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For the last decade German jazz saxophonist and composer Uli
Kempendorff has been an invaluable fixture on the Berlin jazz scene,
quietly but steadily honing his own sound in countless contexts
In 2012 the band Field evolved from his first group, the Uli Kempendorff Quartet,
becoming the first vehicle to truly reflect his erudition and curiosity. The band's
first two albums are superb, but they didn't quite attain the approach
Kempendorff had been searching for, so at the end of 2017, he remade the lineup,
replacing original guitarist Ronny Grauper and drummer Oli Steidle with
vibraphonist Christopher Dell and drummer Peter Bruun.
What makes 'Someone Talked' such a visceral, thrilling listening experience is
that all four members push each other, collegially, to infuse a delicious tension
into performances distinguished by constant give- and- take and quicksilver
alterations.

Berlin and London based avant-pop duo Private Agenda will release their second full-length album – A Mannequin – on Lo Recordings on 22 October via digital, limited-edition LP and music box formats.

A Mannequin: Twelve tracks corresponding to twelve character traits, imagined as personalities in musical form. What are the dichotomies that define us? Our seen and unseen selves, the façade and the fundamental, the real and the imaginary. The result is musical hyper-realism.

Something fresh and dark from a newcomer. First record on a new label... At the frontier between Hardcore and Industrial Techno... This new label will provide one EP per industrial catastrov... Infinite project init ? Here Individu Lambda offers an unconfortable industrial techno, pushing it to the core with strident frequencies and obsessing sounds. Intro and drops are beautyfull and kick is hard and dry. The whole thing really offers an industry-core ambiance and gives the naufrage trauma another memory in time....

Berlin and London based avant-pop duo Private Agenda will release their second full-length album – A Mannequin – on Lo Recordings on 22 October via digital, limited-edition LP and music box formats.

A Mannequin: Twelve tracks corresponding to twelve character traits, imagined as personalities in musical form. What are the dichotomies that define us? Our seen and unseen selves, the façade and the fundamental, the real and the imaginary. The result is musical hyper-realism.

Tape

Lucia H. Chung is a Taiwanese experimental artist based in London. She performs and releases music under the alias 'en creux'.

Under this alias, Lucia is interested in the underlying structures of what we call noise and is examining the effects of human interventions into its complex web of tones. Repetition and chance operations are fundamental to Lucia‘s music. It is not built on the dionysian maximalism and symbolic harshness of lots of noise artists; catharsis is not reached via an explosion of sound, but via concentration on sound phenomena and small changes, which, not unlike some minimal disco night your usual mind-altering drone ritual, sucks you in more with every tiny alteration. This music is as intense as it is sensitive.

„The Liberated Mind“, in Lucia‘s own words, „is a sort of split release between two no-input configurations“. For „Wyldside“, she tuned two different feedback mixers with identical routings as close possible, as much as tuning is possible at all on these highly volatile instruments. „The two channels naturally phased in and out from each other. I guess the process was actually akin to Steve Reich's tape techniques on Come Out and It's Gonna Rain. The whole release extrapolated from that point onwards...“ Finding and replicating similar routings/settings on no input mixing desks is the nightmare of every control freak and a task doomed to failure, but in letting go and embracing these failures, patterns emerge. And thanks to Lucia‘s careful work, these patterns become hypnotic as she carves out the essence of each feedback loop, or, as she puts it: „Actually, I did remember the setting for the final track „Earthrise“, but for whatever reasons, I just cannot reproduce the sounds and it's forever lost (at least for this point in time, maybe when the conditions are primed again for the machine, the same sounds will emerge again...). I guess that's really the essences of improvised NIMB setup. Every single sound was the effect of the previous iteration and the cause of the next iteration... (Wait... isn't it just like a Blockchain? Ha!)“

A collection of no-input studio sessions improvised with Mackie 1202-VLZ Pro, TAPCO MIX260FX, MXR Phase 90 and Electro-Harmonix Bad Stone Phase Shifter. All tracks recorded live, no overdubs. Recorded in London in February 2020. Mastered by causeandcondition

Lucia also works as independent curator, producer and broadcaster at Happened. Check out Lucia‘s other albums on Hard Return, Falt and SM-LL.

Finally unearthed and re-issued in the way Hammerheart Records do re-issues! Insane high-speed technical Thrash with a hint of Death Metal!

Paz en La Tierra is a result of a search by the Meridian Brothers & Conjunto Media Luna of the heart of something that can be called a 'power format' of Colombian Caribbean music; Accordion , Guacharaca, Caja, Congas, Electric bass, and vocals.

Departing from this idea, and casually working with the music of a documentary on the famous singer Diomedes Diaz, Iván Medellín (accordionist of Conjunto media luna), and Eblis Álvarez from the Meridian Brothers, embarked on a new work building a sound exclusively on the traditional format, searching for several spaces between the lines in the universe of accordion in Colombian music.

The duo departed from the basic: the line of vallenato, the most famous in the country but not the only one, the line of sabanero music more of the lands of Sucre and Córdoba inclined towards cumbia, bullerengue, son vallenato among other airs fed the group's ideas. The Barranquilla center deserves a separate mention, due to its cosmopolitan approach, using all kinds of influences, from the Caribbean islands to ancient rhythms or even modern rock and funk, also used as an inspiration for this record.

In the process, new ways of melody appeared and new ways of expression emerged. Although the rhythms used in the record are rooted in the traditional, the duo glitched those rhythms turning them into new directions in the style, using exclusively the past references to transmute the sound into something that looks inside a parallel future.

Using several theatrical situations, alterations in musical structures, and slight deformations of the traditional harmony (a tonal center and its dominant) the result of "Paz en la Tierra" is enigmatic and charming, and at the same time directed towards the dance floor keeping the past alive and flourishing the essence of the tradition.

Fold Unfold is the debut album by violinist Katrine Grarup Elbo from the Danish collective We like We. As a solo artist she steps out from the safety of group performance and presents a vulnerable portrait using only her classical training and analogue electronic setup.

Peaceful scenarios of natural beauty that hover like calm mist over cold streams are interrupted by spine chilling forces. Naked passages and electroacoustic electronics together create ripples in time as the pieces mold into flowers reaching for the outer edge. Elbo summons the most time stopping affairs using only the most basic of ingredients, as a true master. Clouds of uncertainty and reason echoes infinitely into the ether as she moves in and out of acoustic and manipulated sonic landscapes. Imagine Jocelyn Pook´s captivating Masked Ball piece from Kubrick´s Eyes Wide Shut with its clouds of mystery, suddenly turning unmasked and fragile, as if abruptly standing vulnerable in the shadows listening only to the reverb of the room and ones own breath.

The album was recorded and mixed at Saal 3, Funkhaus, Berlin with Antonio Pulli. In the 29 minutes runtime, we are presented with transportations through silent, almost Baroque sounding pieces towards overpowering, processed alterations of her violin that vibrates like echoes springing off the stars. A stunning debut with all its natural purity and intimacy.

As Plankton Wat, Dewey Mahood uses his considerable
guitar prowess to deliver an album that encompasses
both the wild, seeking energy of free-improvisation and
the deliberate arrangements of more traditional
composition.
With his deft and stylistically varied playing, Plankton
Wat’s ‘Future Times’ escapes psychedelic tropes and
chemical fuelled alterations and instead celebrates an
escape into the natural world.
‘Future Times’ taps into psychedelia’s counter-cultural
heritage as music for protest, liberation and imagining
new ways of being in this world.
“Pastoral drones and swirling psychedelia” - Pitchfork
Known for his guitar prowess in modern psychedelic
music, specifically with Eternal Tapestry as well as
Edibles, Elephant Factory Galaxy Research and Gärden
Söund among others.
‘Future Times’ was recorded at Mahood’s home studio
Solar Commune, with additions from Dustin Dybvig
(Horse Feathers & Edibles) and Victor Nash (Flash Hawk
Parlor Ensemble). Features Ash Dybvig on flute.
LP comes on red or black vinyl packaged with download
code and insert.
“Mahood’s lonesome universe is definitely a psych-folk
monster on the sly… Mahood’s gone far into the burrow
of psychedelia for an album that’s caustic and tender,
bittersweet and effervescent.” - Raven Sings the Blues

As Plankton Wat, Dewey Mahood uses his considerable
guitar prowess to deliver an album that encompasses
both the wild, seeking energy of free-improvisation and
the deliberate arrangements of more traditional
composition.
With his deft and stylistically varied playing, Plankton
Wat’s ‘Future Times’ escapes psychedelic tropes and
chemical fuelled alterations and instead celebrates an
escape into the natural world.
‘Future Times’ taps into psychedelia’s counter-cultural
heritage as music for protest, liberation and imagining
new ways of being in this world.
“Pastoral drones and swirling psychedelia” - Pitchfork
Known for his guitar prowess in modern psychedelic
music, specifically with Eternal Tapestry as well as
Edibles, Elephant Factory Galaxy Research and Gärden
Söund among others.
‘Future Times’ was recorded at Mahood’s home studio
Solar Commune, with additions from Dustin Dybvig
(Horse Feathers & Edibles) and Victor Nash (Flash Hawk
Parlor Ensemble). Features Ash Dybvig on flute.
LP comes on red or black vinyl packaged with download
code and insert.
“Mahood’s lonesome universe is definitely a psych-folk
monster on the sly… Mahood’s gone far into the burrow
of psychedelia for an album that’s caustic and tender,
bittersweet and effervescent.” - Raven Sings the Blues

Regarded as one of the greats from Detroit, Rick Wade has crafted an incredible discography of tracks blurring the lines somewhere between deep house and techno with a sound and style brilliantly his own. His outstanding 'Timeless EP' from 2017 returns to Elypsia Recordings with an onslaught of remixes delivered by a diverse and unstoppable roster of modern musical mavericks - each respectfully twisting the original magic of Rick's original productions and creating a fresh take in their own style.

The Way I Am' comes in the shape of Tresilo aka Oliver Way (of Detroit Grand Pubahs), Esteban Adame and Ben Long (of Space DJz) and is an absolute belter of a prime-time stormer. Dominated by gigantic synth melodies, the track weaves around percussive alterations with hi-hats, sharp claps and energetic rides paired perfectly with the catchy musical wiggles and kicks. The familiar vocal sample from the original sneaks into play with perfect placement - offering a reminder of Rick Wade's awesome original.

Rick's previously unreleased track, 'Academy' receives the first of two remixes from Seattle house hero Pezzner. The 'CR2' Remix takes the groove into subterranean territories with a heads down bouncer of a track, fully embracing Pezzner's more house-focused approach. A percolating bassline keeps the cut moving ahead while soft, divine pads offer a classy sonic texture suitable for wide-eyed ravers and urban headphone listeners alike.

Detroit's Vintage Future joins the remix roster with his take on 'Planet Deep,' one of the standout cuts from the original EP. The track is absolutely saturated with Detroit soul. Deep, machine driven textures and gorgeous otherworldly melodies rest alongside a truly infectious groove. The famed keyboardist for Model 500's live gig, Vintage Future knows clearly how to craft an incredible groove with his keys, and the sounds from this impeccable remix are tip top.

The second remix of 'Academy' from Pezzner continues his remix focus in a deeper house mindset, with Pezzner delivering even softer sounds, and more intense pad dynamics. This retouch includes the addition of some gorgeous orchestral stabs and organ textures which gives the remix a soulful touch - made to focus on a slightly more melodic approach than the previous Pezzner rework.

Also known as the band with the funny dancing man, Future Islands will forever be stuck in heads because of *that* Letterman performance. This is their second album since Singles, the album off the back of the exposure. It shows the band still pursuing their retro synth pop sound but with one main alteration - they now have an actual human drummer in tow.

‘Evolve’ is the first full length album from composer, music producer and violinist Vito Gatto, a concept album that guides the listener on a one-way journey through the various phases of an imaginary evolutionary process. Gatto graduated in Violin from the Milan Conservatory of Music, his research starts from the unconventional application of a classical background into both making music in the studio, and live performances. For this work, Vito decided to put himself in a restricted composing and technical environment; all the arpeggiated sounds on the album are made from one single violin note that Vito sampled. He transforms the same note throughout the entire album, using the different treatment of this micro sample and the arpeggiator programming as the construction of a mutating and evolving structure. The album is Instinctively executed, almost improvised, and elements like distorted bass lines, hardcore inspired percussions, whistles and alienating string melodies represent unexpected alterations. Vito decided to keep these instinctive additions clean from excessive control as a representation of the beauty of the unpredictable. The album track list is an expression of evolutionary phases. From the minimalistic piano piece ‘Decomposition’ to ‘Quiete’ which expresses the state of calm after a shift has occurred, ‘Nostalgia’ and ‘Stasi’ represent a hazy trance like state. Vito challenges the listener to ask questions like ’am I in the right place? Is this who I set out to become? Do I have to keep evolving, or should I try to regress?’ ‘Evolve’ creates continuous connections between traditional and experimental music, creating dialogue between classical instruments and industrial techno, ambient, noise and de-constructed sounds. The Album will be released in both digital and vinyl formats via NeMu, a fresh new label founded by Vito Gatto himself. The label will focus on experimental projects based on the exchange between acoustic, concrete and electronic sources. The Artwork is part of ‘Jewels’, a series of ceramic sculptures by Benni Bosetto, courtesy of the artist and ADA Project, Rome

“Mohammad Reza Mortazavi is a virtuoso percussionist known for playing traditional Persian instruments such as the tombak and daf. After developing more than thirty new striking techniques and progressing to be one of the most prominent players in Iran, Mortazavi travelled to Germany, eventually settling in Berlin to record and perform regular concerts the world over. His acclaimed performances have taken in venues such as Berlin Philharmonie and Sydney Opera House. In recent years, he has been embraced by the experimental electronic music community, collaborating with Burnt Friedman, Fis and Mark Fell.

Ritme Jaavdanegi is Mortazavi’s sixth LP, and his first one available on vinyl. The album came together from recordings made in Berlin in June 2019, inspired by Mortazavi’s vivid reminiscence about profound experiences he had listening to music as a child. As he drifted in this time-slipping reverie, the phrase ‘ritme jaavdanegi’ or ‘rhythm of eternity’ came to mind, and he found the phrase itself to match the 11/8 metre he was striving for. As such, all eight pieces on this album adhere to this time signature, which in itself harks back to the Aksak, a rhythmic pattern based on the alteration of binary and ternary quantities executed in a fast tempo, intrinsic to traditional music from Iran, Turkey, Afghanistan and the Balkans.

In the same way these non-standard folk rhythms started to impact on Western music in the early 20th Century, so now you can hear an ever-increasing embrace of polyrhythms and metres that break away from the dominant 4/4 ideology. What’s most striking about Ritme Jaavdanegi, perceived through a lens of modern Western experimental music, is how Mortazavi’s virtuosic playing rivals the intensely programmed dynamics of electronica. His rapid, needlepoint drum hits bend their tonality in incredibly musical ways, but there is still an underlying focus on cyclical repetition that encourages the same ancient transcendental quality that so many contemporary artists strive for.”

Charles Trees. Myth, tall tale, legend of a human being, one of those people who one minute you'll be scouring reddit for obscure content and the next, stepping on stage to casually DJ to thousands of people like “no big whoop” at a French music festival. Charles is unassuming, the kind of person who effortlessly mixes ghettotech into soul for lulz, who samples a speech (/rant) by Funkmaster Flex in an acid track, or rides BMG & Derek Plaslaiko’s “True Story of a Detroit Groove” with Velvet Underground’s “Sister Ray” for 8 minutes straight.

Charles' relationship with electronic music started early. In high school, Dave Shayman (Disco D) introduced Charles to DJing and he was a regular at Dubplate Pressure*– Todd Osborn's now-legendary record store in Ann Arbor. By 1998, he was already playing on raves in Detroit. A year later, he was the first person to show Zach Saginaw (Shigeto) to Ghostly International, arguably altering the course of our lives forever. In the late 2000s, they became label mates on Moodgadget, the record label of Jakub Alexander (Heathered Pearls).

Through out the years, Charles has been a musical mentor (whether DJing, producing or throwing shows) to many, danced at every weekly at every venue in Ann Arbor & Detroit, produced Hip Hop, and fronted a psych rock band. He has released music on Moodgadget (US), Musique Large (FR), Lovemonk (ES), Vanity Press (US) and JFX Lab (FR). Today, between DJing, hosting radio shows and producing new music, Charles regularly throws shows/parties/raves, and hosts a monthly at Deluxx Fluxx.

We love Charles Trees and we're proud to present "2019," the eighth record on Portage Garage Sounds.

*Additional reading: Dubplate Pressure: was the precursor to Technical Equipment Supply; how Todd Osborn was discovered by Richard D. James and signed to Rephlex Records; where Sam Valenti IV, the founder of Ghostly International, met Tadd Mullinix (Dabrye, JTC, Charles Manier, X-Altera); one of the reasons why we're all here

"Got No"
Hit the ground running.
Chopped up vocal stabs and a playful syncopated melody accompany this percussion heavy two-step shuffle as it speeds down the Lodge on a Friday night in Detroit.

"Think First"
Undeniable rhythm section pocket.
Acoustic bass and dirty ride symbols swing alongside lush keyboards and sprinkles of light melodicism in this psych house banger.
Think St. Germain with CAN playing a warped version of "Rose Rouge."

"In Arms"
Crave the rave. Whips crack and sizzle in this dubbed out techno slapper. A modern take on a classic sound. Trees conjures an era close to his heart: when the warehouse was church and service didn't stop until the sun came up.


"Acja feat. Marcus Elliot ("12 club mix)
Beautifully understated and triumphant.
This closer marks the return of Detroit Saxophonist Marcus Elliot (Detroit pt II - PGS 001). His notes dance and soar over a creeping acid line, while driving drums and warm pads effortlessly take you home in this powerful house anthem.

Since completing his two-decade-long hip-hop trilogy as Dabrye in 2018, Ann Arbor-based artist and Bopside label head Tadd Mullinix has engaged his arsenal of aliases with renewed heat. First came the debut of X-Altera, a new project flexing a wildstyle hybrid of drum & bass and deep techno. Now, he returns to James T. Cotton, a moniker which dates back as far as Dabrye and helped define Spectral Sound, the dance imprint of Ghostly International. While historically tagged as Mullinix’s acid house alias, JTC has always expressed with a more pliable sense of genre, freely fusing an eclectic blend of classic electronic sounds; helpings of Chicago acid, Belgian New Beat, and the leftfield techno stylings popularized both in Berlin and Detroit. With Indigo, Flesh and Fire, Mullinix moves closer to the latter city, adopting a bright, optimistic tone informed by minimalism and futurism.

"I have been more withdrawn and introspective on a personal level, in a positive sense, and I think that fact has made my creativity reach toward feelings about peace, positivity, fantasy, wonder, and openness,” says Mullinix.

The EP is packed, but still playfully ambiguous; a club-ready set built to max out mixing boards with spacious and nuanced melodies and motorized percussion. Five tracks, each with roughly five-minute run-times, offering all but a few breaths in a quest for highly operative dancefloor hypnosis. The record wastes little time locking in; on the first track, “Innerloire Rendezvous,” a dense square kick plows through a brisk four-on-the-floor routine phasing over harmonious synth stacks of rubbery fifths and sevenths. The title track splatters a lenticular static spray between thumping kick, billowy melodic swells, and staticky clicks, snaps, and claps.

Mullinix’s distilled musical vocabulary, developed by his many years in the game, gives the set a misty-eyed quality without compromising its contemporary merit. This is music, inspired by history but fiercely forward-thinking, that feels both subterranean and airborne; in the grind on the ground and soaring above in an iridescent super-charged fog.

key selling points: - Debut release on Spectral Sound - Past releases on Firm Tracks, Nite Owl Diner, Sweat Equity, FCR, Clave - Limited to 300 copies worldwide.

The Analogue Cops are back on Memento, after their acclaimed remix of Francesco Farfa “Synchronicty 13”, with “Lucretio versus Marieu Vol. 1”.
This will be the first chapter of a series dedicated to a tidy compromise-less selection of their most groundbreaking club oriented tracks. On Lucretio’s side, “Accelerating Osc” is a minimalistic relentless techno cut that explores algorithmic sequencing and the boundaries of real-time delay manipulation in Kyma; pounding away, “Neon 3” is a furious peak-time ride with jacking drums, sharp hi-hats and worrisome hypnotic synthesizers.
Marieu’s side is a slower paced groove affair focused on his distinguishing seductive use of sampling: “Alterate Indigo” festive bass line and enthusiastic cymbals blossom with an enchanting blues piano and an handful of filtered quirks, while “Room Mate” combine hot vocal hooks and a funky bass-line with a massive kick-drum.

SDH (Semiotics Department of Heteronyms) is the new project of two key figures of the synth-wave/industrial scene of Barcelona. Andrea P. Latorre and Sergi Algiz, founders of the Cønjuntø Vacíø label and also in the post-punk band Wind Atlas, unveil a new act more oriented towards pop music. SDH is change, alteration, distortion, metamorphosis. Their synth-pop songs, sprinkled with EBM and techno, are mysterious, obtuse and suggestive. The project seems to revolve around the idea of fiction. What is the language of feigned personalities What is fiction An individual is one and another, is liquid. It is physical. Incarnating someone is doing it in a corporeal way: making it flesh. Conceive: everything is real: reality does not exist. How is a fiction embodied They have already supported artists such as Marie Davidson and Merchandise and performed at the Swedish festival Kalabalik På Tyrolen, one of the reference festivals of the darkwave scene.

Damian Schwartz' "Existence Itself" is a compilation of well composed melodies that evolve, while gliding over the backbone of dance floor rhythms. Whilst containing five tracks, this record feels and breathes like a full length. "Public Domain" shows Schwarz' knowledge of jazz composition.

The opening track contains chord progressions that are unusual in popular music, but should soothe a more trained audience. Nevertheless, "Public Domain" is a positive composition that should appeal to selectors worldwide.

"Heavy Weather" is dripping with modulated chords, thoroughly selected bits of FX, and otherworldly arps. Deep rhythmic drum patterns guide the track into alterations of mood and a warm bath of intelligent melodies.

"Tyner" is a funked-out piece of work that sounds like a perfect PULP records. It's this track where Schwarz shows that he is up there with the giants of modern day funk sounds. Large synth basses growl through the palette, and an oozing lead synth serves as the recognizable element.

For the B2, a beatless version of Tyner is added to this package. This should be a welcome and fun element for selectors to play around with.

"Former DJ, Now Selector" is a breathing, positive track that's the perfect ending to a versatile work like "Existence Itself".

Following a first vinyl appearance on You And Your Hippie Friends' 'A Very Nice Combinado Volume Dos' (YAYHF 03) earlier this year, Mexican producer PAULOR aka Paulo Rodriguez gets ready for his first solo outing with Hippie Dance's sister label.

Curated by Rebolledo, the imprint has established an impressive talent pool within only three releases, including both veteran and upcoming talent such as Sebastien Bouchet, El Güero, Zombies In Miami, Beyou, Roman Flügel and more. It's a testament to the label's chiselled vision that an idiosyncratic and diverse group such as this is able to sustain individual approaches to electronic music while weaving a coherent sonic tapestry from all its ingredients, the whole quite organically being more than the sum of its parts.

Now, it's up to PAULOR to flesh out his own sound cosmos on You And Your Hippie Dance's latest 12' drop, presenting a concoction of salt-caked beats, riffing guitars and flexing bass that evokes a sense for space and untouched, psychedelic landscapes not unlike Rebolledo's very own desert funk vignettes. After 'La Race' (his contribution to 'A Very Nice Combinado Volume Dos') and the 'Discótico Desértico' remix for Rebolledo's 'Mondo Re-Alterado' (HIPPIE DANCE 10 LP) started making the rounds in tastemaker DJ sets, PAULOR caught a major moment of inspiration while performing at Monterrey's TOPAZDeluxe - which lead to the husky, hypnotic cut PAULOR'S BLUES, pièce de résistance and headstone in one, as it set the scene and also birthed enough follow-up tracks to naturally grow into a cohesive, full-blown EP.

From echo-drenched, beatless opener NEBLINA to the percussion-infused intrigue of DELIRIO EN CARRETERA, the athletic pop minimalism of AMIGOS or the slow burn of brooding mystery shuffle LUCES CALLING, PAULOR creates a unique, atmospheric sound panorama that excites minds and bodies alike. Adorned with a starry night sky, the record's cover artwork couldn't be more fitting - it's a dominant musical vista in PAULOR's work, whose vantage point is not necessarily a specific place (although all tracks were recorded in Xalapa), but a feeling of exquisite duality: the feeling of being lost between the stars, lonely and connected at the same time, a speck of dust and the center of the universe.

Depth.Request sees a new hat being thrown into the techno ring. The hat in question is the label's first EP Anvil—a post-tech five-tracker, and the person throwing it is Blasted—an Italian producer with a number of solid EPs to his name. Having had previously shared release credits with him on a number of occasions, Berlin's renowned noisemaker Unhuman fits into the picture as well, being the one charged with remixing duties regarding the titular track.

Setting common tact aside for a moment, the opener showcases Blasted indulging in esoteric inclinations by the means of concentrating on slick, abrasive sound design, cutting the number of kicks in half and utilizing a vocal sample to add a pinch of EBM into the mix. Unhuman's slowed-down rework in turn evokes gears' incessant grind at the backdrop of steam pressurizers going up and down in alteration, producing arrays of heavily plodding, whamming kicks. Breaking free of esoterism and leftfield production, the EP continues with Jawbreaker—a peak-time affair wherein the lows are ravaged by constant sub-bass pressure and ruthlessly striking, syncopated kicks, laid under the neatly-synthesized, impenetrable hats, pertaining to Blasted's signature sound. On Filthy Goat, the assault continues with a renewed strength as anxious synths and panning hats gradually invade the scene shortly before the devastating kicks storm down in a hail of obliterating projectiles, creating a battlefield-evocative environment within this decimating, explosive stomper. Lastly, demonic closer Belial bids its fair digital-only-money's worth of adieu with magnificent ambiance interwoven within the spectrum alongside meticulously arranged drumwork presented through plethora of varied, carefully picked samples.

Out-ER sub-label Pregnant Void is proud to announce the release of hi.mo's debut album Urtiis. Landing on double vinyl in June 2018, it is a fantastically absorbing showcase of the Italian's weird and wonderful fusion of various strains of sound from jazz to hip hop to classical. "The alteration of conventional musical patterns thrills me," says the artist who is classically trained in piano and uses that knowledge to play with rules, structures and forms. Influenced by IDM, African drums, jazz and the interplay of chords, rhythm and harmony, hi.mo infuses his electro-acoustic productions with found sound samples and analogue and digital tools. This is a spelling-binding and intimate album that is filled with invention, but never at the expense of the overall experience, which is beautiful and beguiling throughout.

Ground Tactics arises with a transformative release, building bridges between sonic fields. Immaterial Breath EP raises energy levels by creating peculiar momentums of inner reflection. Spanning from IDM to conceptual techno, every single element in his sound is hand crafted, transmitting intimate feelings through grainy textures and subtle distortions. Immaterial Breath projects disorder in construction, inducing a chronic loss of established conditioning, extending the mind to unfamiliar perspectives.

Going Good's first release of 2018 is indeed a very special one.

Cosmic Handshakes sees the pairing of 2 extremely talented Detroit natives - Blair French & Todd Modes - who take elements of Disco, Techno, Jazz, House, Afrobeat, Latin music, Dub and Electronics and filter them through their own unique view of dance music. Steeped in soul, live instrumentation, sampling and analogous alchemical studio processes, French & Modes give us an exhilarating and fresh take on the deepest smoked out, after hours sounds of the city of Detroit.

'In The Mist' is the duo's second release, following on from 2013's 'The Delicate Details', released on the M1 Sessions imprint. The last 2-3 years has seen the pair individually release music on a plethora of varied and esteemed global labels such as FIT Sounds, Claremont 56, Rocksteady Discos and more.


A compelling body of work from front to back, the tracks on 'In The Mist' work perfectly as a self contained home listener, or as we've found, just as well on a darkened dancefloor, leaving the choice up to you, the listener.

Following 2016's much-acclaimed solo album Mondo Alterado (HIPPIE 008CD/LP), original Pachanga Boy and Hippie Dance mentor Rebolledo returns to the limelight with the jam-packed Mondo Re-Alterado, tapping into his vast and varied network of friends and fellow soundsmiths. Artists such as Superpitcher, DJ Tennis, Maceo Plex, Red Axes, Fango, or Fantastic Twins deliver stunning takes on Rebolledo's unique signature sound, creating a full suite of exclusive remixes, cover versions, and reinterpretations. From the super-energetic club rumblings of Maceo Plex's "Discótico Pléxico" to DJ Tennis's dreamy "Pimiento Drive Version" of "A Numb Gas To The Future" or Fantastic Twins' party bomb "Fantastic Pow Pow", the journey through Mondo Re-Alterado is full of twists and turns -- a world where an epic, cinematic soundscape such as Superpicher's "Rainboy Super Space" sits comfortably alongside the claustrophobic, punishing banger that Fango sculpted from stand-out cut "Pow Pow". Meanwhile, Red Axes turn the casual narrative of "Life Is Strange, Life Is Hard, Life Is Great" into a bouncing workout -- a great companion piece to "WANT", Danny Daze and Shokh's propulsive, jagged dub version of "Fears Come True". Other highlights include Jörg Burger aka The Black Frame with the lush "Black Rainbow Woman", Paulor's country rock extravaganza "Discótico Desértico" and not one, but two excellent contributions from former Italians Do It Better honcho Mike Simonetti. It's a magical, surprising ride that finds beauty in contrasts -- while staying tuned to Rebolledo's spirit of adventure and powerful sense of style.

After his successful debut album SUPER VATO (CÓMEME CD LP 01) from two thousand eleven, his highly praised mix CD MOMENTO DRIVE (KOMPAKT CD 117) from two thousand fourteen, and all-around mayhem during his adventures as one half of the Pachanga Boys, Xalapa's finest REBOLLEDO returns with his second solo album MONDO ALTERADO: a recollection of moments and experiences from recent years, colorful mnemonics encompassing the brightest and the darkest. The result is a kind of soundtrack for a movie that doesn't exist, a sonic journey designed like a mixtape that faithfully reflects Rebolledo's background as DJ and producer. Nine tracks connect for one overarching narrative, sharing elements, motives, details as they blend together. The artist's signature can be found all over the place, roaming between straight, rock-drenched drumming, sinister atmospheres, raw synth textures, exciting peaks and foggy bottoms - but always following this kinetic flow and drive which is such a big part of Rebolledo's compelling charme.

In what will certainly be ranked as one of his most intriguing releases so far, Kompakt staple MATIAS AGUAYO not only takes a quick breather from his commitment to Cómeme, but also opens up fresh and exciting paths for him to explore with his music: LEGENDE is both the continuation and alteration of Matias' well-established aesthetic canon, drawing from all stages in his production career und ultimately synthesizing various sonic strains into a wholly new listening experience.

Having established a firm artistic presence in the annals of electronic music through iconic collaborations like Closer Musik or his genre-defying solo work, MATIAS AGUAYO is an artist well known for his deep investment with innovation in club sounds and a keen sense of the varying social context that informs them. This led to the inception of Cómeme, internationally acclaimed label by day, breeding ground for the revolution by night, sonically and otherwise. One can safely assume that - besides constant performing and travelling - this makes for a pretty busy schedule.

Second EP from enigmatic electronic popster FKA Twigs (formerly known as Twigs) packed full of turbulent beats and floating vocals that compliment her glitchy striking visuals that accompany each release
Now, following a name alteration to FKA twigs, she unveils the brand new 'EP2', which will be released on the Young Turks label, available on 12' vinyl.

'So, so amazing ethereal dubstep pop from Gloucestershire... The UK's best example to date of ethereal, twisted R&B.' - The