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Following on from last year’s acclaimed Vrindavan 1982 by rudra veena master Z.M. Dagar, Black Truffle is thrilled to present a pair of archival releases from the Dagar Brothers, among the most revered 20th century exponents of the ancient North Indian dhrupad tradition. The vocal duo of Moinuddin and Aminuddin Dagar (sometimes referred to as the ‘senior’ Dagar Brothers to distinguish them from their younger siblings, Zahiruddin and Faiyazuddin Dagar), belonged to the nineteenth generation of a family of musicians in which dhrupad tradition has been kept alive through patrilinear transmission, each generation undergoing a rigorous education of many years’ duration that can include singing up to twelve hours each day.

Famed for the meditative purity of their approach to dhrupad, the Dagar Brothers helped to keep the tradition alive in the years after Indian independence in 1947, when the royal courts that had traditionally patronised dhrupad musicians were abolished. Many Western listeners were first introduced to dhrupad by the Dagar Brothers’ tour of Europe in 1964-65 and their LP in UNESCO’s ‘Musical Anthology of the Orient’ collection, both organised by pioneering musicologist and scholar of Indian culture Alain Daniélou. Documents from this tour are especially precious, as Moinuddin Dagar passed away in 1966. Unheard until now, Berlin 1964 – Live (released alongside BT114, a newly discovered studio session from the same trip) documents a concert held at the Charlottenburg Palace in September 1964.

Accompanied only by Moinuddin’s wife Saiyur on tanpura and Raja Chatrapati Singh on pakhawaj (a large double-headed drum), the brothers present stunning performances of two ragas stretching out over 65 minutes, exemplifying what a journalist at the time called the ‘pristine severity’ of their style. Much of each piece is taken up by the alap, the highly improvised exposition section where the notes of the raga are gradually introduced as the singing builds in intensity. As Francesca Cassio points out in her extensive liner notes, both performances are somewhat unorthodox in beginning with the raga scale being sung in its entirety, ascending and descending; this is probably, as she suggests, a strategy to introduce the European audience to the language of the music they are about to hear. From there, both ragas settle into alaps of breathtaking beauty, with the two brothers trading long solo passages that move gradually from extended held notes at the bottom of the scale to animated melodic variations as it ascends in pitch. Within the atmosphere of meditative attention, the range of melodic, rhythmic, and timbral invention is remarkable. Especially on the opening ‘Rāga Miyān kī Todī’, the final moments of the alap find the voices at a peak of intensity, their microtonal ornamentation taking on an ecstatic, warbling quality. Only once the wordless, free-floating alap is over and the composition proper begins to the brothers sing in unison, joined by the pakhawaj for a rhythmic section that in both ragas develops gradually into a propulsive display of melodic invention and metrical nuance. Accompanied by detailed liner notes and striking archival images, Berlin 1964 – Live is a rare document of these masterful exponents of one of the world’s most profound musical traditions. 

Following on from last year’s acclaimed Vrindavan 1982 by rudra veena master Z.M. Dagar, Black Truffle is thrilled to present a pair of archival releases from the Dagar Brothers, among the most revered 20th century exponents of the ancient North Indian dhrupad tradition. The vocal duo of Moinuddin and Aminuddin Dagar (sometimes referred to as the ‘senior’ Dagar Brothers to distinguish them from their younger siblings, Zahiruddin and Faiyazuddin Dagar), belonged to the nineteenth generation of a family of musicians in which dhrupad tradition has been kept alive through patrilinear transmission, each generation undergoing a rigorous education of many years’ duration that can include singing up to twelve hours each day. Famed for the meditative purity of their approach to dhrupad, the Dagar Brothers helped to keep the tradition alive in the years after Indian independence in 1947, when the royal courts that had traditionally patronised dhrupad musicians were abolished. Many Western listeners were first introduced to dhrupad by the Dagar Brothers’ tour of Europe in 1964-65 and their LP in UNESCO’s ‘Musical Anthology of the Orient’ collection, both organised by pioneering musicologist and scholar of Indian culture Alain Daniélou. Documents from this tour are especially precious, as Moinuddin Dagar passed away in 1966. Berlin 1964 – The Lost Studio Recording (released alongside BT115, a newly discovered concert recording from the same trip) presents two unheard side-long performances in crystalline fidelity, recorded at the International Institute for Comparative Studies and Documentation in Berlin headed by Alain Daniélou. These stunning recordings were consigned to the archive because, as Peter Pannke explains in his liner notes, which recount his meeting with Danielou many years after these recordings were made, the tape ran out during ‘Raga Jaijaivanti’, which terminates abruptly soon after the entry of the pakhawaj. Accompanied only by Moinuddin’s wife Saiyur on tanpura and Raja Chatrapati Singh on pakhawaj (a large double-headed drum), the brothers present stunning performances of the severe, serious midnight ‘Raga Malkauns’, set to a ten beat cycle once the pakhawaj enters, and the complex early evening ‘Raga Jaijaivanti’, set to a fourteen beat cycle in its rhythmic section. True to the traditional dhrupad structure, both performances are dominated by the long free-floating alap section, where the notes of the raga are gradually introduced, slowly climbing in pitch and intensity as the two singers trade improvisations that display a stunning range of vocal tones and remarkable subtlety in mictrotonal nuance. The performance of ‘Raga Malkauns’ is divided roughly in half, with the pakhawaj and unison singing entering around thirteen minutes through; Raja Chatrapati Singh’s performance is particularly striking in its endlessly inventive metrical nuance within the overall crescendo and acceleration. On ‘Raga Jaijaivanti’, the alap lasts almost twenty minutes, with Singh joining only for a few minutes of sparse pakhawaj hits before the tape cuts off, the absence of the more active concluding section serving only to magnify the mystical calm the Dagar Brothers establish in this setting of a 16th century love poem. Illustrated with a striking full colour concert photograph, Berlin 1964 – The Lost Studio Recording is accompanied by extensive liner notes by Peter Pannke celebrating musicologist Alain Daniélou, whose study, documentation and promotion of dhrupad was so important for spreading awareness of this great musical tradition, ready to be discovered anew in this stunning recording from two of its master exponents.

The album includes the excellent track "Rasta Forever," which explodes with hypnotic and blissful dub techno sounds accompanied by powerful narration by Horace Andy.

A refracted audiobook soundtracking the bathing culture of the Ottoman Baths in Budapest, cut-up from Dalia Neis’ metaphysical thriller ‘The Swarm’ ( The Elephants Press, 2023). theelephants.net/ephemera/the-swarm This is the fourth iteration of their Trans-Danubian odyssey, beginning in Dali Muru & The Polyphonic Swarm’s LP, before drifting into book form, radio show, and now audiobook. This audiobook is an updated, revised version of the original NTS show broadcasted in January 2022.

This is the only album by Darris Carr, the legendary project of Japan's Mick Kahn and Bauhaus' Peter Murphy, which was released in 1984. The album contains seven songs, including the single "The Judgement Is The Mirror", which was recorded on Captain Beefheart's classic album "Trout Mask Replica". The band borrowed its name from a song on Captain Beefheart's classic album "Trout Mask Replica," and the artwork, which features a portion of Maxfield Parrish's famous painting "Dawn," was selected as one of FACT magazine's 20 best goth albums. For this RSD release, the album will be reissued on a limited-edition magenta vinyl with the latest remastering from the original analog tapes.

Balearic boogie to deep house fans will be mesmerized by this superb bedroom chillout music! From the Spanish deep house label Saft comes Dam-Funk, a very popular modern funk project. Into midnight low tracks that will strike a chord with fans of PPU, Omega Supreme and Second Circle!

Damião Experiença's surreal, self-released run of LPs are among Brazil's most bizarre subcultural treasures, a blown-out mix of psychedelia, freak folk, prog and reggae that defies convention at every loose beat. 'Planeta Lamma' attempts to condense the output for curious beginners, cherrypicking crucial moments from the Brazilian legend's vast catalog. Mindboggling gear. Self-taught outsider Damião Ferreira da Cruz, aka Damião Experiença, is considered to be the Brazilian answer to Captain Beefheart, Daniel Johnston, Jandek or Moondog, a wildly inventive fringe hybridist whose dadaist, semi-improvised songs - often sung in his own invented dialect - have found him a dedicated cult following. Famously press-shy and irritable, Damião was born in Bahia, escaping as a pre-teen to Rio de Janeiro, where he joined the Brazilian navy. Legend has it that Damião hit his head when he fell from a ship's crow's nest, which could explain his unpredictable moods, but he left the navy in the mid-1960s, working as a pimp to fund his private press releases. Damião's moniker was an homage to his favorite band, The Jimi Hendrix Experience, but the music doesn't exactly come across as a tribute. Singing in his own 'Planet Lamma dialect', Damião improvised on instruments he never learned how to play, assembling his voice into ritualistic, overlayed chatters and one-string guitar riffs into a lumbering, reggae-esque chug. Drums might match up, or might not, pattering in the background to add psychedelic thrust, rather than a rhythmic backbone. At its best, the music sounds like multiple records playing at the same time, held together by Damião's charismatic, garbled tones. 'Planeta Lamma' might share a name with Damião's 1974 debut, but it's not the same album. Confusingly, both records begin with the same track (the brief '1308 Registrou Gravou Rose Oliria Experiença'), but this edition quickly goes off piste. The focal point of the first side is the chaotic 'Ritmo Linguagem Planeta Lamma', a densely layered 20-minute romp that Damião released in 1999 (as far as we can tell). The side ends with 'Planeta Lamma' from the debut album, and the second side is mostly taken up by 'Sol', another lengthy, freeform experiment that's taken from the Brazilian multi-instrumentalist's late period. Jazzy and unpredictable, it's a frothy blast of angular funk that's got us confused and completely absorbed. One for the cranks!

At Richard Swift's National Freedom studios, the live-to-tape ethos allowed the songs on Damien Jurado's 'Maraqopa' to expand and retract like a great beast's breath. Every in-the-moment bell and whistle here is hung with a natural, casual care. And from this, each song offers up its own unique gift: the enchanting children's choir that echoes each line of Jurado's lament for innocence lost on "Life Away from the Garden"; the breezy bossa nova that begins "This Time Next Year" and rises as effortless as a smoke cloud into high-noon showdown pop; "Reel to Reel"'s wobbly, Spector-symphony and its meta themes; the wonderful falsetto vocal work Jurado pulls from himself on "Museum of Flight." The Seattle Times recently called Jurado "Seattle's folk-boom godfather," a praising recognition to be sure. But also a title Jurado might not yet be ready to accept. That's a title for someone who has settled. With each visit to National Freedom, Jurado is exploring, taking risks. He's not only freeing his songs. The gate is opened wide to allow us all into his once-isolated musical universe. One gets the sense he's just now hitting his stride.

New Future City Radio is the first duo collaboration of longtime creative partners Damon Locks & Rob Mazurek. In a hyperactive 40-minute, 18-track suite that runs like a boombox mixtape, the two prolific multi-media artists contemplate community, transformation, and the future through the programmatic format of a pirate radio station for the people. These two artists have worked together from the peak days of the late 90s / early 00s Chicago music scene up through the present day, which has seen Locks featured as lead vocalist of multiple critically-acclaimed Exploding Star Orchestra (ESO) albums composed/produced by Mazurek and released by International Anthem (IARC) in 2020 (Dimensional Stardust) and 2023 (Lightning Dreamers). In recent years, Locks has also earned great renown from his revolutionary, expansive latter-day gospel/jazz project Black Monument Ensemble (BME), with which he’s released two albums on IARC (2019’s Where Future Unfolds and 2021’s NOW). New Future City Radio finds the artists creating a natural but innovatively-assembled blend of the sounds of those two projects, with Locks’s BME-style sample-based sound collage creating compositional beds underneath the signature Orson Welles-like vocal delivery he’s developed through his work with ESO, alongside Roland SP flourishes and arresting brass improvisations by Mazurek. Themes both sonic and text based were predetermined but improvisation leads the journey. The music these two have devised may sound hyper-charged one moment and gently transportive the next, and often somewhere in between. When asked about New Future City Radio the duo exclaim in one voice: "I'm talking post, post, post, future. I'm talking resilience and levitation. I'm talking beauty and structural integrity for my people. I'm talking light beams that tell stories and educate. Let's talk about that if you wanna talk new future!"

After receiving regional praise for his 1976 debut Abrabo, Dan Boadi set his sights on leaving Ghana and bringing his highlife sensibilities to an American audience. Recorded at Paul Serrano’s namesake studio on E. 23rd St. in Chicago, Boadi’s U.S. debut showcased the true scope of his musical range; weaving in and out of funk, highlife, afrobeat, and reggae. The title track immediately demands the listener’s attention with a chugging drum lead by The African International’s King Tuch, setting the pace for Boadi’s colorful orchestration to follow. Money Is The Root of Evil claims it’s own space as a musical melting pot and reflects the excitement Boadi was learning to harness as a musician in his newfound home of Chicago.

London-based keyboardist/producer Dan Nicholls (of Y-OTIS) introduces a new album project 'Mattering And Meaning' to be released by We Jazz Records on August 13th. Nicholls' music uses acoustic piano as its key element, transporting the instrument into new territories that sound remarkably natural and organic, whilst displaying a strong kinship with the world of abstract electronic music. The music utilises piano loops and field recordings as its key elements, forming what might be described on the surface as a fascinating ambient jazz record – but at the same time there's so much more at play here on deeper levels. Dan's music sounds at once otherworldly and immensely inviting. After years of unlearning and unravelling the knots of a music college education – moving from a career in jazz, via electronic music, to a heartfelt embrace with rave culture and the feminist and queer theories which have so challenged perspectives across many disciplines on the objectified world and the values of capitalism – Dan Nicholls has spontaneously reimagined his relationship to the piano, that edifice of the decaying foundations of european classical music. Here the emphasis shifts from the Work (as object) to the work (as activity). Recorded with only a mobile phone voice recorder, eschewing the gloss of high fidelity audio to embrace the problematic cyborg appendage of the i-Fone VI-$, these lucidly dreamed tracks, like notes in a journal, find their depth and form through quick experimentation and distillation – layering, stretching and collaging in ways that treat the piano as a textural element in the daily soundscape, spilling into, and going along with, regular activities with no ceremony or established system to the process. For Dan, this is as much a documentation as a therapeutic process, casting aside the dogma and seriousness of much artistic practice whilst embracing joy and improvisation in order to search for deeper narratives. The speculative imaginings of three revolutionary thinkers, Donna Haraway, Ursula K. Le Guin and Karen Barad, have profoundly shaped the conception of this album, which also emerged from a deep interest in human relationships to ecstatic practices and communalities which have been so eroded by imperialist/patriarchal/capitalist forces. The title, "Mattering and Meaning", is a meditation on the crumbling habitual delineation and separation of both objects and definitions, including our (ironically) self-destructive human thinking patterns which position us as objective observers, above and over the world rather than inside it, apparently separate from nature and from each other. Like the melodies and themes which permeate these nine sonic tales, inextricable but nevertheless present, our world and our species prove to be more enmeshed, interconnected and interdependent than the dominant rationalism would lead us to believe. This album is a humble gift to the listener, a proposition for inclusion in their own ongoing soundscape, the perpetual activity of listening and awareness.

Brothers Dana and Alden McWayne, along with a troupe of multi-instrumental artists, come together to create jazzy melodies with indie sounds inspired by their unconventional upbringing in Eugene, Oregon. Following the success of their debut full-length album and it’s lead track “Dragonfly” (which tracked 300,000 TikTok creations, and over 10 million streams) the band recruited fan of the band Jared Solomon (Sza, Remi Wolf, Teezo Touchdown) to produce their sophomore LP, Coyote, You’re My Star. Melding vintage sounds with the aesthetic and experience of existing in Gen Z and the digital age, the new LP has already been met with rousing approval with airtime on the Zane Lowe show on Apple as well as playlist covers like Spotify's State of Jazz. The band is also set to tour North America and Europe across festivals and headline shows.

Brothers Dana and Alden McWayne, along with a troupe of multi-instrumental artists, come together to create jazzy melodies with indie sounds inspired by their unconventional upbringing in Eugene, Oregon. Dana (saxophone) is an organic farm inspector while Alden (drums) is a recent grad of Berklee College of Music.Their debut full-length album, Quiet Music for Young People, is a lush album that melds vintage sounds with the aesthetic and experience of existing in Gen Z and the digital age. Quiet Music For Young People also reminisces of the brother's childhood, summer days spent working at an apple orchard and jamming at jazz clubs on rainy Oregon nights.The experimental smooth jazz-infused album closer "Dragonfly" has been gaining traction on streaming due to trends across Instagram and TikTok. The band has recently toured across the US supporting Benny Sings and will be making their headline debut at NYC's Baby's All Right this winter.

Sasu Ripatti presents Dancefloor Classics Vol. 1 - 5, a series of five 10" releases coming throughout 2023. Music for imaginary dancefloors, released on Ripatti's own label "Rajaton".

Gurum Triads is a transatlantic guitar & drum duet album that explores multiple techniques (none of which involve playing guitar). London musician Dane Law uses a Max/MSP contraption of his own invention, which allows him to improvise in real time using samples of his acoustic guitar. Wisconsin-based producer/drummer Chants contributed cassette tapes of his drums & percussion to this process, and then took the resulting recordings and added additional layers of live drumming and self-sampled beats. The focus was never on the process itself but on the feeling and interplay of tactile textures, and on memories of shared post-rock touchstones. Recorded between January 2022 - February 2023.

The rare 2015 masterpiece is reprinted to commemorate the 10th anniversary of Constellation Tatsu! Here is the end of dub and ambient that permeates the SNS level. Maybe it's going to leap like Zonotope → Jerry Paper.

"Axacan" is the fourth album from Daniel Bachman for Three Lobed and his first album in three years. It was recorded in 2020 at various locations in Virginia. It will be pressed on two 140 gram 12" records in Virginia by Furnace and housed within a full color gatefold jacket bearing new photography by Bachman. As a part of the Three Lobed Recordings 20th Anniversary series it features an OBI strip bearing an essay about the LP by Aquarium Drunkard's Tyler Wilcox.

Building off of their debut album last year, legendary musicians and 577 mainstays reunite for a second volume. As in the first, saxophonist and multi-instrumentalist Daniel Carter, pianist Leo Genovese, bassist William Parker (also playing Gralla and Shakuhachi on this album), and drummer and vocalist Francisco Mela, unite for another cosmic album. This project again draw from classic jazz arrangements, juxtaposed with a modern experimentalism and a huge range of instrumentation. Shine Hear, Vol. 2, their newest avant-garde album is testament to their mastery and ease. The album and tracks titles are inspired by another poem Carter wrote about the transience and motion of modern life. The project will be released LP/CD/DL this September.

Part fantastical historic sonic biopic, part anthropologic journey into the deep roots of Belgium’s monstrous cosmic rock sound, this wholly individualistic concept album combines the lead members of the mighty COS (Daniel Schell and Pascale Son) with studio genius Alain Pierre (Ô Sidarta/Des Morts) and celebrated Dutch progressive rock singer Dick Annegarn, for what many consider to be both the overlooked hiding place of Belgium’s deepest psychedelic moment and European prog’s lost map to the ‘Franco-Flemish Boom’. Emerging from the wider musical family that counted Marc Moulin, Placebo and Marc Hollander amongst its creative kin, Daniel Schell’s most profound conceptual project ambitiously combines the tale of the heroic historical figure of Count Egmont, while simultaneously tracing the evolution of the ud, or oud, (‘the grandfather of the guitar’) in this multifarious hallucinogenic epic. Featuring key members of other collectable groups such as drummer Felix Simtaine from Solis Lacus and bass player Jean-Louis Baudoin from the mythical Classroom (COS predecessor), this best-kept secret vinyl release also harbours the voices of Dirk Bogaert (of Belgian hard rockers Waterloo) as well as Catalan singer Ilona Chale (Marc Hollander/Aksak Maboul) before her later tenure as the COS front woman. Initially released in 1978 via Zeuhl school distributors Free Bird alongside French pressings of Don Cherry, Jacques Thollot and CAN, it is plain to understand the niche nature of this maligned “lost COS” LP as it finally blooms from between the cracked branches of European jazz-rock-synth-psych-prog-pop history… and beyond!

« Sphæra » (1984/89), 42’09 « ... this spherical shape being the most perfect of all and the most similar to itself, for he thought similarity to be infinitely more beautiful than dissimilarity. » Platon, Timaeus Between 1984 and 1989, my acousmatic work was focused on processing and merging the four fundamental substances. Each « element » gradually became articulated with the others, thus crystallizing my subjective perception of their materiality. Over the years, helped by the enthusiasm of a Greek friend who propelled me into the Socratic universe, what started out as an exploratory path has become a circular, spherical unity, in which each occurrence simultaneously belongs to one of the four substances as well as the whole. These four sections, of uneven durations, embody the different resonances of each « element » upon my imagination. The movements are ordered compositionally and range from the intangibility of the air to the extreme density of the earth. In Eterea, the dual nature of air, a space for the dissemination of sounds and an environment for mobile masses, shaped the work and the development of its forms. Whether it be the vast expanse of particles as organised movement or the displacement of sources in our three-dimensional perception, ethereal air fills the space and drives the immaterial motions and gestures. Aquatica locates the materiality of water in relation to its amazing extremes: from the drop to the ocean, an extensive journey unfolds through the various phases of the reinvented liquid. Still waters, deadly waters, raging waters follow one another, leading to the aerial fusion of a primordial equilibrium eventually retrieved. Then comes Focolaria and the unsteady fires, the elusive and wild will-o’-the-wisps that open and adorn the gates leading to the depths of the earth. The land of Terra is devoid of atmosphere, a land of matters before the advent of life. The sounds of the original matter merge and evolve into purer forms. The motions trigger progressions towards new equilibriums of forces, the ultimate fusion, the very last attempt, needed for the emergence of life. The sphere is now complete, the world ready for creation… Daniel Teruggi

On October 15th and 16th, 2020, drummer Daniel Villarreal was joined by guitarist Jeff Parker and bassist Anna Butterss for two afternoons of recording in the backyard of Chicali Outpost in Los Angeles. For all three musicians, it was the first ensemble recording session they’d done in-person since the pandemic locked the world down just seven months prior. Some choice moments from these sessions made it onto Villarreal’s critically-acclaimed 2022 album Panamá 77, but most of the music remained unreleased. Lados B is a deep dive into the high-level spontaneous music made by Villarreal, Parker, and Butterss across those two days in 2020. Villarreal is heard leading the group through various rhythmic modes and structures for improvisation – flow as informed by the Latin funk of Fania Records as it is by the otherworldly humanity trance of Brain Records – while Parker and Butterss draw on their extensive experience playing free together (as heard on Parker's recently-released Mondays at the Enfield Tennis Academy, and the LA side of Makaya McCraven's 2018 LP Universal Beings) to build harmonic buoys for their spontaneous melodicism. The result is a beautifully vivid illustration of context, creativity, and collective composition from a particularly rich moment in history.

The long-awaited debut album of Daniel Villarreal, a drummer and DJ from Panama who lives in Chicago and is known to many for his work with Dos Santos, Wild Belle, The Los Sundowns and more. It's a debut worldwide, but it's been widely known in Chicago's music scene for a long time, and almost every night on the bustling 18th Avenue of his hometown Pilsen, at least one place has been loved enough to see his DJ. person. This work collaborates with Chicago, including Bardo Martinez (Chicano Batman), Jeff Parker (Tortoise), Marta Sofia Honer (Adrian Younge), Anna Butterss (Jenny Lewis), Aquiles Navarro (Irreversible Entanglements). A masterpiece of instrumental funk that has been recorded in several places in Los Angeles and is based on jazz but psychedelicly fused with Latin rhythms! Led by the mysterious gong of the opening song "Bella Vista", the synth sound of William Onyeabor style is intense "Uncanny" to the labyrinth where you can't get out of it. Various styles of works such as "In / On" and "Patria" dedicated to the organist Avelino Munoz in his native Panama are a masterpiece! Recommended for fans such as and !

The long-awaited debut album of Daniel Villarreal, a drummer and DJ from Panama who lives in Chicago and is known to many for his work with Dos Santos, Wild Belle, The Los Sundowns and more. It's a debut worldwide, but it's been widely known in Chicago's music scene for a long time, and almost every night on the bustling 18th Avenue of his hometown Pilsen, at least one place has been loved enough to see his DJ. person. This work collaborates with Chicago, including Bardo Martinez (Chicano Batman), Jeff Parker (Tortoise), Marta Sofia Honer (Adrian Younge), Anna Butterss (Jenny Lewis), Aquiles Navarro (Irreversible Entanglements). A masterpiece of instrumental funk that has been recorded in several places in Los Angeles and is based on jazz but psychedelicly fused with Latin rhythms! Led by the mysterious gong of the opening song "Bella Vista", the synth sound of William Onyeabor style is intense "Uncanny" to the labyrinth where you can't get out of it. Various styles of works such as "In / On" and "Patria" dedicated to the organist Avelino Munoz in his native Panama are a masterpiece! Recommended for fans such as and !

Danieli presents his new ep on Alpenglühen. Berglüster is an emotional high-concept EP with 4 tracks that work well together or individually. The artist from Aachen, owner of whispering signals, transports us into his sonic realm and offers us probably his most mature and honest work to date. Berglüster is not typical club music, we actually found ourselves facing contemplative lab techno. The hazy atmospheres, the lowpassed kickdrums and the cinematic pads reminds of the golden years of intelligent dub techno but with a more sophisticated and modern approach. Those who love the music of Deepchord, GAS or Porter Ricks will find here a delight to be added to their collection. As usual, this is an only vinyl release. 200 copies pressed.