as Freerange and Running Back.

Montparnasse Musique is a balance of two distinct sensibilities: Algerian-French producer Nadjib Ben Bella’s passion for raw organic beats, and South African DJ Aero Manyelo’s love of DIY synthesis in the digital realm. It’s a bold blend of fresh and processed flavours; the acoustic grit of traditional Africa combined with the pulse of modern Johannesburg — gqom, kwaito, techno, afrohouse. Together they produce an electro-acoustic sound, loaded with infectious hooks, uncompromising and authentic. For their self-titled debut EP, the cross-continental duo collaborates with Congolese bands Kasai Allstars, Konono Nº1, Mbongwana Star and Basokin on five audacious dance tracks forged from the tribal rhythms and mystic voices of the Kasai rainforests, amplified by the aggressive growl of hand-wrought instruments from Kinshasa’s urban wilderness, and augmented with the slick precision of an EDM toolkit. The end result is an inevitable evolution of Congotronics into a sharp-edged, club-ready sound. Nadjib Ben Bella is a DJ and producer who draws influences from the gnawa music of his North African roots and a diverse range of Sub-Saharan sounds from musicians he has worked with over the years. Most recently he has been touring Europe with West African band Les Amazones d’Afrique. Aero Manyelo, a name now synonymous with the burgeoning South African house scene, has honed a distinctive electronic sound that translates across the international club circuit and has attracted a broad range of collaborators — including Idris Elba and The Mahotella Queens on the opening track of an album inspired by the Nelson Mandela biopic Long Walk to Freedom. The EP was recorded and mixed by Kwezydoctor at Khaima Studio in Lille, France.



c 3 Bitumba (feat. Mbongwana Star) Extended
d 4 Sukuma (feat. Muambuyi) [Extended]
[Extended]

WAREHOUSE FIND!: OZY is an electronic musician and dj from Reykjavik. In the early years of his career, OZY released a series of influential records on the Icelandic dub techno label Thule Records, paying homage to the Berlin dub sounds and the abstract shuffle rhythms of Cologne techno. In 2002, the legendary Force Inc./Mille Plateaux label released OZY's debut album Tokei, bringing Ozy to the attention of a wide international audience. Orignialy released in 2000 The release "No Undo" is yet another step further, in fusing techno with new and fresh elements of drum&bass music, making the music incredibly dark and funky. The outcome is a wicked concept of futuristic tribal techno, designed strictly for the dancefloor:

International musicgroup SexJudas feat.Ricky returns to Optimo Music this Winter with a new album: Night Songs. The eight track LP draws inspiration from the night and features Malian percussionist Sidiki Camara,jazz clarinetist Andreas Røysum and noise rocker Linn Nystadnes. Making their own blend of disco, post punk and African music.

“It’s the return of Sex Judas feat.Ricky, this time as a six piece in fully fledged band mode. We’re here to take you on a journey through suburban psychedelia, forming our own brew of postpunk, disco and electronic, as well as traditional music from Mali. Night Songs is a meditation on the night time. The excess, the dreams, the highs and lows of night time activity.”-Sex Judas feat. Ricky.

“Black Cat In A Black Room” begins proceedings, taking the form of a psychedelic six-minute offering packed full of tribal drums and desert-like percussion. “A Man Without Purpose” comes next with its African-inspired vocal, before “Hab Mich Lieb” soon arrives. The six-minute cut is hypnotic, trippy and relaxing all in one, as is “Slow Down” feat. Linn Nystadnes. Taking on more of a funk-rock feel, there’s plenty of groove in the guitar-laced bassline, whilst in “Cold Clementine”, Sex Judas tells the sad tale of rave casualty over a dark and funky groove.

We’re taken down a spiritual path on The Light You Saw Was Not For Real, as Andreas Røysum’s clarinet solos sit underneath shamanic vocal offerings that open neatly into The Night Within The Night. Aslow-burning cut, riffs and hats serenade us before When You Wake Up Everything Will Be Fine brings proceedings to a close. Dream-like chords wrap us in a warm and glowing hue, with the harp-like sounds from Sidiki’s Ngoni, leaving us in a starry-eyed state to finish.

The calming nature of the album is a nod to the band’s influences: they were inspired by the great meditative records of the past, setting off on a musical trip that saw them record the whole release at legendary Norwegian studio Athletic Sound. This happened during lockdown and whilst the LP was never meant to be comment on the pandemic, there remains a brooding intensity to each track because of it. Sex Judas feat. Ricky originally began life as the solo project of Tore Gjedrem (from electronic duo Ost & Kjex), but has since grown into a steady six piece involving the talents of Sidiki Camara (djembe/ngoni/balafon), Ivar Winther (guitar/keys), Tracee Meyn (vocals), Tore Brevik (drums/percussion) and Kristian Edvardsen (bass). Centre stage is also illustrator and comic artist Sindre Goksøyr, this time portraying each character as they paddle their way into the sunset and uncharted territories.

Malian-born, Norwegian-based percussionist Sidiki Camara has played a pivotal role in promoting “Night Songs” to world music circles. Having lived in Norway since 2006, he has helped bring WestAfrican rhythms into the country’s wider jazz scene.

In the early 1970s the island of Jamaica, and in particular its reggae musicians, developed a love affair with small Japanese motor bikes. Honda bikes were eulogised in Big Youth’s ‘S90 Skank’ and Dillinger’s ‘CB200’, whilst their rival was lauded on Shorty The President’s ‘Yamaha Skank’, to name the most obvious examples. The plot of the film ‘Rockers’ revolved around how transformative a motorbike could be, providing a livelihood whilst projecting an image of success in the ghetto.
Vivian ‘Yabby You’ Jackson had been fiercely independent as a singer and producer, and the success of his early self-pressed productions, mostly on the Prophets or Vivian Jackson labels, had given him a sense of hard earned autonomy. A motorbike was one of the fruits of his labours, acquired as a way of zipping around the capital’s roads to deliver records and organise recording sessions. His wife Jean could often be see hanging on to the back. Twelve years after his death, she remembers various exploits on the pot-holed roads of Kingston.
Jean Vencella Williams: ‘His first motorbike was a Honda 50 and then a 100, a Yamaha. I remember the Yamaha, it was a dark blue colour, it must have been from the mid 70s til the early 80s. I used to ride around on the back and we ride all over, like we go to the country cos his mother lived in Clarendon. And he had a little carrier thing for boxes of records, so we go to Mandeville in Manchester, sometimes to Spanish Town fe sell records. Most of the time he sell them to the shops, like Randys, and the people them buy it from there. He had pressing plants like Byron Lee and later Tuff Gong, so when the records pressed we find out the time when we get back the records, which usually was at least a couple of days or about a week. And later when we living in Clarendon we come into Kingston to pick them up at the pressing plant. And when he book the studio he might book two or three days and we come in and usually stay til late.

‘He used to carry the records from the different pressing plants on the bike, but because of the rain and weather you know it not so good for the records, and also the sun beating down. Then Wayne Wade had an accident on the Yamaha, and he was hurt quite bad, and he had to go to the hospital for quite a while. Well Yabby didn’t ride it after that, cos it was getting dangerous with so many cars coming in. So he gave up the Yamaha and bought a Toyota Carina, and that car was very good to him. Then the Carina become a little shaky, so he got a Toyota Corolla which he drove until his death.’

This album presents a sample of the best of those ‘Dubs and Versions’ that Yabby was ferrying around town, whether rarities, B-sides or tracks culled from albums that showcase the breadth of Yabby’s productions between 1975 and 1982.

This release comes with sleevenotes original artwork.

Diablo Swing Orchestra is an Swedish eight-piece ensemble known for pairing elements of jazz, swing, classical, progressive rock with just about everything in between. Since the start in 2003 the band has released four studio albums pushing musical boundaries with humor, creativity and a healthy dose of positive aggression. Together they have dug deep into each genre explored on the 13 tracks on the album and worked hard to find the appealing characteristics within that genre and forged it into their own sound. This approach has resulted in a impressive list of guest musicians and some very interesting clashes between sounds which, at least on paper, shouldn’t work. But listeners with an open mind will be rewarded since there are a lot of goodies to be found on the album ranging from the tribal assault that is “War Painted Valentine” to the Zeppelin gospel infused “Snake Oil Baptism”. The band presents new interesting ways of looking upon rock and metal music while managing to stay quite accessible in spite of the fact they’re often described as avant-garde metal.

Diablo Swing Orchestra is an Swedish eight-piece ensemble known for pairing elements of jazz, swing, classical, progressive rock with just about everything in between. Since the start in 2003 the band has released four studio albums pushing musical boundaries with humor, creativity and a healthy dose of positive aggression. Together they have dug deep into each genre explored on the 13 tracks on the album and worked hard to find the appealing characteristics within that genre and forged it into their own sound. This approach has resulted in a impressive list of guest musicians and some very interesting clashes between sounds which, at least on paper, shouldn’t work. But listeners with an open mind will be rewarded since there are a lot of goodies to be found on the album ranging from the tribal assault that is “War Painted Valentine” to the Zeppelin gospel infused “Snake Oil Baptism”. The band presents new interesting ways of looking upon rock and metal music while managing to stay quite accessible in spite of the fact they’re often described as avant-garde metal.

Established UK-talent Made By Pete lands on Damian Lazarus’ flagship Crosstown Rebels imprint this February. Collaborating with Savage & SHē on the two-track Walls of Zion, it acts as the debut release of 2022 for each artist and marks Made By Pete’s third release on the label.

The title track sets the tone, taking the form of a spacious, shamanic inspired cut. Rattling percussion reverberates around shimmering hats, as resonant vocals dive in and out. It feels atmospheric and soothing in one, opening neatly into the stripped-back sounds of Too Drunk To Dream. Lucid and dream-like, there’s a spiritual theme throughout, with whirring synths residing beneath tribal-like drum patterns to form an ethereal, club-ready cut.

Born and raised in London UK, Made By Pete is an artist who can count mavens of the electronic music scene like Damian Lazarus, Sasha and Kolsch as big fans of his sound. He has seen his work snapped up by taste-making labels such as Crosstown Rebels, Saved, Rebirth and Radiant to name a few, whilst performances across the world at clubs such as Space (Ibiza), Chinese Laundry (Sydney), Fabric (London) as well as Thailand’s famous Full Moon Party have highlighted him as a truly global artist.

Mexico-based duo Savage & SHē have garnered an international following thanks to a consistent schedule of quality releases. Imprints such as Abracadabra, Earthly Delights, TrueColors and Trndmsk are just a few examples of labels they’ve graced over the years, whilst sharing the stage with standout performers in the form of Adriatique, Be Svendsen, Matthias Meyer and many more besides.

Copenhagen based label Escho release “Escho 15 år: Burgers for my new life” - an extensive compilation of exclusive material for their 15th anniversary (2005-2020). The compilation gathers music by all the currently active artists of Escho - both Danish and international - 27 artists in total. Contributing artists for the compilation are (in alphabetical order): Anders P Jensen, August Rosenbaum, Astrid Sonne, Baby In Vain, BishBusch, The Bleeder Group, Bona Fide, Collider, Dane TS Hawk, Eric Copeland, Excepter, First Hate, Gullo Gullo, Homies, iB101, Iceage, Joanne Robertson, Kh Marie, Liss, Puyain Sanati, Small White Man, Smerz, Søren Kjærgaard, Thulebasen, Varnrable, Yangze and Ydegirl. About Escho and the compilation: The Escho sound was born 15 years ago in small apartments around Enghave Plads, a slightly run-down square at the west end of Vesterbro, Copenhagen, past the kebab shops and the porno shops and the drunks. A few years earlier, as teenagers, several members of the Escho crew had made extremely strange, crisp metal in a very popular band. Escho was a promoter and booking agent as much as it was a label in the early days. They put on small shows to foster and hype the local scene and they brought important performers from all over the world to Copenhagen for the first time. Black Dice, Gang Gang Dance, White Magic, Excepter, Hype Williams, Boredoms, Charles Hayward, they rippled through Copenhagen after they came. Eric Copeland stayed for months. Lorenzo Senni, now well known as a vanguard dance producer, brought his high-school hardcore band to Copenhagen. Escho found and asked these artists to play. And Escho played their humble part in giving sound back to the world. Iceage, Posh Isolation and the Mayhem scene went global. Escho is a lot about being in Denmark, what that sounds like, and projecting it for anyone to hear. Across its releases, Escho’s aesthetic has allowed for the amateurish and the obsessive, the soft and the hard. Escho is about the power of shared experimental experience. Escho has been going for such a long time that the kids who started it are now twice as old as they were when they came up with the name, the idea, the desire to start something. Much younger people, generations younger, work at the label. The world has transformed since then. Escho was born in a period of time where alternative and underground music existed on a private, separate plane to mass culture, and it now finds itself in a time where mass culture and the underground are porous. Tribalism and niche knowledge has been blended by the internet, erasing the border between mainstream and underground modes. Alternative thinking takes many forms now, and new artists continue to expand and interpret the sound of Escho, carrying with them the same curiosity that lit the first Escho sparks 15 years ago. As a whole, this compilation — it is important to note — is jagged in form and tone. It is not even close to a conventional scene compilation, where the sound of a clan flows together. This record doesn’t flow like that. And this, fittingly, makes this anniversary album a ‘classic’ Escho release, because conventions about form and presentation are thrown out the window and new conventions proposed. It is a reminder that Escho quietly remains an ongoing art project as much as anything else. More than its form and tone, however, this compilation is jagged because it is a document of today. It is not final, or conclusive in any way, because the contours of contemporary music are boundless. It’s jagged because Escho has been to a million shows, and put on a million shows, and still loves going to shows. It is a picture of pluralism, discovery and openness. It makes a case for having ears, and making art, and propagating this so that successive generations of young people do it too. This is exactly as it was in the beginning






















[v] 22 First Hate – Vampire Boy ¯\_(ツ)_/¯ [2020 Demo]

2 x 180 gr heavy weight vinyl in deluxe matte-finish Gatefold cover + Download Card) Flowers From The Ashes is the latest multi-artist project to bear the acclaimed Stroboscopic Artefacts imprimatur. Silvia Kastel, Andrea Belfi, Marco Shuttle, Ninos Du Brasil, Alessandro Adriani, Chevel, Lucy, Lory D, Caterina Barbieri & Neel Flowers From The Ashes is the latest multi-artist project to bear the acclaimed Stroboscopic Artefacts imprimatur. There is a sensibility of decadence and corroded grandeur etched within its four album sides, reminding us that historically 'decadent' times have nonetheless resulted in some of the boldest acts of individual and collective creativity. Like the 'floral' theme that has remained a consistent feature of S.A.'s graphic presentation, the music here equally presents fragility and intensity in a way that really drives home this visual metaphor for good, while still holding out the promise that similar creations will be seeded in the near future.Though many of the artists involved have set of residence outside of their native Italy, all contribute here to make a captivating portrait of a shared spirit and cultural memory. The album opens with 'Errori,' deceptively fragile sonic ornaments crafted and suspended in space by Blackest Ever Black artist Silvia Kastel. This is followed closely by the mellifluous, warming glow of percussionist Andrea Belfi's 'Spitting & Skytouching,' and then by the resolute electric bass patterns and luminous fog of 'Lux et Sonus,' from Eeri label head Marco Shuttle. Hospital Productions alumnus Ninos du Brasil open the B-side with a similarly dense, amorphous construction built from tribalistic chants and rhythmic patterns, to be followed by Mannequin label boss Alessandro Adriani's 'You Will Not Be There For The End,' showcasing his distinctive take on the 'paranoiac breakdance' aesthetic of classic EBM. S.A. veteran Chevel rounds out the first record in the program by interlacing several percolating synth lines together into a richly conversational piece.The journey continues with 'Starving The Mind,' an undulating mini-epic from S.A. founder Lucy that is animated by his signature balance of seductiveness and concentration. The bright, biting acid synth tones of 'PRV-HH3-X', by Lory D, then takes a sharp right turn into an invisible metropolis ruled by reflective high fashion and hidden intrigue. The imposing architecture of 'Virgo Rebellion,' designed by modular synth futurist Caterina Barbieri, acts as an excellent companion piece, and sets up the closing '4G' from Spazio Disponibile co-founder Neel - a crepuscular serenade that accurately sums up much of the foregoing activity.

Hot on the heels of his preliminary EP on Stroboscopic Artefacts, Embryo, which paved the way to the present album, and two years after the landing of his 2016-released inaugural LP, Montagne Trasparenti, Mannequin helmsman Alessandro Adriani returns with his highly anticipated full-length debut for SA, Morphic Dreams. Throughout eleven cuts painstakingly executed but lacking not an iota of the fresh, spontaneous oomph that made his sound stand out of the crowd of techno producers to have emerged over the past decade, Adriani lays the foundations to a suspended sound imaginarium, governed by its own rules and principles of gravity. Revolving around the notions of sublimation and quest for inner balance, Morphic Dreams is comprised of four distinct sequences, conceived and designed as reflections of four mental states, each of them linked to the four alchemical elements i.e. Water, Earth, Air and Fire here represented by the A, B, C and D-sides. Fluid and enveloping, the A-side bathes the listener in some zero-G uterine vortex, pitching and rolling from the slo-burning exotic sensuality and tribal spell of The Tropical Year to the trunk-bending, arpeggiated fast-track pulse of Storm Trees, through Raindances feverish electro swing. Entering a further abrasive, minerally rich phase, the B-side unleashes Adrianis dark side with optimum conviction. Deeply anchored in earthly materiality, this new evolution stage starts off to the frantic Italo bass of Dissolving Images, rushing headlong into a kaleidoscopic maelstrom of fractured reflections and nasty Giallo-like ambience. The delirious body stretch sequence then rather abruptly swerves onto a calmer flux with Dust/Mist, a much enticingly hip-swaying collaboration with Simon Crab, ex-member of the seminal 80s UK industrial-experimental band Bourbonese Qualk, before Casting The Runes engulfs us into a tormented world of swollen eeriness and disquieting esoterism. Back to a widescreen showcase of droney distortions, nasty acid swashes and other quirky drum programming, Hors De Combat opens a new chapter, shortly followed by the playful bass intricacies and modular jeu-de-piste of Invisible Seekers, featuring Avian affiliate and longtime friend Shawn OSullivan. A further mind-expanding piece, C-side closer Crow deploys its blackened wings wide and high as a chaos of martial percussions and liquefying synths slivers crash past the red-hot skyline. A fluttering melodic interlude, Things About To Disappear blazes a clean trail for Make Words Split And Crack to flourish, slowly but surely blooming into a nonstop grandiose twelve minute-shy finale geared up with the stirring cacophonic force of a Ligetian symphony and something of an epic-scale Kubrickian soundtrack.

Multi Culti launch a new quarterly 12" series in step with the seasons beginning with SOLSTICE I:

Post-pandemic lockdown inspiration can be found in the great planetary balancing act that has taken place since a cataclysmic impact with an asteroid caused mass extinction and set our earth’s orbit off axis. This AXIAL TILT, or obliquity, is responsible for the seasons, and life as we know it has evolved around these unleashed forces. As our lives and for many, careers, have spun dramatically off axis as of late, we look ahead to the coming seasons, with the hope that we can weather the changes, and maintain inner stability. To aid in this quest, Multi Culti promises to deliver sonic support with utmost regularity at the peak moments of cosmic significance, with each Solstice and Equinox.

Beginning this journey are some of the label’s most beloved artists. Israeli duo RED AXES provide a chakra-elevating soundtrack with their inimitable blend of psych-garage-tronica, a sun-kissed banger that signals a long-awaited return to the togetherness of the dancefloor.

ZILLAS ON ACID turn in a robustly wiggly jam that electrifies, frazzling zaps and frenetic percussion recall the fritzy tension of the past year, a cathartic shock-treatment for traumatized dancers looking to get back to prime spine-shaking shape.

Mexico managed to stay open for the most part, and TYU seems to have not skipped a beat here, still in perfect form after breaking out as one of the hottest young producers to emerge in recent years. Dark disco, Mexi-chug, call it what you want, but the emergent genre is never better represented than here… spooky, phosphorescent tribal dance, Tulumminati-tested and approved.

Finally, the big guy - MANFREDAS - whose remixes and edits have been highlight-reel material the past couple of years, delivers a long awaited original track with his requisite heavy-weight swag. Wonky tunings and a chunky downtempo beat underpin Manny’s trademark masterful arrangement style, building patiently, with breakdowns that managed to wring every last drop of impact out of an odd, other-worldy assortment of sounds.

“We go round and round in the night and are consumed by fire” *

After their highly acclaimed 'Come La Notte' (2019) WOW are back with 'Falene' a special limited release, a flickering light in the dusk where the comedown is ecstatic, intense and staggering.
In between lockdown the Roma Est quartet played the liberating Meletao festival in the Simbruini Mountains in the middle of a forest. One night a moth (falena) started dancing above the fire attracted by the light and after a few twirls dived into the flames.
Somehow ‘Come La Notte’ anticipated many of the atmospheres and emotions we’d encounter during confinement and isolation; ‘Falene’ instead was born directly from those ashes, ghostly homes, clandestine get-togethers, an old farfisa saved from dust that sparked the initial motif of the album’s title-track, a somber march, a mini-opera that sways gently, sprinkled by the beautiful sax played by Gianlorenzo Nardi and by one of the most intense China performances layed down on tape, foreshadowed by Julie Normal’s Ondes Martenot that graciously elevates the ‘Anticoda’ intro.
Tropicantesimo’s remix of ‘Occhi Di Serpente’ breathes new life into ‘Come La Notte’s classic, elevating the hypnotic and extending the pure tribal force with one of the signature trademarks of the Pescheria crew. ‘Partirai’ sung by Leo Non again is WOW at its purest, escapism to the max encapsulated in a nugget of primitive rock’n’roll and 60s night clubbing. Folks, it’s time to start living again.

BERTIE MARSHALL is a writer/ performer. He is also an acclaimed memoirist, most well known for his book ‘Berlin Bromley’ (2006) about his transformation from Bertie, an anxious, androgynous, depressed teenager, into Berlin, a teenager who would reject suburban values and become a founding member of punk’s ‘Bromley Contingent’, alongside Siouxsie Sioux, Steven Severin and Billy Idol.

October 29th sees Upset The Rhythm release ‘Exhibit’ by Bertie Marshall, collecting for the first time his songs and spoken word tracks from this fertile period of the 80s-90s.

He’s currently working on ‘Looking: Backwards To Go Forwards’, picking up from where ‘Berlin Bromley’ left off. His other books include the debut novel ‘Psychoboys’ (1997), ‘Nowhere Slow’ (2014), ‘From Sleepwalking to Sleepwalking’ (2016), ‘Wild - re write’ (2017), ‘The Peeler’ (2018) and ‘Pete’s Underpants’ (2019). In 2015 the British Library purchased his writing archive.

From 1980-83, Bertie was the frontman for post-punk boundary-pushers Behaviour Red - they released one single (favourably played by John Peel), did a mini-tour and broke up. At various times Behaviour Red featured Noel Blanden of Normil Hawaiians and fine artist Nicola Tyson. Their sound was characterised by looseness and freedom, boasting at times tribal drumming, streams of vocals, dazed guitars and feedback. Bertie continued sketching out atmospheric compositions afterwards too, walking a tightrope between bewildered pop and gothic folk. Central to everything is Bertie’s commanding voice; heartfelt, impassioned and masterfully leading you through the story.

Bertie became interested in spoken word and performance poetry in the 90s, which then led him into writing and performing in his own plays and devised theatre pieces. He did regular readings and performances in NYC and began writing books inspired by the visceral talents of Acker & Burroughs. Having lived in Berlin, San Francisco, and Brittany, Bertie now lives in London.

Remix album for Oké's Deserto featuring nine interpretations of tracks from the original with a focus on the dancefloor alongside some abstract beats and rap.

Oasi (Deserto Remixed) features two groups of transatlantic contributors: Shigeto, DJ Dez, and Sterling Toles from Detroit; Populous, Godblesscomputers, DJ Rocca, and Silvano Del Gado from Italy, all close friends of the band. The remixes are rounded off by two versions from the man behind Oké, Andrea Visani, under his Katzuma and King Dumitru aliases.

The library music, cosmic jazz, and afro-house vibes of the original are retooled into a variety of dancefloor friendly productions: Shigeto and Silvano Del Gado invoke the tribal spirits of 'Ochosi Ayilodà'; Dez turns 'Il Venditore di Elastici' into a warm and comfortable chugging groove; Populous zeroes in on peak time ecstasy with his take on 'Queens of the Supercolony'; Rocca injects electro funk into 'Tarantula'; and Katzuma keeps it slow and funky with his refixes of 'Tamahaq' and 'Sons of Cabila.'

Balancing all these are two mellower contributions, with Godblesscomputers flipping 'The Secret Baile of the Maharajas' into a laidback roller and Sterling Toles transforming 'Serir' into a haunting song of remembrance.

Released on single 12" vinyl with seven of the nine remixes (two edited for length) and artwork from Andrea Casciu.

Drums, please! Fortunately, Manuel Tur has plenty of them. The well-versed producer is no stranger to Running Back and a most-welcome returnee. Following the box-office success of 121 BPM on the very first Rhythm Trainx edition in 2015 – not to be confused with 121 BPM (1) on here – Tur prepared a whole collection of beating, driving, percussive, pulsating, fast and slow DJ tools, rhythmic repetitions and acrobatic adventures. A dozen tracks (including digital exclusives) Ranging from 100 to 150 Bpm, you get it all and then some: from tribal trace elements to Windy City patterns, New York house fabrics, robotic funk and some of techno’s DNA. Saves the (last) night of any DJ and your next mixtape.

Zvrra debuts on Avian. The multifaceted artist and video game developer arrives on the label with a brace of glistening ambient Techno and Noise derivatives. The versatile producer, whose auteur approach to recorded output has yielded a wealth of dense and considered material over the years, marries melodic synthesis with glassy, effervescent sound design and considered polyrhythms to arrive at a cohesive but undeniably idiosyncratic nine track offering. Cinematic opener Bizzaroland combines vocal manipulations with phasing, noisy drones that stand in pleasing contrast to a mournful lead that delicately emerges at the midpoint. Follow up Society, offers a meditative take on stepping ambient Techno before Bizzaroland II treats the listener to a heady, stripped back slice of tripping beatless machine music. Tribal cut Figurine closes the A side and sees the material segue into more ominous territory with pulsing low end, percussive flourishes and harsh bursts of white noise. On the flip, B1 Inside sees the artist roll out another stripped back Techno experiment - this time dry and saturated and propelled by a single lead sequence that shifts about the high mids. Oracle returns to a more esoteric, undefined sonic palette - a cacophonous blend of heavily panning drones in line with the artist’s more experimental work. In the same vein Prohibited is a powerful noise cut that finds its contrast in subdued moments towards the end of its run time. As the record approaches its close, Tired Beetle settles the mood somewhat - an introspective, atmospheric ambient recording tethered with admirable low end, before off kilter invocation Untitled draws the collection to its logical end point.

Tropical Disco Records have once again delivered four scintillating feel good summer disco jams courtesy of the latest edition of their well loved vinyl series. Perfect for those gloriously sunny outdoor events, BBQ’s and beach parties alike their latest EP is another must have slice of black gold.

Scouring the globe for the freshest cuts Volume 22 is another multinational affair combining the skills of Colombian duo Vagabundo Club Social, Mexico’s Monsieur Van Pratt, Italy’s Infradisco and New York’s Roland & Brother Rich.

Opening affairs are the hugely exciting duo Vagabundo Club Social with their track ‘Costero’. They are producers who nimbly fuse dusty Latin grooves with cutting edge production techniques and dancefloor know-how and here have delivered yet another feel good dancefloor smash. ‘Costero’ is quite simply a DJ’s dream track which will do the business at any end of the set whether you need to get the crowd on the floor or tear the proverbial roof off.

Mexico is currently at the leading tip of the disco charge and Monsieur Van Pratt is one of the stand-out producers from a country bursting with talent. ‘Jazz Player’ pulls absolutely no punches combining jazz cool with disco know-how for a track which wins on all counts. Sublime brass solos sit atop a huge funky gem of a bassline. ‘Jazz Player’ will tear dance-floors up worldwide as the world starts to rediscover its long since packed away dancing shoes.

Italy’s Infradisco is up next with ‘Aungasana’ and it’s the perfect track to follow on combining many of the traits that both Vagabundo Social Club and Monsieur Van Pratt utilised on their tracks. Expect huge jazzy horns, funky bass and tribal vocals building up to a monstrous organ groove which raises proceedings to fever pitch. Infectious and energetic, it’s another seriously classy dancefloor moment.

Closing out the EP are New Yorkers Roland & Brother Rich with the exquisitely titled ‘Roger Moore’s Living Room’. Paying homage to the James Bond legend it’s the ideal track to sip brandy and toast the characters of yesteryear in that velvet smoking jacket you have always wanted. Deep and Jazzy with the essence of the 70s flowing through it’s DNA ‘Roger Moore’s Living Room’ is a track so effortlessly cool that even Blofeld would be throwing some shapes.

Tropical Disco’s Volume 22 is a sublime selection of timeless and wonderfully cool tracks which will be the perfect accompaniment to sun soaked events this summer and well beyond.

Support across Mi Soul & House FM.

An unheard production unit entirely geared towards hi-octane live explosiveness and spine-tingling studio hustle-and-bustle, Hysteria Temple Foundation step up with their anticipated debut platter, "Atrahasis EP" - a four-track EP by way of manifesto, due out for release on September 13 / 21.

Elusive and haunting by nature, skirting Shackleton-esque dub meanders, polyrhythmic folk instrumentation and further left-of-centre sonic divagations, the sound of Hysteria Temple Foundation is one that sheds skins when you expect it least. Scanning out a baroque timeline where no-holds-barred floor traction wildly clashes along deeper sound investigations, "Atrahasis" ushers us into a twirly pit of tribal drums and bow echoes.

Summoning the spirits of Muslimgauze and African Headcharge for a hectic ride in a sandstorm-caught bazaar of processed darbukkahs and further steely industrial tropes, "Annunaki" gets the ball rolling in sheer immersive fashion. Cranking the heat up a notch, "Gamesh" rushes us headlong into ruthless rapids of accelerated ritual drums and mind-expanding acid onslaughts breathing in some squelchy spaciousness into its intricately-woven web of sound.

Flip sides and here's the proper grime-steppish number "Ziuziu" taking over your brainwaves with a fierce unloading of harnessed machine rage and dystopian cybernetics turned into some club-optimised weaponry. Back to a dubby kind of vibe, "Chmanze" raises an army of louder-than-loud kicks, FX-laden percs, sizzling spurts and ankle-snapping breaks, all fit to breeze across the bulkiest sound systems with utmost sangfroid and nonpareil trenchancy.

PAURA explores the horror repertoire from the precious CAM Sugar archives taking us on a hypnotic journey into the labyrinths of fear, through the different variations that Italian horror took on from the esoteric and supernatural to the slasher films of the early 1970s; to reinterpretations of Romantic literature and gothic fiction to the splatter films of the ‘80s; and from witchcraft to metropolitan horror. This is not a real “best of” but an eclectic menu full of mysterious voices, childlike lullabies, sweet melodies, obsessive music boxes, obstinate harpsichords, crazy distortions and threatening synthesizers, conceived as a succession of sequences, as if a film edit. The new collection includes some of the most creative music ever written and strives to do justice not only to some of the best known composers in this genre, but also to many great unsung composers: From celebrated composers like Ennio Morricone, Riz Ortolani & Stelvio Cipriani to long-forgotten personalities who fed the industrial backbone of Italian cinema such as Daniele Patucchi, Marcelo Giombini & Berto Pisano. The collection includes 6 previously unreleased tracks plus 3 tracks released on vinyl for the first time and 5 tracks available commercially for the first time (originally released only as a limited promo item).

Grains is the debut album by Numinos on Mille Plateaux. The Cologne-based producer, DJ, author and lecturer has been writing the tech-reviews in "Groove" for many years, tests equipment for various specialist magazines and teaches at the Institute for Pop Music (IFPOM) and Institute for Computer Music and Electronic Media (ICEM) of the Folkwang University.In his current creative phase, he conceptually deals with the topic of "granular synthesis".
A "grain" is thus, to a certain extent, a tiny spectral snapshot from a larger musical context - an infinitely expandable, flowing intermediate state. This is also where the connection to the cover motif is found that shows the negative of a photograph of a wild field and has been taken Bernd Adamek-Schyma: The negative as an eternal intermediate state between the motif and the developed image. And despite the fact that "Numinos" has a fully equipped studio with a wide range of instruments, the 20 Euro iPad app "Borderlands Granular" turned out to be the creative catalyst that enabled the trained pianist to implement his sound ideas with direct haptic influence.The app gives the Cologne-based sound artist the opportunity to extract tiny fragments from the sample based on their specific tonality, to recontextualize them and thus work out structures that are not audible at the original tempo.
The results are polyrhythmic sound scenes that appear harsh, artificial and strange in a moment, only to transform into contemplative, warm and familiar frequency stratification minutes later. Numinos deceives the listener in many ways. Above all with the supposed rhythm that does not exist. Because in fact almost all granular clusters within the pieces run in completely asynchronous loops. The addition of a simple kick drum then forces the brain to suddenly hear apparent triplets, quintoles or dotted eighths in these mathematically completely chaotic structures, which are purely fallacy.

The Toolroom Family is happy to announce the release of KC Lights' brand new single 'Cold Light' that lands as the highly anticipated follow up to his global hit 'Girl’ which, in spite of the global shutdowns of clubs and festivals last year went on to be the ‘stay at home’ summer anthem for 2020.

‘Girl’ dominated the airwaves with BBC Radio 1 daytime playlist inclusions, KISS FM, Capital Dance, Sirius XM in the US and specialist playlists all over the world. It has now amassed over 5m streams on Spotify alone and still going strong.

As we move further into 2021, timed right on the back of some of his most recent stellar remixes for James Hype, Topic, Blinkie, Lost Kings and Nightlapse, KC Lights returns to lift our bleak spirits with the aptly named ‘Cold Light’.

He has collaborated with UK singer, songwriter Leo Stannard, who is being hailed as one of the most talented and exciting songwriter / vocalists to emerge in recent years, which is quite impressive during these times of quarantines and lockdowns. Most recently, Leo featured on CamelPhat’s track ‘Blackbirds’ which is featured on the Camels album, ‘Dark Matter.” He may also be recognized for his work with Maverick Sabre, Tom Odell, Rae Morris, Lewis Mokler and many more.

‘Cold Light’ is signature KC Lights with a stripped back groove and tribal drums complimented by Leo’s sublime vocal which takes the track to a whole new level! It’s feels like another anthem in making from this emerging star and with a club mix and a 6am remix, it really is the perfect tune to take us into the promise of lighter and warmer months ahead.

Following the critically acclaimed Vinyan cassette, Kāthā is Siamese Twins’ second curated pan-Asian compilation selected to form a continuous and coherent whole, whose strong transcendental ambience comes tinged with Eastern psychedelia. Kāthā is the Khmer and Thai name used for chanted sacred mantras and magical incantations that offer protection, charm, or certain influence in life. Its origins stem from "Gāthā", a Sanskrit term referring to any poetic metre commonly used in legends - verses recited (usually mentally) in rhythm with the breath as part of mindfulness practice or meditation. A hypnotic sound bath in which tribally-rooted ambient morphs into one entity. Drones, live instruments and esoteric textures are transformed into a contemporary Kāthā interpretation.

Following “La Contra Ola” (BJR015), Bongo Joe presents 'La Ola Interior', a compilation exploring the ambient side of the Spanish electronic music produced in the 80’s, bringing together 19 little-known and innovative pieces from the golden age of Spanish electronic music !

It gathers musicians from various horizons and of many generations, who shared the desire to create an immersive soundscape and to combine electronic music with non-Western musical traditions. As a general rule, the Anglo-Saxon tropism did relate the spanish peninsula’s ambient music to the Balearic Sound, that is to say to the relaxing music played in Ibiza’s nightclubs. But this music takes place in the productive territory of experimental musics, and particularly in its two main breeding grounds: the tape recording underground and the independent musicians-producers scene.

Inseparable from the processes of self-publishing, distribution and exchange of music that were then taking place in Spain in an artisanal way, the vast underground movement of cassettes was divided between an "ethno-trance" combining industrial beats and oriental sounds on the one hand (Esplendor Geométrico, Miguel A. Ruiz / Orfeón Gagarin) and unclassifiable low-fi tinkerers on the other hand (Camino al desván, Eli Gras, Mataparda, Victor Nubla). Hyperactive, this scene is radical and strongly dominated by the hardest musical styles, but the ambient, influenced by the German Kosmische Musik and "krautrock", also develops here.

The second vein of Spanish ambient comes from some of the independent labels of the peninsula (DRO, GASA, El Cometa de Madrid, EGK) whose activity will mark the return of some of the most adventurous musicians-producers of the 70s. Some were influenced by American minimalism (Luis Delgado / Mecánica Popular, Suso Saiz, Javier Segura), others by Fourth-World Music conceived by Jon Hassell and Brian Eno (Finis Africae, Jabir). Having passed through folk, ancient, traditional or contemporary music, and being familiar with improvisation and studio techniques, these artists come from a mutant hippie culture, capable of phagocyting many musical styles from electronic ambient to ethnic improvisation and modal jazz.

These two scenes and generations that make up LA OLA INTERIOR intersect around a common interest in non-Western musical traditions. Their exploration may be that of the tribal origins of electronic rhythms or the Arab heritage of Spain. Above all, it is a dreamy exoticism, an immobile journey as the sounds, rhythms or instruments of these traditions are scrutinized by Western practices (avant-garde music, electronic technology). The result is a hybrid music, filtered and reinvented, neither Western nor extra-Western, with a pronounced taste for the fusion of opposites, which we have called "Acid Exoticism" because of its permanent search for trance or contemplation. Atmospheric, contemplative and serial, these musics still plunge us today into a sensorial journey, at the same time interior and distant, organic and technological, between exotic reminiscences and interior visions.

Bonander is the shorthand for Ellinor Sterner Bonander. Sporting the role
of musician, arranger and producer, the native Swede is a woman
unchained, injecting darkness into the vein of candied pop with her tropes
of existentialism and feminist revolt.
Following the arc of ‘Backseat’ and ‘Martha’, Bonander’s latest single, ‘Gone
In The Wind’ leads the way for the album with its emotional outpour of lost
sisterhood. Tribal thrashes of drums, pipe organ and soaring vocals combine to
manifest the pain and frustration at the heart of the song.
She says, “The song is about abandonment of a person who’s been like a sister
to you, someone you admire and cherish... The pipe organ and strings are the
most emotional instrumentation I can think of. They represent that suppressed
feeling of anger and frustration, that later in the song is set free.”
The album tells the stories of women both from history and her personal life
whose contributions have previously been overlooked.
“The idea for the album is to create a musical, cinematic and dramatic journey
full of contrast between intimate string sections and huge synth landscapes,
between mechanical rhythms and flowing tempos.
The lyrics will together speak of the identities and emotional life of different
women, both through private and historical perspectives. All of the songs discuss subjects concerning women that ought to be talked about more, but sadly
are not...” // Bonander

Repress!

When the award-winning producer, and an internationally beloved DJ, Guy Mantzur, started a new concept, he promised to open his new label with his work. It was worth it to wait! Guy intended to create a series of events under the same name as the label releasing the music by the artists performing at those events. Moments! After Amsterdam, Tel Aviv, and Ibiza parties, Guy started a platform with the releases going hand in hand with the concept. Mantzur wanted a repertoire with artists respecting and expanding the musical identity of Moments. The first release on the label represents its manifesto!

Guy manages to keep the elementary basis of his signature sound but makes a quantum leap into the future. The audio quality of his two-track release delivers a technical precision of scientific research. However, Mantzur achieves to make over 15 minutes of hypnotic journey exceptionally thrilling. Both tracks fuse percussive and tribal influence, spiced by the Middle-Eastern melodic flavors. The material is more than just a powerful dancefloor launcher stimulant but an intelligent and highly efficient doorway to emotional inner space.
Moments! Every one of them matters, but only the first one makes history!

Milanese imprint Ansia returns with a new V/A of warped, unconventional techno. Following his critically acclaimed debut LP 'Perdu', label-head Piezo continues to carve out his club-ready and explorative sonic niche, this time calling on a team of kindred left-field sound manipulators to get the job done. Manchester's BFFT (Whities, Gobstopper, Cong Burn) leads the charge with a dexterous cut that marries mind-bending sound design with club-ready functionality. Next up is Timedance-affiliate Metrist, who is as playful as ever on 'LB Steaua': a deceptively simple 4/4 beat peppered with distorted glitches and psychedelic details reminiscent of Perlon's more left field releases. Moving to the B-side, Piezo delivers his trademark brand of ruffneck techno - buzzing with off-grid tribal drums, cartoon synths and nonsense vocal samples. To close, Mexican leading-light Siete Catorce ratchets up the tempo for a singular track in a world entirely of its own: rude, fast, no-frills, sitting somewhere between digital cumbia and hardcore tekno. Unsurprisingly this one ended up in Batu's relentlessly forward thinking BBC Essential Mix.