Search "depeche mode" 75 Items

Tapestry, first LP of Namas; a modern jazz band from Rennes BZH, is a self-produced piece mixing the traditional sound of a trio and modern hip-hop grooves. It is where night falls that Namas finds his universe through dreamlike compositions, influenced both by the London jazz scene and pictorial art.

This modern classic, while previously available only in a plain sleeve, is given the proper treatment of a full color jacket.

S!X – Music is honored to release the first ever physical release by German producer Nowædays. Mixing Trip-Hop techniques modern production styles into one heavy banging EP with a fresh summer vibe.

Zelda & Chill 2 features new remixes from Nintendo's beloved Legend of Zelda franchise. Mikel returns with instrumental arrangements of classic and modern Zelda music, and his signature lofi hip hop beats.

The whole debut album from Russian producer and multi-instrumentalist Paul McLay aka. ommood has
been composed and recorded in Bodhgaya (India) – the land of enlightenment. The album features a large and spherical sound, full of live recorded instruments and beautiful melodies between Trip-Hop and modern lo-fi.

Italian Library GEM Re-imagined BY Beatmaker Koralle AND Rapper Illa J

Four Flies is proud to present a new installment in the Reloved series, ‘New Levels / Chartreuse’, with an original track from late-70s Italian ensemble Modern Sound Quartet and a rework from producer and beatmaker Koralle featuring iconic rapper Illa J.

"PET SOUNDS IN THE KEY OF DEE" is a reimagining of the BEACH BOYS' classic album in the style of J DILLA using his arsenal of beats by deejay/producer BULLION. 13 tracks reworked into something totally new & modern. New edition (not the same one we used to have years ago) with brand new sleeve art and labels. Limited stock.

It's been four years since Sweatbox Dynasty, the fourth solo LP from Pennsylvanian experimentalist Tobacco. In that time, Tom Fec's project has toured with Nine Inch Nails, provided the theme song to HBO series Silicon Valley, and teamed with Aesop Rock for a collaborative album as Malibu Ken. He now returns to Ghostly International for Hot Wet & Sassy, a full-length album oozing with his most playful and approachable songs to date, which, conversely, express notions of antilove, self-hate, and disappointment in others. Pop impulses have always surged beneath the surface of his sound - blown-out bass, analog synths, drum machines, and Fec's unmistakable analog gurgle and hiss - here they've bubbled to the top. "I feel like it's the most I've been able to refine what I'm doing," says Fec. "For the past decade I've had this motherfxcker on my shoulder that makes me pick away at structure and melody. Purposely covering up moments because I can. That really came to a peak on Sweatbox. So I wanted the opposite this time. Write the songs without ripping them in half. I went from 'what would the Butthole Surfers do?' to 'what would Cyndi Lauper do?'" And what would Trent Reznor do? Fec found his answer straight from the source. Their collaborative track, "Babysitter," fuses their voices into one deranged presence: "I'm the new babysitter," they alert, before pivoting into a menacingly saccharine bridge. The track tumbles on a tom fill, then a punishing synth line rips into a cacophony of drums and feedback like a lawnmower gnawing through the living room carpet. "This was new for me, but I wanted to write a song that was everything I am and have been, and then like one notch further. Trent was the notch further," adds Fec. The collaboration is a work of alchemy seamlessly blending Tobacco's trademarks with Reznor's industrial rust and sonic gore. Downcast, sincere, woozy, "Jinmenken" might be the closest Fec has come to a ballad. "Maybe you can find me down the line," his vocoded delivery bounces along the beat. "It's me trying to write a Jets song," says Fec. Album opener "Centaur Skin" presents the stylistic concoction that has been the Tobacco MO from the beginning, crossing dreamy melodic shimmer with the sinister tones and slime. This has become easier to digest, but also far more potent. A motorik beat steadies the track's galloping arpeggio, acting as a springboard for Fec's dark ruminations as well as an uncharacteristically crystalline synth solo. "It's my feel good self hate anthem. Don't worry, I'm good. It was fun to write." Tobacco hasn't been reinvented, but it has been refined and distilled. Brighter, sharper, and far more dangerous because of it. Hot Wet & Sassy is practically staring at the sun without shades and feeling those corneas roast. Everything looks good as your vision fades. The pop-forward structures exert their undeniable hooks with baneful precision, pulling listeners into their clutches; once there, sugary melody rewards submission.

The new LP by cologne based beatmaker Midan: An Ode to the Metronom

In the heart of Cologne, amidst the bustling streets lies a time capsule called the Metronom—a haven for jazz enthusiasts and a sanctuary for soulful conversations. It was within these hallowed walls that Midan found inspiration for his latest sonic journey.

Introducing „Conversations in Blue“ an album that transcends the boundaries of time, paying homage to the jazz-infused soul of a bygone era. As the needle gently graces the vinyl, Midan‘s beats unfold like a modern-day symphony echoing the essence of classic jazz.

This 25th anniversary commemorative reissue of The Dining Rooms’ debut album “Subterranean Modern Volume Uno” is an essential release of an album that has become a true classic of instrumental cinematic hip hop through the years, the very first step in a constant evolution of a unique music style conceived by Stefano Ghittoni and Cesare Malfatti. Thanks to this double LP release various songs of the original full album appear on vinyl for the very first time. This reissue also includes a 30x30cm insert and the bonus track “Education of a Scoundrel” featuring Sean Martin on vocals.

"Tonjen One" is an explosion of tasteful sounds and imagery. Deeply setup into modern electronic it mixes ambient robotic bleeps and soulful jazz hip hop beats. It's a multi-genre composition going easily from one world to the other and playing with the contrast between the two in a very satisfying way. The album flows as a continuous stream of sonic pleasure and comes out of the mind of Swiss producer YZNO (formerly known as Jazzo) releasing his first LP complemented by Isabel Seiffert's incredible artwork and under the Swiss label Boyoom Connective in collab with Urban Waves and HHV.

Jazzy piano loops, afrobeat percussion, breakbeat exoticism, and bounce make up Drew Dave "SynthBASED," an instrumental ride. Residing in the crux of vintage and modern techniques is Drew Dave, who's faithful to the soul that lives in his hardware, but maintains forward vision for live instrumentation and midi-synths on his latest project. Drew Dave has doodled over the orginal syllabi of Hiphop instrumentalism, creating ornate embellishments of prerequisite texts. Drew Dave's aspirations for musicality over straight beats, his the ability to deliver bangers that loop gravelly roars, and his smooth crisp production lead listeners on a rhapsodic journey.

Austin Boogie Crew had to do something special for our first vinyl release of 2019, and with that we present H1NDS1GHT , a killer double 7” modern funk EP by the one and only XL Middleton! Hailing from Pasadena, California, XL has established himself as one of the premiere musicians, label owners (MoFunk Records), and tastemakers in the game. Using outstanding and mostly unreleased material from his archives as the foundation for this project (hence the name H1NDS1GHT), XL reimagined these songs and penned fresh lyrics specifically for the release. We divided the EP into two 45s, each with its own distinct vibe, and with the help of illustrator Austin Cashell and designer Rene Cardenas, created a unique album jacket that forms one image when the two records are held side by side. Viewed as a whole, this EP is an exceptional ride that will carry you from spring into summer!

Vol. 1 A: “Nervous” (112 BPM) - Making a lasting impression out the gate, “Nervous” is a modern funk anthem for anyone who’s struggled with the confidence to approach someone romantically. On top of the endearing and refreshing songwriting, the instrumentation on this one is crisp and way funky.

B: “Digital Devils” (113 BPM) - Originally featured on the 2014 cassette compilation Is This The Future?, this irresistible instrumental is long overdue for the vinyl treatment. The slapping drums and wet, punchy bass on this one immediately demand attention. With lovely changeups and 16-bit style leads, this is an ace in the hole on any dance floor.

With Sgjazz, Dundiff pursues his passion for jazz. SG stands for supergroup. The quintet plays jazz with a hip-hop state of mind. Classically trained jazz musicians – multi-instrumentalist Idris Frederick, Patrick Denney on bass, Anthony Keenan on guitar, Noah Reed on alto and tenor saxophone – are jamming with certified rap cats. Sgjazz are not a random group of session players but five long-time friends who go way back.

2024 Repress!

In 2018, Meitei shook the ambient world with the release of his debut album “Kwaidan”, a transposition of Japanese folklore into intricate compositions, capturing what he would coin as the “lost Japanese mood”. The album almost instantly received critical acclaim from the likes of Pitchfork, where it was included in their Best Experimental Albums of 2018, Bandcamp, calling it “different than some of the ambient music that has been coming from Japan in recent years”, The Wire and more. Outside of press, he has also received nods from the likes of Rosalía and has collaborated with contemporaries Anthony Naples, DJ Python, Tourist, Chitose Hajime and more.

Cementing his name in the ambient and experimental world, Meitei has since continued to cultivate devoted fans globally, with monumental follow-up albums as part of his unique musical canon – Komachi, Kofu I and Kofu II, showcasing his immense musicianship in building a unique sonic world of his own.

5 years later and a collaboration between 2 Singaporean labels – Kitchen. Label (Kofu I & II) Evening Chants (Kwaidan), the anniversary sees the highly anticipated special 5th Anniversary Edition of Kwaidan with 2 unreleased bonus tracks. This will come in the long out-of-print vinyl format, with obi strip, 8-panel insert, new colour variant and the first ever CD version.

Mastered by Taylor Deupree, Kwaidan’s 5th Anniversary Edition will be released with 2 bonus tracks on a smoke haze variant LP, CD and digital formats, released via Kitchen. Label and Evening Chants.

Hailing from Hiroshima, Meitei, unveils the final chapter of his transformative Kofū trilogy. “Kofū Iii” marks the apex of a musical journey that began in 2020, unraveling an introspective exploration of the artist's psyche while delving deep into the essence of Japanese culture. This latest release invites listeners into the innermost sanctums of Meitei's existence — a passage filled with serenity, self-discovery, and the triumphant conquest of personal demons.

Meitei's journey has been deeply intertwined with his surroundings. His move from bustling Kyoto to the tranquil rural town of Onomichi in Hiroshima wasn't just a change of location but a profound shift in his life. Navigating through the ebbs and flows of mental well-being, Meitei found solace in the quiet, low-key energy of Onomichi, where he began creating his distinctive brand of "ambient" music dedicated to resurrecting ‘lost Japanese moods’.

"Kofū Iii" is not just a collection of songs; it's a window into Meitei's mind, where he reflects on ‘the Japanese mental landscape,’ as experienced during the period of his return to his hometown. This album stands as a testament to Meitei's evolution, from his tentative inner quest to a state of deep healing.

"Kofū” and its precursor, "Kwaidan,” germinated in the solitude of Onomichi, embodying the mysterious, vanishing essence of Japan that Meitei unearthed in the shadows of his hometown. With "Kofū III," this exploration reaches its zenith, weaving musical landscapes that transcend temporal bounds. Each track vividly paints bygone eras and vignettes, all while drawing on the rich tapestry of Japanese literature and mindscapes.

Meitei introduces listeners to the tranquil Hiroshima countryside in 'Reimei,' while 'Hiroshima' reflects upon the city's transformation. It explores Meitei's intricate relationship with the city and contemplates the ever-changing visage of contemporary Japanese progress.

Within the sonic fabric of "Kofū III," "Shisei" brings listeners to Japan's past, when tattoos bore the name "Shisei." Fueled by Junichiro Tanizaki's "Shisei" narratives, the song paints a sensual tale of a tattooed man adorning a woman with a spider tattoo.

Meitei's authenticity shines through in "Kofū III," where complex emotions metamorphose into a kaleidoscopic fusion of lo-fi bliss. In "Yume-jūya," Meitei recounts a peculiar dream and the lingering anxiety it left behind. Also, inspired by the famous Japanese writer Soseki Natsume's "Yume-jūya," Meitei's interpretation offers his own perspective on this comical and bizarre tale.

"Edogawa Ranpo" stands as a mind-bending loop track that pays homage to the genius of the lesser-known Japanese author Edogawa Ranpo, a pioneer of the mysterious and bizarre. This experimental piece melds folklore, electronic rapture, and distortion, echoing Meitei's fascination with Ranpo's work since his elementary school days.

At the core of "Kofū Iii" lies "Heiwa," originally titled "1945," encapsulating Meitei's profound reflection on peace education in his hometown and the weighty significance of acknowledging historical tragedies. Its renaming as "Peace" symbolizes his personal odyssey towards understanding and reconciliation.

As Meitei concludes his Kofū trilogy, global listeners are invited to embark on this voyage to unearth the hidden treasures of Japanese culture and the depths of the human soul. "Kofū Iii" is a meditation on the intangible threads that bind us to our past - a portal to Japan's veiled history, capturing the essence of Japan's elusive spirit through the enigmatic landscapes of Meitei's inner terrains.

"Kofū Iii" is slated for release on December 1, 2023, in 180g LP, CD, and digital formats via Kitchen. Label. Both LP and CD format are presented in a debossed sleeve with obi strip and include an accompanying 32-page booklet. This album is mastered by Chihei Hatakeyama in Tokyo, Japan.

Meitei’s 2020 album 'Kofū' was the bold bookend to an expedition, where sounds were first navigated and then subverted in 2018’s 'Kwaidan' and 2019’s 'Komachi'.

All three albums were Meitei’s attempt at immersive storytelling, reimagining moments of Japanese history he felt were being washed away – not least by the unforgiving sands of time – through wistful compositions that stretched across ambient music, hauntology, and musique concrete.

When it came to finalizing 'Kofū', Meitei found he was left with over 60 fully realized tracks, bursting with ideas that fired in divergent, curious directions. Meitei was content with the 13 tracks he had selected. But when it came time to begin his next album, he found that it had been sitting in front of him all along. He realized his work wasn’t over yet.

Meitei sounds right at home celebrating the past he first reimagined in his previous work. The merriment is palpable in its first two tracks of 'Kofū II' – a loop of cheery whistling amidst the clanking of wood leads into strings, cricket sounds and flutes, all united in bustling harmony.

'Happyaku-yachō' is where it comes into focus. Pitch-shifted vocal samples roam around in the crowded sonic field. “My image of this music is that it expresses the vibrant mood of Edo's merchant culture,” says Meitei, “where old Japanese dwellings were densely packed together in a vast expanse of land.” The affair becomes bittersweet as the track leads into the desolate 'Kaworu', a compositional piece lifted from his 'Komachi' sessions – a final requiem to his late grandmother.

The album is bursting with spectral vignettes of wandering samurais, red lanterns, ninjas, puppet theatres, poets, even a vengeful assassin ('Shurayuki hime', known to Western audiences as ‘Lady Snowblood’).

'Saryō' is as elegant and refined as you would expect. It induces stillness in its repetition, with each synth note a brushstroke. It was inspired by a Sengoku-era tea house he once visited, designed by national icon Sen no Rikyū. Meitei tied it to the reaction he felt while poring over the ink paintings in his grandmother’s house. “The decayed earthen walls and faded tatami mats gave me an emotional impression,” he says. “And the cosmic flow of time drifting in the small room. I decided to put my impression of this into music.”

In 'Akira Kurosawa', an appropriately thunderous track, Meitei finds deep resonance in his vast filmography, which drew equally from Japan’s rich heritage and troubled circumstances post-WWII.

'Kofū II' is not a leftovers album, nor is it a straightforward companion piece. In this album, Meitei has his biggest reckoning with the Japanese identity yet. Over the years, he has attempted to peel back what he believes has defined Japan and its people. After seeking answers with three full-length albums, his fourth poses more questions.

If his first three albums inspired a sense of longing – or, perhaps inevitably, fed an irreparable nostalgia doomed to history – 'Kofū II' compels us to reassess our relationship with the past. By constantly looking back, are we ever afforded a clearer present? After capturing the “lost Japanese mood”, where does that leave its country in the modern world? Meitei offers no immediate answers with 'Kofū II'. It forces you to sit with its disparate moods, to meditate amidst the textured fragments.

'Kofū II' will be released on 180g LP, CD and digital format on December 10, 2021 (LP expected to land January 28, 2022) via KITCHEN. LABEL. Both LP and CD format are presented in a debossed sleeve with obi strip and include a 16-page insert with words in Japanese and English from Meitei, printed on premium paper stock with design by KITCHEN. LABEL founder Ricks Ang, and is mastered by Chihei Hatakeyama in Tokyo, Japan.

Hailing from Hiroshima, Meitei, unveils the final chapter of his transformative Kofū trilogy. “Kofū Iii” marks the apex of a musical journey that began in 2020, unraveling an introspective exploration of the artist's psyche while delving deep into the essence of Japanese culture. This latest release invites listeners into the innermost sanctums of Meitei's existence — a passage filled with serenity, self-discovery, and the triumphant conquest of personal demons.

Meitei's journey has been deeply intertwined with his surroundings. His move from bustling Kyoto to the tranquil rural town of Onomichi in Hiroshima wasn't just a change of location but a profound shift in his life. Navigating through the ebbs and flows of mental well-being, Meitei found solace in the quiet, low-key energy of Onomichi, where he began creating his distinctive brand of "ambient" music dedicated to resurrecting ‘lost Japanese moods’.

"Kofū Iii" is not just a collection of songs; it's a window into Meitei's mind, where he reflects on ‘the Japanese mental landscape,’ as experienced during the period of his return to his hometown. This album stands as a testament to Meitei's evolution, from his tentative inner quest to a state of deep healing.

"Kofū” and its precursor, "Kwaidan,” germinated in the solitude of Onomichi, embodying the mysterious, vanishing essence of Japan that Meitei unearthed in the shadows of his hometown. With "Kofū III," this exploration reaches its zenith, weaving musical landscapes that transcend temporal bounds. Each track vividly paints bygone eras and vignettes, all while drawing on the rich tapestry of Japanese literature and mindscapes.

Meitei introduces listeners to the tranquil Hiroshima countryside in 'Reimei,' while 'Hiroshima' reflects upon the city's transformation. It explores Meitei's intricate relationship with the city and contemplates the ever-changing visage of contemporary Japanese progress.

Within the sonic fabric of "Kofū III," "Shisei" brings listeners to Japan's past, when tattoos bore the name "Shisei." Fueled by Junichiro Tanizaki's "Shisei" narratives, the song paints a sensual tale of a tattooed man adorning a woman with a spider tattoo.

Meitei's authenticity shines through in "Kofū III," where complex emotions metamorphose into a kaleidoscopic fusion of lo-fi bliss. In "Yume-jūya," Meitei recounts a peculiar dream and the lingering anxiety it left behind. Also, inspired by the famous Japanese writer Soseki Natsume's "Yume-jūya," Meitei's interpretation offers his own perspective on this comical and bizarre tale.

"Edogawa Ranpo" stands as a mind-bending loop track that pays homage to the genius of the lesser-known Japanese author Edogawa Ranpo, a pioneer of the mysterious and bizarre. This experimental piece melds folklore, electronic rapture, and distortion, echoing Meitei's fascination with Ranpo's work since his elementary school days.

At the core of "Kofū Iii" lies "Heiwa," originally titled "1945," encapsulating Meitei's profound reflection on peace education in his hometown and the weighty significance of acknowledging historical tragedies. Its renaming as "Peace" symbolizes his personal odyssey towards understanding and reconciliation.

As Meitei concludes his Kofū trilogy, global listeners are invited to embark on this voyage to unearth the hidden treasures of Japanese culture and the depths of the human soul. "Kofū Iii" is a meditation on the intangible threads that bind us to our past - a portal to Japan's veiled history, capturing the essence of Japan's elusive spirit through the enigmatic landscapes of Meitei's inner terrains.

"Kofū Iii" is slated for release on December 1, 2023, in 180g LP, CD, and digital formats via Kitchen. Label. Both LP and CD format are presented in a debossed sleeve with obi strip and include an accompanying 32-page booklet. This album is mastered by Chihei Hatakeyama in Tokyo, Japan.

Your Old Droog season is upon us. The prolific Brooklyn artist has cemented his place as one of the most important figures in the modern hip-hop landscape, delivering a steady stream of acclaimed projects. Now, YOD is at it again, unveiling a physical release of his recent collection Yodney Dangerfield. With beats by Nicholas Craven, SadhuGold, Lee Scott, and Jonwayne, the album is another extraordinary body of work from the talented Ukrainian wordsmith. And yet, the music industry still gives him no respect. This edition includes the physical-only bonus track “Metal Face Medley”, a Your Old Droog live performance montage honoring dearly departed rap god MF Doom.

Urban Waves Records proudly announces "Gris" the third album by Lidly. The producer hailing from Shibuya, Tokyo, Japan brought us an emotional and melancholic album that presents like a story thanks to the incredible artwork by Max Wilkins. "Gris" is about the passing of time exploring classic sounds, with the dusty sampling, and mixing the rare vintage treasures of the past with the modern and experimental atmosphere that makes the unique style of Lidly which we love so much. Gris was originally a soundtrack made for a dear friend of Lidly and his hair salon called "Gris" in Nakameguro, Tokyo. Thankfully the project shaped up into a full album and we got the chance to be able to release it for you.

Beat Art Department and HHV proudly present this limited edition of Flips new album that comes with a bonus 45 including two productions by Flip with vocals by Sadat X & Fokis as well as ONYX! Only 100 copies. Only at HHV.

As instrumental HipHop albums seem to be at an all-time high, ranging from so called lo-fi aesthetics to progressive sounds with electronic vibe, one of Austrian HipHop’s godfathers and OGs on the boards has finally dropped an instrumental album on his own. The title “Experiences“ has been chosen not without reason as it both reflects the personal experiences the artist has gone through in his 25 years plus career but also hint the influences and musical aspects that went into this album.
Flip has tried to give insight into his musical influences that began in the 80ies with groups like Public Enemy or EPMD into the 90ies era with sounds ranging from Native Tongue territory to a DJ Premier or Pete Rock or the DITC producers, when he started making beats on his own for his rap group Texta. You can hear links to other production wizards like J Dilla, Hi-Tec or Madlib that changed the sampling techniques post 2000 with albums like Donuts, Hi-teknology or Madvillain. So yes, „Experiences“ is sample-based but further developed by Flip with original basslines, keys, guitar riffs played by the producer himself.
The final result though is not just a simple look back into the golden era but more a retro-futuristic approach that Flip tried to execute within those sixteen compositions. Additional scratches and vocal chops add more flavor to the tracks and as one song flows with ease into the next one, this makes „Experiences“ an experience for the listener, too. While a lot of HipHop instrumental albums just let some loops run for two minutes, Flip took a more ambitious approach where continued listening to the album will reveal new details and musical ideas every
time.

Another fact that won t go unnoticed is the heavy punch of the drums which is due to the As instrumental HipHop albums seem to be at an all-time high, ranging from so called lo-fi aesthetics to progressive sounds with electronic vibe, one of Austrian HipHop’s godfathers and OGs on the boards has finally dropped an instrumental album on his own. The title “Experiences“ has been chosen not without reason as it both reflects the personal experiences the artist has gone through in his 25 years plus career but also hint the influences and musical aspects that went into this album. Flip has tried to give insight into his musical influences that began in the 80ies with groups like Public Enemy or EPMD into the 90ies era with sounds ranging from Native Tongue territory to a DJ Premier or Pete Rock or the DITC producers, when he started making beats on his own for his rap group Texta. You can hear links to other production wizards like J Dilla, Hi-Tec or Madlib that changed the sampling techniques post 2000 with albums like Donuts, Hi-teknology or Madvillain. So yes, „Experiences“ is sample-based but further developed by Flip with original basslines, keys, guitar riffs played by the producer himself. The final result though is not just a simple look back into the golden era but more a retro-futuristic approach that Flip tried to execute within those sixteen compositions. Additional scratches and vocal chops add more flavor to the tracks and as one song flows with ease into the next one, this makes „Experiences“ an experience for the listener, too. While a lot of HipHop instrumental albums just let some loops run for two minutes, Flip took a more ambitious approach where continued listening to the album will reveal new details and musical ideas every time.
Another fact that won t go unnoticed is the heavy punch of the drums which is due to the ́ usage of old samplers like the legendary SP-1200, the ASR-10 or the MPC2000XL that Flip is still using, blending it though with the power of modern soft and hardware. So put your headphones on take a trip through Flip s musical mind.

Nothing But Net presents “Perceptions”, the debut LP from Los Angeles producer/beat maker Jamma-Dee aka Dyami O’Brien. Jamma-Dee has been a figure in the west coast modern funk and boogie scene, both as an accomplished DJ and music producer, having released records under his own name and producing for the likes of Joyce Wrice, Mndsgn and others.

From a musical upbringing in Los Angeles, Dyami’s adolescent obsession with record digging and beatmaking eventually led him to Dam-Funk’s renown Funkmosphere parties where he built friendships with key players in the LA funk scene and began to make a name for himself as a DJ and producer. In the second half of the 2010’s he released a series of EPs on Arcane and hosted the legendary Soul In Paradise show on NTS radio.

His first full-length, “Perceptions” is a long time in the making. Beginning with studio experiments nearly a decade ago, a version of the album found its way to producer and Nothing But Net label boss Onra, who helped guide the project to completion. The album artwork was created by outsider soul music conceptualist and painter, Mingering Mike, whom O’Brien felt compelled to reach out to after discovering his work years earlier. Thematically, the artwork, record, and its title touch on very modern themes: the alienation of life in a world of instant-gratification, an overly-connected society of masks, distorted realities and shifting identities.

Musically, “Perceptions” is the culmination of a life lived under the groove. Featuring a long list of collaborators, including Benedek, Mndsgn, Koreatown Oddity, the legendary Craig T. Cooper and fellow NBN labelmate, Devin Morrison, the double album touches on all of O’Brien’s musical influences. Album opener “Up N Down” sets the scene with it’s syrupy g-funk impressionism, before “Jamma’s Jam” bounces out of the speakers through an auburn-colored sunset haze of lush Rhodes chords and sparkling vibraphones. “It Takes A Freak” and “Datafile Groove” shuffle westward, re-imagining New Jack Swing grooves through a distinctly Californian lens. Elsewhere, the album touches on classic deep house rhythms (“Tic Toc” and “Silly”) and crystalline, downtempo R&B and UK street soul (“Joy”, “Saturday”).“U.R.” features legendary L.A. guitarist Craig T. Cooper laying down a network of stunning, silken guitar lines with absolute class.

Over the course of these 15 tracks, Jamma Dee consolidates, renovates and perpetuates the sound of his influences. “Perceptions” is a masterclass in modern funk and soul production.

Dies Occidendum is a mythical voyage across fog-laden, scorched earth terrain from the original friar of dark hip hop, Dj Muggs the Black Goat. Known and revered as the sonic mastermind behind both Cypress Hill and his own Soul Assassins imprint, here Muggs sheds the MCs and presents his latest dark-soaked productions as an illuminated manuscript of sorts; a fully immersive, instrumental soundtrack to the mysterious Dies Occidendum. No one wields the Excalibur of sonic darkness quite like Muggs. Combining ingredients of psych rock, gypsy folk with modern elements of trap, forged together under layers of his signature sonic grime, Muggs has created yet another blueprint for the utmost sonic menace and macabre. The Renaissance is upon us. Long live King Muggs.

Dies Occidendum is a mythical voyage across fog-laden, scorched earth terrain from the original friar of dark hip hop, Dj Muggs the Black Goat. Known and revered as the sonic mastermind behind both Cypress Hill and his own Soul Assassins imprint, here Muggs sheds the MCs and presents his latest dark-soaked productions as an illuminated manuscript of sorts; a fully immersive, instrumental soundtrack to the mysterious Dies Occidendum. No one wields the Excalibur of sonic darkness quite like Muggs. Combining ingredients of psych rock, gypsy folk with modern elements of trap, forged together under layers of his signature sonic grime, Muggs has created yet another blueprint for the utmost sonic menace and macabre. The Renaissance is upon us. Long live King Muggs.

Italian Jazz Fusion quartet H-Owl Project are releasing their next single ‘Sea of Tranquility’ via the alternative label Group BraCil. The two-track release realises the groups’ modern jazz roots, but with shades of Progressive Rock, Soul and Hip Hop all being present throughout. Founded in 2019 of Apulian and Lucanian descent, the four piece is made up of Rossella Palagano (Vocals), Nicolò Petrafesa (Piano), Vito Faretina (Bass) and Graziano Pennetta (Drums). The group had recently been making waves at the 2019 Novi Sad Jazz Marathon in Serbia and even went on to win the Onyx Jazz Festival as best musical act in the same year. Alas, Covid has made a group that once thrived on the environment of live music now start to venture the dark resources of the web to make their music heard

Limited red vinyl edition.

Dies Occidendum is a mythical voyage across fog-laden, scorched earth terrain from the original friar of dark hip hop, Dj Muggs the Black Goat. Known and revered as the sonic mastermind behind both Cypress Hill and his own Soul Assassins imprint, here Muggs sheds the MCs and presents his latest dark-soaked productions as an illuminated manuscript of sorts; a fully immersive, instrumental soundtrack to the mysterious Dies Occidendum. No one wields the Excalibur of sonic darkness quite like Muggs. Combining ingredients of psych rock, gypsy folk with modern elements of trap, forged together under layers of his signature sonic grime, Muggs has created yet another blueprint for the utmost sonic menace and macabre. The Renaissance is upon us. Long live King Muggs.

Shuko Unveils Highly Anticipated New Album Jazzterfield 3 – A Masterful Blend of Hip-Hop, Soul, and Jazz

Celebrated producer Shuko returns with his latest album, Jazzterfield 3, a captivating fusion of hip-hop, soul, and jazz that continues to showcase his signature sound. The third installment in his critically acclaimed Jazzterfield series, this album is a sonic journey that bridges classic jazz influences with modern beats and soulful rhythms. Known for his collaborations with major artists and his standout solo work like Anderson Paak, Kanye West or Chance The Rapper, Shuko’s latest release delivers tracks that feel at home in both intimate listening sessions and vibrant playlists. Whether you’re a fan of golden-era hip-hop, rich jazz textures, or soul-soaked beats, Jazzterfield 3 brings these worlds together in a cohesive, organic sound.

2023 Repress on Black Vinyl.

The third album from London-based multi-instrumentalist, Robohands. ‘Shapes’ fuses elements of jazz, krautrock, hip hop and ambient music. For fans of Khruangbin, Yusef Dayes, CAN, Coltrane and 70s library music moods.

Shapes is the solo project of London based composer, instrumentalist and producer Andy Baxter. His debut LP Green was released on Village Live Records in 2018 and was received with much love and acclaim in the UK Jazz, hip hop and surrounding scenes.

His follow up full-length, 'Dusk’, dropped in 2019, combining soul, funk, Latin & experimental moods. It featured vocalists & musicians from around the world including legendary New York French horn player, John Clark, who has worked with Isaac Hayes, Gil Evans Orchestra, McCoy Tyner, Jaco Pastorius, Ornette Coleman and many more greats.

'Shapes' is inspired by 1970s library music and their legendary composers including Piero Umiliani, David Axelrod, Brian Bennett and co. The album builds on these influences and incorporates modern motifs, contemporary jazz/hip hop drumming styles with a nod to 1990s Mo Wax artists such as DJ Shadow. The theme for the record is future/nostalgia, mixing vintage & modern instruments and production techniques.

Much of ‘Shapes’ was recorded with JB Pilon at Buffalo Studios in Limehouse, London. Due to the COVID restrictions that changed everything in 2020, the remaining parts were recorded in Andy’s flat using a collection of old mixing desk preamps and instruments.

For the heads – ‘Shapes’ features an array of vintage snares, including a 1960's Ludwig Pioneer and a mono, overhead ribbon mic on the drum kit provided extra old school points! The kick drum was re-amped through a huge vintage bass amplifier on a couple of tracks to give it some real character. “My favourite guitar sound achieved on this LP project is a

Sontronics Sigma ribbon microphone in front of a WEM Dominator amp, which you can hear on the track 'Odysea'. The bass sound for all the tracks is a 1973 Fender Precision into an old Altec valve preamp, the one used on most Motown recordings.”

The third album from London-based multi-instrumentalist, Robohands. ‘Shapes’ fuses elements of jazz, krautrock, hip hop and ambient music. For fans of Khruangbin, Yusef Dayes, CAN, Coltrane and 70s library music moods.

Shapes is the solo project of London based composer, instrumentalist and producer Andy Baxter. His debut LP Green was released on Village Live Records in 2018 and was received with much love and acclaim in the UK Jazz, hip hop and surrounding scenes.

His follow up full-length, 'Dusk’, dropped in 2019, combining soul, funk, Latin & experimental moods. It featured vocalists & musicians from around the world including legendary New York French horn player, John Clark, who has worked with Isaac Hayes, Gil Evans Orchestra, McCoy Tyner, Jaco Pastorius, Ornette Coleman and many more greats.

'Shapes' is inspired by 1970s library music and their legendary composers including Piero Umiliani, David Axelrod, Brian Bennett and co. The album builds on these influences and incorporates modern motifs, contemporary jazz/hip hop drumming styles with a nod to 1990s Mo Wax artists such as DJ Shadow. The theme for the record is future/nostalgia, mixing vintage & modern instruments and production techniques.

Much of ‘Shapes’ was recorded with JB Pilon at Buffalo Studios in Limehouse, London. Due to the COVID restrictions that changed everything in 2020, the remaining parts were recorded in Andy’s flat using a collection of old mixing desk preamps and instruments.

For the heads – ‘Shapes’ features an array of vintage snares, including a 1960's Ludwig Pioneer and a mono, overhead ribbon mic on the drum kit provided extra old school points! The kick drum was re-amped through a huge vintage bass amplifier on a couple of tracks to give it some real character. “My favourite guitar sound achieved on this LP project is a

Sontronics Sigma ribbon microphone in front of a WEM Dominator amp, which you can hear on the track 'Odysea'. The bass sound for all the tracks is a 1973 Fender Precision into an old Altec valve preamp, the one used on most Motown recordings.”

2023 Repress on Black Vinyl.

The third album from London-based multi-instrumentalist, Robohands. ‘Shapes’ fuses elements of jazz, krautrock, hip hop and ambient music. For fans of Khruangbin, Yusef Dayes, CAN, Coltrane and 70s library music moods.

Shapes is the solo project of London based composer, instrumentalist and producer Andy Baxter. His debut LP Green was released on Village Live Records in 2018 and was received with much love and acclaim in the UK Jazz, hip hop and surrounding scenes.

His follow up full-length, 'Dusk’, dropped in 2019, combining soul, funk, Latin & experimental moods. It featured vocalists & musicians from around the world including legendary New York French horn player, John Clark, who has worked with Isaac Hayes, Gil Evans Orchestra, McCoy Tyner, Jaco Pastorius, Ornette Coleman and many more greats.

'Shapes' is inspired by 1970s library music and their legendary composers including Piero Umiliani, David Axelrod, Brian Bennett and co. The album builds on these influences and incorporates modern motifs, contemporary jazz/hip hop drumming styles with a nod to 1990s Mo Wax artists such as DJ Shadow. The theme for the record is future/nostalgia, mixing vintage & modern instruments and production techniques.

Much of ‘Shapes’ was recorded with JB Pilon at Buffalo Studios in Limehouse, London. Due to the COVID restrictions that changed everything in 2020, the remaining parts were recorded in Andy’s flat using a collection of old mixing desk preamps and instruments.

For the heads – ‘Shapes’ features an array of vintage snares, including a 1960's Ludwig Pioneer and a mono, overhead ribbon mic on the drum kit provided extra old school points! The kick drum was re-amped through a huge vintage bass amplifier on a couple of tracks to give it some real character. “My favourite guitar sound achieved on this LP project is a

Sontronics Sigma ribbon microphone in front of a WEM Dominator amp, which you can hear on the track 'Odysea'. The bass sound for all the tracks is a 1973 Fender Precision into an old Altec valve preamp, the one used on most Motown recordings.”

With great notoriety for his reworks across SoundCloud, London native, K, Le Maestro has forged an undeniable signature sound for himself and has made his way from making beats for himself in his bedroom to having his edits widespread across the internet and garnering popularity in the outside world among DJs and music heads alike and earning his co-signs from i.e. Soulection or House Shoes. Now by the age of 22 K, Le Maestro truly has become a master of his art; fusing between different genres while maintaining the signature knock that his instrumentals provide and is now ready to presents his debut album “whip Music”.

The album’s 1st single „why Can’t WE? - a masterclass in playing with momentum and anticipation, showcasing K’s razor sharp feel for building soundscapes and capturing a 90s R&B/HipHop vibe – got picked up by Apple Music’s “Beatstrumentals” Playlist right away. The carefully curated layers of instrumentation make the track meld together into a laid-back, yet head-banger kind of wave.

The 2nd single “out Late” features US singer Amaria and has become a sonic celebration, marrying modern R&B with old-school funk. The angelic voice of Amaria creates a sensual, intimate setting that sits perfectly within K's production of lush synths, heavy drums and a booming bass line. The song will be accompanied by a full length music video.

The 3rd and final single “backseat” features singer Nápoles and feels like a modern take on 90ies R&B ballad complemented by Nápoles´ gentle vocal delivery, reminding of heavyweights such as H.E.R or 90ies super-group EnVogue with its lush harmonies and the smooth instrumentation, contrasted with another heavy synth bass line. The single will also feature a full-length music video.

The album’s artwork was designed by the artist himself while the record contains a double-sided DIN A2 poster, showing the album cover in black & white on one and an alternate anime cover version on the other side.

"‘Soil’ by Amsterdam-based producer and musician Jelee is heavily influenced by video game world-building. Like a beat alchemist, he carefully pours his love for beats into his lifelong passion for video game soundtracks. That far exceeds your typical 8-bits and bobs: Soil unfolds like a challenging adventure game, held together by a sonic palette of hip-hop-minded drum programming, jazz-inspired chords, and synthesized sounds.

The album features tight-knit homegrown collaborations with jazz multi-instrumentalist Guido Hoek, rising deejay Jerrau, producer lofi prototype (“one of Amsterdam’s best-kept secrets when it comes to beatmaking,” says Jelee), deejay, producer, and keyboardist Mo Wrights, and singer Erosi. With influences ranging from Brainfeeder’s roster to Zelda games, Jelee presents a multifaceted take on music.

Jelee’s music has been featured on compilations by Resilienza Records, Stamp The Wax, and Carista’s ‘Modern Intimacy Volume 1.’ Jelee is also known for his expressive live sets, such as the support act for Onra, Samiyam, and Salami Rose Joe Louis."

Boogie Belgique was formed in 2012 by Oswald Cromheecke, quickly growing into one of the top artists in European trip-hop and electro-swing circles. A year later, the Belgian combo released Time For A Boogie, their debut for the Cold Busted label. The album made serious waves, exposing global audiences to Boogie Belgique’s unique fusion of old and new, vintage and modern. The band’s combination of nostalgic swing jazz samples, live instrumentation, and phat beats creates a sound that’s exciting to this day. That’s why Cold Busted has reissued Time For A Boogie, remastered and, for the first time, on vinyl and cassette. New listeners can thrill to the punchy uptempo breakbeat swing of album opener “Love In Your Eyes,” the worldly trip-hop excursion of “Broken Mountain,” “Swing Thing” and its familiar cut-ups mixed with hip hop attitude, and the infectious contemporary groove of the title track. And that’s just a taste of the album’s dozen phenomenal tracks. Time For A Boogie is an album that stands the test of time, reaching into the past to reveal sounds for future dance-floors.

Boogie Belgique was formed in 2012 by Oswald Cromheecke, quickly growing into one of the top artists in European trip-hop and electro-swing circles. A year later, the Belgian combo released Time For A Boogie, their debut for the Cold Busted label. The album made serious waves, exposing global audiences to Boogie Belgique’s unique fusion of old and new, vintage and modern. The band’s combination of nostalgic swing jazz samples, live instrumentation, and phat beats creates a sound that’s exciting to this day. That’s why Cold Busted has reissued Time For A Boogie, remastered and, for the first time, on vinyl and cassette. New listeners can thrill to the punchy uptempo breakbeat swing of album opener “Love In Your Eyes,” the worldly trip-hop excursion of “Broken Mountain,” “Swing Thing” and its familiar cut-ups mixed with hip hop attitude, and the infectious contemporary groove of the title track. And that’s just a taste of the album’s dozen phenomenal tracks. Time For A Boogie is an album that stands the test of time, reaching into the past to reveal sounds for future dance-floors.

‘Mini Tollbooth’ is inspired by a novel called Phantom Tollbooth. The film adaptation from 1961 is so beautiful. I like to get lost in these childish worlds of freedom, where everything is possible. This modern fairy tale is about a young boy named Milo who is bored by the world around him. He feels everything is a waste of time. He comes home from school one day to find in his bedroom an anonymous package containing a miniature tollbooth and a map of the Lands Beyond. He takes the map, drives through in his toy car, and instantly finds himself driving on a road to Expectations. Enjoying the ride, he pays no attention to his route and soon becomes lost in the Doldrums, a colorless place where thinking and laughing are not allowed. He is having plenty more adventures like watching Chroma the Great conduct his orchestra in playing the colors of the
sunset or meeting The Awful Dynne, a genie who collects noises for Dr. Dischord. – fLako

All Songs produced by fLako.
All Vocals by Dirg Gerner.
Except Vocals by Shuanise.
Art Design by Iain Macarthur.

MED, Blu and Madlib are pleased to present the special edition instrumental release of their acclaimed Bad Neighbors LP. Produced entirely by the Beat Konducta himself—the vibe provider for classic albums for the likes of MF Doom, Freddie Gibbs, Black Star and more—the 14 track single LP boasts Lib’s hallmark crackling soul and funk loops in their isolated form. The special edition instrumental has been remastered, equipped with two new bonus instrumentals, and boasts an eye catching overhaul designed by Jeff Jank of the original album artwork adapted from Eugene Thurston and Arthur Hawkins' illustration for the 1930 mystery novel, The Invisible Host. “I’d like to dedicate this release to Mr Otis Jackson Sr. Thanks for the guidance and support. Highly Appreciated” - MED

Key Selling Points:

-This special edition instrumental release is remastered with two new bonus instrumentals and pressed on 180 gram vinyl. -Equipped with a revamped purple-edition cover based off the original version, designed by Stones Throw’s Creative Director, Jeff Jank.

Cover and vinyl are close to NM.

Modern Power electronics...TIP!!

Philipp Matalla lives and works in the triangle of Halle, Leipzig and Berlin, in Germany. He has previously released music on labels such as Optimo Music, Kann and Kashual Plastik. His new album on Meakusma delves into some of the themes that have so far defined his work, this time increasing the tension between moments of musical harshness and flickers of introspection, ease and downright beauty. Matalla aims not for perfection, instead deploying the listener's sense of imagination. His work toys with the notion of abstraction in electronic music, often going as far cutting short melodic and other ideas, making for a confrontational stance unafraid of leaving his material in a state of difficult to define rawness, based on versatile ingredients equally rooted in rural and urban territory. Stakes is a gorgeous and gorgeously far out album, integrating elements of psychedelic rock and dub, blending in melodic ideas that are at times abstracted, at times soothing. It is pastoral music for the digital age, where raw bursts of noise and energy dislocate and set the record straight. There is even a croonerish feel to some of its tracks, croonerish from a distorted future that is. Stakes is an experience in eclecticism and musical logic. It dissolves structures and ideas and turns musically recognisable elements on their head.

It is the year 2020, a year that addresses our awareness of diversity, tolerance and sustainability in an assorted, socio-cultural way. We translate this demand into music. “Nuthin’ But A She Thang” focuses on a marginalised view of instrumental beat music. This sampler, reflects a cross-section of the international female producer scene: 14 female artists, 8 countries, 4 continents, one language - music! The 14 instrumentals take the listener on a musical journey, which creates a tension between classic sample sound and modern current productions. The many facets of female beat producing are presented by exclusive contributions by Ainie (de) o Aygyul (at) o Courtney Hawkins (us) o Da Chick (pt) o Georgia Anne Muldrow (us) o Gnarly (uk) o Jillesque (us) o Josi Miller (de) o Julie Schatz (us) o Lisa Vazquez (us) o Sadiva (aus) o Saltyyyy V (de) o Sowall (kor) o Usagi (jp). Together with Stylefile as a cooperation-partner, we were able to persuade none other than Hera (de). She implanted an even more artistic approach and added an exclusive artprint to this piece of music. Our latest Release Ddct003 is in the end not only a musical project, it is a statement, it is an attitude.

Limited edition of just 100 (hand numbered) copies worldwide

Step into the world of "Sun City" by Duan Wasi, where jazzy summer vibes meet a playful chords and piano melodies, creating an atmosphere of pure relaxation and bliss.

The album title refers to a well-known graffiti piece by the french street artist Victor Ash from 1986, and musically ties in with the current discourse on how the modern polis of the future must be designed and constructed. As a living space, as a dynamic system, a creative center of an open society. Duan Wasi gives a musical suggestion for this idea.
The central metaphor here is the sun as the main element by evoking wide open spaces and room for light and carefree feelings, akin to lay back on jazzy summer vibes meeting playful chords and piano melodies, creating an atmosphere of pure relaxation and bliss.

Playful notes dance effortlessly, imbuing the composition with a delightful sense of joy and ease. Soft melody weaves on their way through the tracks, intertwining with subtle jazz elements, infusing the beat with a sophisticated and laid-back ambiance.

"Sun City" embraces the essence of a sun-soaked vibe, where worries melt away, and a lightness of being takes over. It paints a vivid sonic picture of welcomeness. It's an invitation to relish the easy way of life.

This one has been a long time coming but we are excited to finally bring you the debut album from Joe Cain ‘Biorhythms’ Joe has been making great music for years and is better known as being one of the founding members of the cult North London production team Armed Dukes, so you may already be well aware of his ‘Calibre’ of production. With three Armed Dukes albums under their belt (with Joe contributing a large portion of the material) and a handful of production credits, this is his first full length outing a solo artist and it more than lives up to expectations. Joe’s highly crafted and intricate beats sound effortless to the ear and his unique approach to the traditional ‘boom bap’ sound sets his music apart from the rest. Joe is a purist in his approach to production, shunning many modern techniques and making everything out of the box with hardwear samplers, out board gear, vinyl and instruments. The 20 tracks on the album really showcase Joe’s diverse production styles while at the same time not straying too far off track. A sure fire album for fans of Armed Dukes and the We Stay True imprint as a whole aswell as anyone that likes well crafted instrumental beats. ‘Biorhythms’ is fantastic addition to our growing discography and will be a welcome addition to your record collection.

Solo Gemini "Utwory Wybrane" (sprk003) is an amalgam of Polish cultural texts of the second half of the 20th century. Among the skilfully blended lo-fi rhythms of hip-hop, house and dub we can hear echoes of songs from the years 1960-1990, often accompanied by fragments of old radio recordings, concerts, films or literary texts (Baczyński's Drogi nocne in Droga Przez Las [Road Through the Woods], Gombrowicz's Ferdydurke in Pupa) and even a touch of memetic, quite contemporary classics (an embittered resident of a certain block on Marymoncka Street in Nie Ma Ciszy [There Is No Silence]). Solo Gemini set itself the ambitious task of combining all these source materials and transforming them into a completely new form - accessible, modern and functional. 'Utwory Wybrane' is a selection of dance sounds (Nie ma Ciszy, Majka), but also radio plays (Nigdy Więcej, Za Chwilę Dalszy Ciąg Programu). These are productions that can be successfully played in a club, but also allow you to sit comfortably in an armchair in front of your home HiFi. Additionally, Solo Gemini presents (just like on the paintings he paints) the whole gamut of emotions - from "the desire for joyful creation" from Wprowadzenie to "don't look for that time you might regret" from Droga Przez Las. Welcome to the world of Solo Gemini!

Radio Juicy presents “Garden of Eden”, a complete collection of all the essential singles we’ve released from 2020 and 2021. Previously, these singles were all only available via digital streaming, and with “Garden of Eden'' we brought them all together in an exclusive, cohesive experience. It’s available now streaming on all DSPs, for digital purchase on our website / Bandcamp, and as a limited physical pressing on white vinyl as a part of a double LP gatefold package, illustrated and designed by modern artist Sandro Rybak.

Garden of Eden brings together all of the artists that have been contributing to what we refer to as the new Radio Juicy sound, and the compilation marks a significant chapter in our musical adventure; one that’s as jazzy, electronic and organic, expanding from our lofi roots and replacing sample-based loops with extended original compositions.

This compilation will take you back over the last couple of years of Radio Juicy releases in style, where you can (re)experience the music as if it was new, while also giving you a chance to own all of the songs for your collection and further more with this incredible physical collector's edition.

As the album marks a completed chapter for Radio Juicy as a label, it is also the beginning, or “genesis”, of our next adventure, and this body of work lays the foundation of what’s to come next.

“A Safe Place to Be Naked” is S.Fidelity’s debut album, which will be released on May 5th via Jakarta Records. It features 12 tracks, capturing the producer’s quest for a fresh sound, which he elaborated over the last two years, locked in his tiny basement studio in Berlin. Evolving from there the he has also released an EP with Feelin Music in 2014, and “Sidekicks”, a joint project with long-term friend and collaborator Bluestaeb in 2016.
By working with artists like Tru Thoughts singer Harleighblu and label mate JuJu Rogers as well as fellow producers Bluestaeb and Shuffle Jack, his LP “A Safe Place to Be Naked” plays with sampled vocals and even his own voice – often distorted, but still present.
S. Fidelity was born in St. Gallen, Switzerland, mainly works in Berlin and currently resides in London. As a producer he developed a unique and always driving sound, combining sampling techniques and classic beat making with unusual drum patterns, modern synth and atmospheric sound effects. S. Fidelity’s laid-back eclecticism is marked by a deep knowledge and fascination for Pop culture as a whole. His idea of fresh HipHop references to various genres, including Jazz, Ambient, Disco and Electronica.
The LP contains an A2 poster & metall sticker.

Austin Boogie Crew had to do something special for our first vinyl release of 2019, and with that we present H1NDS1GHT , a killer double 7” modern funk EP by the one and only XL Middleton! Hailing from Pasadena, California, XL has established himself as one of the premiere musicians, label owners (MoFunk Records), and tastemakers in the game. Using outstanding and mostly unreleased material from his archives as the foundation for this project (hence the name H1NDS1GHT), XL reimagined these songs and penned fresh lyrics specifically for the release. We divided the EP into two 45s, each with its own distinct vibe, and with the help of illustrator Austin Cashell and designer Rene Cardenas, created a unique album jacket that forms one image when the two records are held side by side. Viewed as a whole, this EP is an exceptional ride that will carry you from spring into summer!

Vol. 2 A: “Gamin’” (120 BPM) - Broken beat inspired drums and soaring chords lay the groundwork for this exceptional jam about approaching a woman with respect and care. With a sick solo and some vocoder peppered into the mix, this is a winner in more ways than one.

B: “Enjoyable Sunburn” (116 BPM) - XL crafts a playful yet smooth instrumental that would sound at home in an Outrun video game or on the Beverly Hills Cop soundtrack. But it isn’t just the nostalgia factor that will keep you coming back to this one, it’s the compositional finesse, amazing synth sounds, and heart.

Cassiopeia is a constellation in the northern sky. It was one of the 48 constellations listed by the 2nd century Greek astronomer Ptolemy and it remains one of the 88 modern constellations today. In the sky Cassiopeia sits with Andromeda on the South side. In Greek mythology it was considered to represent the vain queen Cassiopeia, who boasted about her unrivalled beauty.
This album is a mix between different sides of the concept of “Cassiopeia”. It’s about life, the universe, humans and the future. Cassiopeia includes musical approaches comparable to Prefuse 73, Robot Koch and Kryptic Minds. The record is predominantly Hip Hop, but features tracks with other artists that are not strictly part of this genre such as BekBekson, Verhovski and Fancy Mike. Pavel’s music is a trip into a fable and his medium is the music of different genres: Hip Hop, Dubstep, Glitch, Wonky and Downbeat, used to form pictures. His work is free spirited and there are hints of feelings, allusions, enigma and mystery. We won’t get into the inner workings of his music, how it finds its way into the hearts and souls of the audience, the important thing is that it serves its purpose. Tracks such as “LA” or “Andromeda” are very personal statements from Pavel, “Quant Magic” is composed using Overtone, Didgeridoo, Boomerang, Yedaki and other Australian instruments. “Sacred Chants Of Shiva” seizes the listener with a sensation of restlessness.
Pavel Dovgal’s “Cassiopeia”, the incision between intergalactic music and the human soul. The same formula that has been present for over a thousand years.

Cassiopeia is a constellation in the northern sky. It was one of the 48 constellations listed by the 2nd century Greek astronomer Ptolemy and it remains one of the 88 modern constellations today. In the sky Cassiopeia sits with Andromeda on the South side. In Greek mythology it was considered to represent the vain queen Cassiopeia, who boasted about her unrivalled beauty.
This album is a mix between different sides of the concept of “Cassiopeia”. It’s about life, the universe, humans and the future. Cassiopeia includes musical approaches comparable to Prefuse 73, Robot Koch and Kryptic Minds. The record is predominantly Hip Hop, but features tracks with other artists that are not strictly part of this genre such as BekBekson, Verhovski and Fancy Mike. Pavel’s music is a trip into a fable and his medium is the music of different genres: Hip Hop, Dubstep, Glitch, Wonky and Downbeat, used to form pictures. His work is free spirited and there are hints of feelings, allusions, enigma and mystery. We won’t get into the inner workings of his music, how it finds its way into the hearts and souls of the audience, the important thing is that it serves its purpose. Tracks such as “LA” or “Andromeda” are very personal statements from Pavel, “Quant Magic” is composed using Overtone, Didgeridoo, Boomerang, Yedaki and other Australian instruments. “Sacred Chants Of Shiva” seizes the listener with a sensation of restlessness.
Pavel Dovgal’s “Cassiopeia”, the incision between intergalactic music and the human soul. The same formula that has been present for over a thousand years.

Cover with a seam split at the upper edge.
Record is slightly warped but still enjoyable.

B-Side is one of the cornerstones of the german Instrumental-beats scene and has been here for a minute. His unique approach for cutting and programming drums made him well known and gave his music a very distinct touch. His last LP came out three years ago and since then he released a number of collaborations with other international producers, rappers and singers. But now it’s time to show the world his interpretation of modern Instrumental-beats. Of course is he a man of the classic retro jazzsound but his record „Inner Life“ is pushing boundaries to the next level. Rhythmical Trap patterns clash with head nodding Boom-Bap vibes. B-Side really took his time. Three years of constant work on the right sound for this album did certainly pay off. This Record takes you on a journey that is not your average sleepy sound. It is hypnotizing and straight up futuristic, both sonically- and productionwise. It just sounds grown up, but in a good way.

He gathered a bunch of his friends for some partial collaborations. Devaloop, Tesk, OG Nuage, Ødyssee and Flitz&Suppe are really contributing to the whole picture of „Inner Life“.

While the world is busy chasing the right sound for playlists, B-Side made an album that will stand the test of time. Purely good music by an artist that is passionate about his art. He mixed and mastered every single track and also took care of the complete artwork himself with photos shot by Flitz&Suppe. Inner Life is released on The Breed's WE RUN This Records.

Traditionally the liner notes of an album take on a kind of third-party address, where a writer is delivering their thoughts about how an album makes them feel without breaching that space where they are representing themselves or the moment in time directly to the reader. The goal is typically a kind of timelessness, but as we live in unprecedented times, unconventional methods take on new life, and hopefully importance. In the spirit of that idea... man, is this the kind of album we all need right now. So many of us feel like we're constantly walking a tightrope, are feeling like we can't unwind, are in genuine need of a few moments of respite. Every so often an album emerges from an artist that most likely did not realize when they were composing how timely the results would be, and Lofi Dimensions is exactly that kind of record. It doesn't really matter why it's coming when it is, what's important is that it's here, offering peace to the perturbed and inspiration for the downcast. The American Dollar have long been one of those artists operating in a kind of middle ground, a band with a long history of creating moving instrumental rock that has somehow avoided ever becoming synonymous with modern American post-rock acts. They retain a sort of autonomy in a valued position just outside the boundaries of classification. Blending electronic textures with moving guitar and keyboard melodies, their music has always traveled somewhere in the spaces between trip-hop, electronic, post-rock and ambient, and this inability to be defined is ultimately what sets them apart from the trappings of genre, allowing them to be whatever they want The American Dollar to be in a given moment, always on their terms.

It's not officially Fall until Chillhop Music releases Essentials Fall.

Providing a fresh new soundtrack for the chilled months ahead, Essentials Fall is a 28 song 2xLP project. Featuring plenty of familiar names like Aso, Blue Wednesday, Ian Ewing, Philanthrope, SwuM, Chris Mazuera, Birocratic, Psalm Trees, Leavv, Nokiaa, as well as new trio Enough Cereals (check out their debut project with Chilhop, if you haven't already). This release confirms a new season is upon us, so spin this one well into winter, as well as the many autumns to come.

Whether you're taking a stroll through nature or reading by the fire. Whether you're enjoying some coffee or baking a pie. Whether you're meditating or picnicking or studying or stargazing. Whatever it is that highlights your life, we hope you enjoy Chillhop Music's newest compilation as a backdrop. One to blast as you put on your hoodie and cozy up for the season.

For those keeping count, this is our 35th (!!!) Essentials release. Maybe we'll do something special when we hit 40. We started this special compilation series back in 2016 with a release for every season of the year. Providing a fresh spin on the artwork every time, each calendar year presents a cohesive world-building storytelling mode and narrative arc. For 2024, our Raccoon returned to the countryside where they grew up and has spent the year catching up with family, reconnecting with old friends, taking plenty of naps, and reflecting on childhood. A time that was so long ago yet feels just like yesterday. As a result, Essentials Fall 2024 is nostalgic and steadily reminiscing on the past while also enjoying the present and all of the exciting things to come in the future.

These are the tales that I tell so well. It was the best of times, it was the worst of times, the duality that lies within all of us. 7apes is captured in a society that won’t allow him to focus, one that is saturated with trials and tribulations. Bound to the structures of modern day madness, he’s forced to compromise over and over again. Fit in. Assimilate. Obey the conventions. Until now. These right here are the “Tales of Two Cities”, the catharsis of one human’s boundless love of music. The outpouring of creativity, fed by talent, intellectual freedom and exchange of knowledge. Urban Jazz sprung from classic Hip-Hop roots. The organic, the Neo, the Nu.

Salomon Appiah, better known by his stage name 7apes, has come a long way, from playing in heavy metal & rock bands during his countryside teens and full on pop compositions as an upcoming producer to being the jack of all trades in each and every session he joins in the Berlin studio landscape and beyond.

For 'Tales of Two Cities', 7apes has worked with like minded musical libertines Joha, Packed Rich, Quinte, the intern, DJ Werd, Dead Rabbit and vocalist extraordinaire Kromanteng. Each song is a jam of its own and yet, part of an entity. One that was built on solid ground. One that was built together. The Yin und Yang bleed through the music subconsciously. Subtle references to classics from Funk & Soul, Afrobeat and Reggae equilibrate the unknown. Samples and additional instrumentation merge seamlessly with one another. Freed from musical boundaries and full of creative experimentation, 7apes has created a cosmos of music that is speaking his musical mind, letting go of the outside world, zooming in on the sole beauty of sound.

Bay Area beatmaker Nu Vintage has signed on with Cold Busted to transmit Vibrations In Color, a 14-track album displaying the many moods and hues of this multifaceted producer. Nu Vintage is known for his many Bandcamp digital 'beat tapes' as well as releases on Inner Ocean and Dezi-Belle Records. He builds on these past accomplishments to construct the new album, expanding the shades from his heady rhythm-jazz palette to new dynamic points in the spectrum. Vibrations In Color sonically glistens with a muted neon glow to accompany a slow midnight cruise through the naked city. "Good Company" encapsulates the nature of Nu Vintage, with dusty beats, melodic piano chimes, and the interplay between vibraphone, organ, and distant strings all making the case. The feel is warmly nostalgic as, faintly underneath the music, one hears what sounds like kids playing on a summer day. The song title "Gratitude Is Key" might give a clue to Nu Vintage's mindset, and bright, echoey vibes tingle alongside flute riffs and guitar hits for maximum listening satisfaction. Nu Vintage also enlists a couple of friends, including Emapea, who co-produces the vintage jazz timewarp tune "Horizons." This one's the sound of fusing a smokey jazz joint of yesterday with a modern beathead lounge. And multi-instrumentalist Pat Van Dyke returns to Nu Vintage's side for a spacey but uplifting jaunt called "Tap In." Sweetly pulsating Fender Rhodes piano and funk guitar join the vibraphone and organ sounds that epitomize the album, while tight drums and an uplifting bass line toughen the action. Those are just a few of the highlights found on Nu Vintage's Vibrations In Color — saturate yourself in all these colors and feel the vibrations within.

German Lofi Icons Wun Two and Made in M Unveil Collaborative Album "Sole Spirito"

Renowned for their distinctive contributions to the global lofi beat scene, Wun Two and Made in M, two of Germany’s most delicate producers, announce their collaborative album, "Sole Spirito," set to release on June 28th, 2024.

With careers spanning over a decade, both Wun Two and Made in M have left an indelible mark on the genre, pioneering its raw yet chill aesthetic. Wun Two, known for his signature lofi instrumental hip hop, has recently showcased his versatility through collaborations with acclaimed rappers such as Conway the Machine, Da Flyy Hooligan and Ben Beal and similarly Made in M who has garnered acclaim for his latest lofi house project, Flux LP, showcasing his prowess in creating genre crossing productions.

"Sole Spirito" marks the first full-length collaborative effort between the two producers, who have been long-time friends and mutual admirers of each other's work. The album, comprising 18 tracks, was largely conceived during a songwriting producer camp in southern France in late summer 2023. It was there that they also crossed paths with L.A.-based rapper Yungmorpheus, who features on two of the album's tracks.

With a lot of nostalgic charm of 70s Italo wave, "Sole Spirito" transports listeners to an era of Italian cinema characterized by lush lifestyles, eroticism and vintage nostalgia.

Stay ready for the release of "Sole Spirito" on limited vinyl edition and streaming on June 28th, 2024.

Camminami sulla spina dorsale, divorami come raggi di sole, sei balsamo per il mio spirito in quei notti insonni e pieni di ricordi. Non potrò mai non sentire la tua mancanza. Ricordo sempre tutto.

Special limited edition with a vinyl postcard with an exclusive song only on this postcard (playable on a record player!) - 200 copies.

Renowned for their distinctive contributions to the global lofi beat scene, Wun Two and Made in M, two of Germany’s most delicate producers, announce their collaborative album, "Sole Spirito," set to release on June 28th, 2024.

With careers spanning over a decade, both Wun Two and Made in M have left an indelible mark on the genre, pioneering its raw yet chill aesthetic.
Wun Two, known for his signature lofi instrumental hip hop, has recently showcased his versatility through collaborations with acclaimed rappers such as Conway the Machine, Da Flyy Hooligan and Ben Beal and similarly Made in M who has garnered acclaim for his latest lofi house project, Flux LP, showcasing his prowess in creating genre crossing productions.

"Sole Spirito" marks the first full-length collaborative effort between the two producers, who have been long-time friends and mutual admirers of each other's work. The album, comprising 18 tracks, was largely conceived during a songwriting producer camp in southern France in late summer 2023. It was there that they also crossed paths with L.A.-based rapper Yungmorpheus, who features on two of the album's tracks.

With a lot of nostalgic charm of 70s Italo wave, "Sole Spirito" transports listeners to an era of Italian cinema characterized by lush lifestyles, eroticism and vintage nostalgia.

Corner Bump

It's not officially Fall until Chillhop Music releases Essentials Fall.

Providing a fresh new soundtrack for the chilled months ahead, Essentials Fall is a 28 song 2xLP project. Featuring plenty of familiar names like Aso, Blue Wednesday, Ian Ewing, Philanthrope, SwuM, Chris Mazuera, Birocratic, Psalm Trees, Leavv, Nokiaa, as well as new trio Enough Cereals (check out their debut project with Chilhop, if you haven't already). This release confirms a new season is upon us, so spin this one well into winter, as well as the many autumns to come.

Whether you're taking a stroll through nature or reading by the fire. Whether you're enjoying some coffee or baking a pie. Whether you're meditating or picnicking or studying or stargazing. Whatever it is that highlights your life, we hope you enjoy Chillhop Music's newest compilation as a backdrop. One to blast as you put on your hoodie and cozy up for the season.

For those keeping count, this is our 35th (!!!) Essentials release. Maybe we'll do something special when we hit 40. We started this special compilation series back in 2016 with a release for every season of the year. Providing a fresh spin on the artwork every time, each calendar year presents a cohesive world-building storytelling mode and narrative arc. For 2024, our Raccoon returned to the countryside where they grew up and has spent the year catching up with family, reconnecting with old friends, taking plenty of naps, and reflecting on childhood. A time that was so long ago yet feels just like yesterday. As a result, Essentials Fall 2024 is nostalgic and steadily reminiscing on the past while also enjoying the present and all of the exciting things to come in the future.

As time moves forward, it becomes increasingly clear that the need for emotional expression through artistry is more important than ever, especially in the wake of emerging AI technology that threatens to replace human creativity. Minus & MRDolly's new album, "Giant Stops," is a testament to the enduring power of art to connect with audiences on a deep emotional level. Named in direct reference to arguably one of the greatest albums ever created, "Giant Steps" by John Coltrane, "Giant Stops" pays homage to the rich legacy of jazz while pushing the boundaries of the genre with a contemporary twist. The album seamlessly blends jazz, hip-hop, and electronic elements to create a unique sonic landscape that is both nostalgic and modern. For Minus & MRDolly, "Giant Stops" represents a new chapter in his evolution as a musician, showcasing his growth and commitment to pushing boundaries in his genre-bending style. Taking inspiration from the creative process of Makaya McCraven, the album features dynamic instrumentals backed by a live band, with Minus & MRDolly's signature lyricism and storytelling shining through both the instrumentals and the lended work of guest musician such as Meta_ or Luca Argel. By using this production method the album takes a bold stand for the importance of sampling as an art form hoping to encourage listeners to appreciate the rich history and evolution of hip hop and to recognize the essential role that sampling has played in shaping the genre. As a nod to his Portuguese roots, "Giant Stops" represents a deeper exploration of the artist's identity and a commitment to looking inward to find creative inspiration. With this album, Minus & MRDolly hopes to inspire others to embrace their own unique perspectives and use them to create art that connects with audiences on a deeply emotional level. In a world where technology threatens to replace human creativity, "Giant Stops" is a reminder that the power of art to connect with people on a fundamental level is enduring and will continue to shape our world for generations to come.

From its opening notes ‘You, Me, Temporary’ announces itself as music from the soul reaching for the soul. The album recounts a modern day love story through the musical eyes of its protagonist, Sweatson Klank. It’s a story of love in the fast lane that touches on the good – innocence, romance, lust, sex – and the bad – drugs, debauchery, loss of self, despair – before closing with the peaceful beauty that comes with total acceptance of what is. ‘You, Me, Temporary’ is Sweatson Klank’s third full-length album in 10 years, and it shows just how extensive the Los Angeles native’s artistic growth has been. The music tight ropes between electronic, hip hop and futuristic R&B, sidestepping obvious boxes while finding its own effortlessly. ‘You, Me, Temporary’ transcends genres, balancing the vulnerable and sensual with the rough and jagged. The album has an emotive and sometimes pressing quality, in direct opposition to today’s disposable music mania. The hypnotic interplay of chords, melodies and rhythms draws you in and is equally effective in headphones as it is on the dancefloor. The warmth of analogue equipment flirts with expert sampling and chops that evoke the playful soul of ‘90s R&B and the heartfelt angst of classic hip hop while remaining forward thinking.

A wide cast of vocal guests help recount the different tales and stages of this story: Vikter Duplaix, Ango, Selfsays, Doc Illingsworth, Deniro Farrar, Anna Wise of Sonny Moon and Pat Parra. Upbeat and energetic songs sit next to hypnotic ballads, the sort most conducive to ‘baby making’ you might even say. The music is often elating, sexy and at times dreamy but also progresses to show melancholy and despondency in the sincerest way. Sometimes playful, sometimes serious the vocal tracks add a human dimension to the story that ‘You, Me, Temporary’ tells, completing its message and taking the album to that proverbial next level.

With this third album Sweatson Klank puts aside self-indulgence for simple honesty and the maturity that only comes with being a seasoned artist. ‘You, Me, Temporary’ tells a timeless story in a compelling way, and while its title hints at the trials and tribulations behind relationships, the overt concept lies in the impermanence of everything around us.

This spring, acclaimed abstract hip-hop producer and cofounder of Anticon Records, Odd Nosdam, will release MIRRORS - a new LP via Alien Transistor. Composed entirely of found sounds, most of them sourced from rare and private press vinyl, MIRRORS’s instrumental beats and sound collages pulse with a sense of exploration and rediscovery that has been Nosdam’s calling card since the turn of this past century. Its every track presents a treasure trove of unique aural gems, each nestled in atmospheric textures that swirl like a cloud of dust just blown off of some once-overlooked heirloom.

Designed specifically for vinyl, the record’s A and B sides play out like a pair of cohesive psychedelic dreams. Yet even a skilled psychoanalyst would struggle to categorize these reveries as either pure seraphic bliss or full-on nightmare. By sneaking strategic bursts of beauty into MIRROR’s more sinister beats (“MIRRORS I”) and by lacing its largely angelic compositions with foreboding tones (“THE BURN”), Odd Nosdam has crafted a record that is not only engrossingly nuanced, but that captures a highly specified, often hypnogogic, mental state with breathtaking accuracy: cognitive dissonance.

The sensation of experiencing an emotion that runs in direct opposition to one’s circumstantial narrative - a sense of melancholy when things are ostensibly fine, a smile as the world seems to crumble - may once have been predominately the stuff of dreams. But in our current age of ebullient social media fac¸ades, and at a sociopolitical moment when joy feels like an aberrant blip in an up-scrolling sea of horror, MIRRORS provides an unsettlingly apt soundtrack to the waking experience of the modern era.

Oneric interpretations aside, at its core MIRRORS is simply a stunning and dynamic beat tape. As he has for two decades - whether in crafting instrumentals for avant-rap legends cLOUDDEAD and art-rapper Serengeti, soundtracking skate videos for Element Skateboards, or adding to his prolific catalog of solo recordings - Odd Nosdam uses his special knack for marrying monolithic, lumbering drum arrangements with novel melodic flourishes to create a breed of experimental hip-hop music entirely his own. An evocative record that seamlessly blends transcendence with menace, MIRRORS is a captivating addition to the producer’s body of work and one that will continue to leave listeners awed by his creativity, versatility, and his singular vision.

Project: Mooncircle & Finest Ego have teamed up to establish a fresh new 12” producer series, entitled “Faces”. On every edition, you will find two different producers. Respectively, each producer will have their own record-side and unique cover artwork by the aspiring Bioniq, known for his surrealistic portraits, blending humans and technology.

On our fourth “Faces” edition we are featuring the two ascending artists Lomovolokno and Sieren, presumably the two most unknown so far. Originally hailing from Krasnodar, Russia and Bielefeld, Germany, one was inspired by naive childhood memories of imaginative creatures seen floating in the nighttime sky, while the other looks into an uncertain future that holds the anxiety of a fresh start but also the ever present risk of failure. The artwork takes these motifs and implements them in a vision of technological enhancements of human capacities and evolvement, forming a futuristic symbiosis that enables for synaesthetic senses heightened to an subatomic degree. But it is unsure, however, if these augmentations can actually expand our human experience or rather amplify our solitary existence and emotional void while traveling across fantastic worlds and the universal vacuum filling the space between.

Krasnodar, Russia: In the midst of grey soviet housing projects, a young boy enjoys playing and improvising his first little melodies on his parents piano. Always being inspired by the nature nearby the city - memories of peaceful springtime swimming sessions in the Black Sea come to mind – Lomovolokno grows up fascinated by machinery like samplers and the rapidly increasing possibilities of modern computers. Delving deeply into twisting melodies, building sounds and crossing notes leads his way to first field recordings resulting in an influx of elements ranging from waves of the sea, the wind, sand, crackling noises, banging and rustling becoming a part of his sound.

Sieren is the maiden name of Matthias Frick’s mother and also his current alias under which he started to release his first free tracks in 2011. Rumor has it that he has a dark secret history of producing experimental techno, albeit his love for UK influenced bass music existed for more than one handful of years. It was not until recently that he began to make the most of his love for field recording and experimental soundscaping and is now throwing his full force into music, while simultaneously finishing a university degree in computer science and design before moving from small town to métropole to follow a new set of challenges and advance to the next stage of his life.

Bioniq is an artwork designer, DJ and producer from St. Petersburg in cold Russia and Project: Mooncircle's special KGB agent. With his drawings he aims to create new horizons on paper and draws inspiration from historic tales, events of the present age but also possibilities the future might hold.

This is the first Vinyl LP ever released featuring a woman playing the Rudra Veena. Madhuvanti Pal is from Kolkata, teaches the Rudra Veena and builds her own instruments. Dhrupad is the oldest form of North Indian classical music that is still performed today. The term is said to come from two Sanskrit roots, dhruva (‘fixed’ or ‘permanent’) and pad (‘verse’). Although the earliest source naming dhrupad specifically comes from Abdul Fazl in the 16th century, some scholars of Hindustani music suggest that dhrupad music finds its origin in the Samaveda, an ancient Sanskrit scripture dating back roughly 3000 years. The name rudra veena derives from two Sanskrit roots: Rudra, which is a name for Shiva, and veena, which means ‘instrument.’ According to Hindu mythology, the Rudra Veena has a unique origin. It is said that Shiva saw his beautiful wife Parvati sleeping, with her arm over her breasts, and decided to build an instrument in her form. It is a stick zither, with two large gourds attached to a hollowed neck. The first historical accounts of the instrument are given in the Vedas, and then the Puranas. The first courtly descriptions are from the 15th to 17th centuries. During the Mughal period, the rudra veena was a popular Dhrupad instrument, and was often played in courts throughout north India. Dhrupad musicians, including rudra veena artists, enjoyed the patronage of various Kings and Princes. In recent years the rudra veena has gained some popularity, in part thanks to interest from musicians outside of India. Madhuvanti Pal is one of the new generation of rudra veena artists who is teaching students in India and abroad. Early documentation of the rudra veena suggests that women played the instrument. This can be seen in sculptures in Hindu temples—some dating back more than 2000 years—which depict only women playing the rudra veena, and miniature paintings from the 15th - 17th centuries often depict a woman playing the rudra veena. However, in more recent times there has been significant stigma around women playing the instrument. Some earlier texts went as far as to suggest that women could not play the instrument, lest they be subject to a “curse.” Jyoti Hegde, who is perhaps the most famous female rudra veena artist, broke this barrier; her courage enabled younger musicians like Madhuvanti Pal to learn. However, while Jyoti Hegde plays the so-called traditional rudra veena, Madhuvanti plays a modified Dagar-style instrument. Very few recordings of the rudra veena have been released; most current recordings are of Ustad Asad Ali Khan, Ustad Zia Mohiuddin Dagar and his son, Bahauddin Dagar. This is for a number of reasons, including that the rudra veena is notoriously difficult to capture in recorded form. Instead of traveling to a studio and availing technicians more accustomed to modern instrument needs, these recordings have been made in Madhuvanti’s apartment. In preparing the album, she has used her own equipment to record, mix, and master each raga. (Limited Edition Double LP spanning over 90 minutes in length, full-color Gatefold with extensive liner notes inside.)

Dressed in a powder blue suit with the frilly shirt to match, DJ Yoda invites you to be his +1 for ‘Prom Nite’, his new album promising retro Americana full of daydreaming reverie, international megastar guests, trip hop acknowledging the likes of Morcheeba and Nightmares on Wax, and the turntable extraordinaire’s bread and butter of cuts, beats and rhymes. Certainly no stranger to retro sounds having famously peppered his DJ and AV sets with the unexpected the world over, and his ‘How to Cut n Paste’ mix series going all the way back to the 30s, Yoda’s harp-laden puppy love vibe spreads from the sweet and mellow sound of 2019’s ‘Home Cooking’, an album described as ‘boundary-breaking’ by Mojo upon slotting nicely into the UK’s blooming jazz canon. Think deliciously harmonised doo-wop murmuring ‘Goodnight Sweetheart’ with an eye for dreamboats en route to Makeout Point – on ‘My Energy’, Eva Lazarus takes the form of an earth angel, with Yoda on jukebox cut-ups, taking it back to starry-eyed, clean cut days of wonder (or more recently, Little Mix’s ‘Love Me Like You’). Beginning enigmatically with the assistance of Hollywood A-lister (and former next-door neighbour) Lily James, ‘Breathe’ demonstrate Yoda’s continued evolution as a musician (not to mention shrewd decision maker), with James’ vocal confidence - a little Lana del Rey to her breathiness - returning on the velvet-smooth ‘Airplane Mode’. It’s a smartly executed soundclash accentuated by LA rapper Choosey, the star of the album’s straightest hip-hop shooter ‘Harder I Rock’. Homeboy Sandman adds some kick to the prom punch with typical wordplay sent down ‘Coconut Grove’, and Liam Bailey i s perfectly cast for the darkly cinematic sway of ‘Don’t Even Try It’. On an album of many talking points, the LP’s crowning glory is opening single ‘Feel Like Home’: featuring the vocal comforts of the House Gospel Choir, it’s your go–to pick-me-up when the chips are down, targeting the hairs on the backs of necks like a softer focus version of Jamie xx’s ‘Loud Places’. Extended into an alternative, equally uplifting form by Beardyman’s ‘Don’t Mean Thing’, summer festival season already has its homecoming anthem. With tongues wagging, the twists and turns step away from Heartbreak Ridge when O Love tucks into the mouthwatering shopping list funk of ‘Way Home’; and ‘Lesson 1956’, featuring Jamie Cullum and DJ Woody, jauntily pays homage to classic Cut Chemist alchemy, Yoda’s celebrated turntable tomfoolery back in full effect and extending the flavours found in ‘Home Cooking’. Again maximising the experience and enjoyment gained from recording live instruments and prioritising songs over beats, Yoda continues to progress with a mixture of risk-taking, elite musicianship, nostalgia brought bang up to date, and ultimately, good clean fun capable of stirring your soul, making ‘Prom Nite’ a date to remember. Magpie artwork supplied by London’s Endless, whose signature style has tagged Liberty and Lagerfeld as but two high profile clients, Yoda again maximises the experience and enjoyment gained from recording live instruments and prioritising songs over beats. His continued progress mixes risk-taking, elite musicianship, nostalgia brought bang up to date, and ultimately, good clean fun capable of stirring your soul, making ‘Prom Nite’ a date to remember.