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Mount Wittenberg Orca is named so because it is about whales, it was inspired by events on Mt. Wittenberg in California, and because it elaborates on David Longstreth's obsession with vocal harmony introduced on Dirty Projectors' 2009 album Bitte Orca. This seven-song, twenty-one minute collection is the first original music the band has recorded since Bitte Orca, and it feels more like a small album than an EP. It is also their most staggering collaboration yet — with the Icelandic artist Björk.

The music — originally written to be performed unamplified in a small Manhattan bookstore — was guided by a conversation between Longstreth and Björk about the small theaters in Italy where opera was born in the 1500s. The recording was informed by the simple, direct feel of early rock & roll recordings from the '50s. The band and Björk rehearsed for three days at the Rare Book Room in Brooklyn, and then recorded the songs as quickly and as live as possible, overdubbing only lead vocals and solos. The result feels like part children's story, part choral music from some strange future.

It's unlike anything else in the Projectors' body of work: Nat Baldwin's bass is massive and lumbering, like the silhouette of some undersea creature. Drums and guitars, so crucial to the songs on Bitte Orca, are all but absent. Instead, it's all about voices — and the voices are astonishing. Longstreth, sharing lead vocal duties with Björk, exudes a limber confidence. The Projectors women Amber Coffman, Angel Deradoorian and Haley Dekle sound beautiful and virtuosic. And Björk, seismic and elemental as always, sounds fresh in this new context, singing lead on half the songs.

This record is a triumph for Björk and for Dirty Projectors. It merges the energy and rawness of the band's live shows with the intricate arrangement and delicate beauty of Bitte Orca, and seems to do it effortlessly. Björk abides as a kind of artistic patron saint, sharing the spotlight rather than dominating it. Her mix of sophistication and emotion, of composition and instantaneity, has become the blueprint for a generation of creative musicians — and with Mount Wittenberg Orca, Dirty Projectors prove themselves at the forefront of that generation. 

Dirty Three Ahoy! Appropriately disheveled, the Three emerge from the unending waves of time to pick up their guitar drum and viola/violin/piano/synthesizer/loops/percussion for their first album in a decade. Their playing encompasses ALL – from the original fury of their unlikely power trio to an impressionist cinema later on; mercurial, tumultuous to ambient to adagio, mood and emotion drawn up to dazzling heights from the humble human scale.

Quantum Web is the new album from Discovery Zone, the experimental pop project of musician and multimedia artist JJ Weihl. Dipping into a pool of musically stylistic depth and flipping themes of omnipresence in advertising and corporate culture sterility into aesthetic guideposts for her omnivorous compositions, Quantum Web represents the next evolutionary phase of Discovery Zone while arranging the past, present, and future across the infinite, invisible web that interconnects us all. First edition vinyl includes a printed inner sleeve with album lyrics.

Formed in Granada by Ani Zinc, who also recorded under the name Neo Zelanda, and Javier G Marín, Diseño Corbusier were a fascinating and unique project of avant-garde electronics. Their second LP, "El alma de la estrella" (1986), is a marvel of sound craftwork that gathers elements of industrial music, minimal techno and vocal manipulation through a dadaist and completely personal approach.

Two lost & found lofi nuggets from the Jahtari vault, appearing on 7" floppy disc for the very first time. "Arcade Addict" is the original Dub cut of Mikey Murka's "Sensi Addict", a version of the sweet Ujama classic that came out as a Jahtari Net-7" in 2006. Sprinkled with field recordings from early 80s Arcade Halls (done by kids with a walkman) this little oddity never made it to vinyl until now. "Proper Tings" on B is taken from a home made video from 2012, originally made to show the capabilities of a DIY Synth project using a Commodore C64 home computer sound chip, the growly SID synth. Sounds are made from scratch, sequenced out on a MPC - and the ensuing Dub jam turned out to be a lucky shot, eventually shaping up as Paul St. Hilaire's "Who Goes There". There's a raw, beautiful 8bit magic to this Dub, finally making it to wax for the first time. Check the video above to see how it was made.

Wisdom from the child’s mouth always tells us the truth. It’s hard to overstate the influence of Ditterich von Euler-Donnersperg on A Colourful Storm; indeed, it’s almost impossible to imagine the label’s existence without it. A figure whose movements within Germany’s industrial avant-garde span almost forty years, it would be in 2010 that he unknowingly entered our orbit through two important releases. At the time, SPK’s Auto-Da-Fé and Throbbing Gristle’s Journey Through A Body left some impression on us, their discovery propelling an interest in the possibilities opened up by industrial music that we still explore today. Responsible for publishing these releases was Walter Ulbricht Schallfolien - who, or what, were they? Founded in 1980 by Hamburg-based Uli Rehberg, Walter Ulbricht Schallfolien was a base for Laibach, Asmus Tietchens and Werkbund as well as Rehberg’s own artistic endeavours: the most devilishly humorous his adopting of the name Dr. Kurt Euler, spokesperson of a satirical political party comprised of musicians Felix Kubin and Gregor Hartz. The project would foreshadow the life of Ditterich von Euler-Donnersperg, an alias unveiled in 1998 with the first in a series of spoken word 7” picture discs that have since become highly collectable. Attracting an enviable list of collaborators throughout his career (John Duncan, Thomas Köner and Column One have all lent their expertise), it is perhaps the enigmatic Werkbund project that remains most coveted within the world of von Euler-Donnersperg. Cloistered and clandestine since their inception in 1987, their brooding, synthetik atmospheres have long been speculated to be the work of von Euler-Donnersperg himself. Listen to Werkbund’s Skagerrak or Stahlhof and tell us we’re wrong... The culmination of decades of sound research and electroacoustic investigation, Weisheit aus des Kindes Mund tut uns stets die Wahrheit kund is significantly also a tribute to von Euler-Donnersperg’s children, their voices and spoken word hocus-pocus conjuring clairvoyant visions amongst soaring metallic sheen and spectralist digital debris. Cybernetic ooze spilling into servers and causing subdued bleep signals and static. A slasher film soundtrack starring the German avant-garde dressed in laboratory coats. The latest piece of von Euler-Donnersperg’s peerless, endlessly imaginative puzzle.

Dizzee Rascal's debut album "Boy In Da Corner," released on the prestigious XL Recordings label, won the UK Mercury Prize and became the first UK rap album ever to go platinum, and is being reissued as a 3-disc set to celebrate its 20th anniversary!

As an avid believer that some songs shine only under the right circumstances Balduin doesn't shy away from weaving repetitive loops with patterns of ambience just to let some hands-up moments unfold every now and then. He doesn't like to think in categories. This approach is also reflected in his diverse musical productions. By reinterpreting genre-specific elements, discovering unheard soundscapes and with a good portion of nostalgia, he sculpts little stories that vibe on dancefloors and in living rooms alike. Following multiple appearances on labels like QC Records, Kompakt or his own GLYK imprint – DJ Balduin lands on KANN with a full lengths worth of downtempo, ambient and extasy inspired house cuts. Concrete Mimosa rolls out with 11 tracks to shine in full effect.

DJ Desecrator smelts 70 minutes of radical metals and synth gloom on what TTT are touting as “our best mixtape?” - a must-check for anyone who copped the DKR session or Tom Boogizm's 'Hardcore' shotta. Utterly reeking of Ork armpits and putrefied meat, ‘Ritual Giblets’ lays out a feast of extreme hard rock and metal entrails by artists who have us by the short and curlies for the duration. Bookended by cinematic scenes of doom and decay in the opening blast of horns and drizzle, and its sublime closer, the meat of the mixtape is pure BM, grind and death metal sequenced for optimal possession, replete with the sort of synth intros Conrad Schnitzler made for Mayhem, or the foul medieval atmospheres to When’s ‘Black Death’ which inspired the Norwegian BM scene and are also found on NTS’ dungeon synth survey. Not for the faint hearted but manna for headbangers. full gnarrr.

A member of of the Democratic Republic of Congo's Fulu Miziki band, the long-running eco activist collective forging experimental rhythmic music from repurposed trash, Kinshasa's DJ Finale dives into his country's history to brainstorm a dauntless hybrid dance sound. Kinshasa has long been a hotspot of musical fusion and innovation, and Finale builds on the popular template of soukous, or kwassa kwassa - a sound that developed in the mid-20th century from the rhythms of Cuban rumba and flexible emotionality of jazz. While soukous was initially performed with traditional instruments, Finale takes a minimal electronic approach, melting familiar rhythms into other Congolese trad-moderne styles like n'dombolo. 'Basss 30' bolts a brittle swinging beat over white noise bursts and acidic synth sounds; 'Pitschu Debou' features Fulu Miziki's Deboul on vocals, and folds soukous guitar riffs into a stark neo-trap frame; 'Tobandi' is raw and industrial, like Muslimgauze but aimed at the late night/early morning club set, with dangerous blasts of whirring electronics and jerky Congolese rhythms. "Mille Morceau" is a thoughtful mitigation of the Democratic Republic of Congo's past and present. It celebrates Kinshasa's rich history, while remaining proud of an energetic, youthful contemporary scene that's ready to look far beyond the borders.

Limited color vinyl (Marble Orange & Red)/ Gatefold sleeve specifications. The masterpiece "Kaleidoscope" released in 2000 released from the DJ Food project devised by the founder Coldcut. Produced by then-members Kevin Forks, aka Strictly Kev, and Patrick Carpenter, aka PC, this work sets it apart from DJ Food's original concept of providing DJ material, and the future of beat music. It was a perfect work as if I had foreseen. Twenty years after its release, Kev and PC celebrated the 20th anniversary of Kaleidoscope by discovering different versions, different mixes, and unpublished ideas from past archives and original recording session material. It was decided to put together a mixed sound source, make improvements and make it into a work as "Kaleidoscope Companion", and release it as a 4-disc LP together with the original album.

The opening "The Ents Go To War" has a gloomy arrangement and heavy drums, "Skylark" has a hypnotic dance between the bassline and the snare, and "Zoom Zoom" has a whimsical percussion. The airy synthesizer is impressive. In addition, "Kaleidoscope Companion" is full of moments that fans will be surprised at. The big band meets easy listening "Hip Operation" was reused in the first version of Sukia's "Feelin'Free" remix, and "A Strange Walk" was included in the compilation "Xen Cuts". An unreleased version of the remix. "Stealth" is another version of the Gentle Cruelty Remix of "The Aging Young Rebel", also included in "Xen Cuts".

Another version of DJ Food's signature song, "The Crow (Slow)," extends the melodic theme to a calm soundscape that eventually blends into another dub version. The 13-minute-long "Quadraplex (A Trip To The Galactic Center)" is made by stitching together various takes from different synthetic tracks. Closing Kaleidoscope Companion, Boo Hoo is an early short version of The Sky At Night that conveys the cinematic mood of the album.

It's not a new DJ Food album, it's an album that wasn't born at the time. In another reality, these songs may have been on Kaleidoscope, but now, 20 years later, they will be released as an adjunct to the original album. --Strictly Kev

Shades of Yesterday is the new covers album by DJ Harrison – 11 tracks that pay homage to his musical heroes, representing some of his most treasured childhood memories, out February 9th on Stones Throw. It was created over several years at his home studio Jellowstone, where he also created his previous two Stones Throw albums, 2021’s Tales from the Old Dominion and 2017’s HazyMoods. The announcement comes with a new song, too. “L’Anthropofemme” is a cover of French group Syntaxe.“L’Anthropofemme” was first introduced to DJ by Tyler, the Creator during an L.A. studio session where the two artists shared some of their most loved songs. Last year, Harrison shared “Lil Birdie”, a cover from Vince Guaraldi’s iconic A Charlie Brown Thanksgiving special, and a cover of Donald Fagen’s “IGY”, which he decided to record after opening for the Steely Dan legend in his hometown of Richmond, Virginia. While DJ Harrison has spent his career as a sought-after collaborator, playing in the funk-jazz fusion outfit Butcher Brown and collaborating with Pink Siifuu, Joyce Wrice, and winning two Grammy nominations for his work with Kurt Elling, Shades of Yesterday was created solo, with Harrison playing almost every instrument himself.

Ambient, hip-hop, abstract, jazz, dub, electric sounds.... TALKIE'S MOOD SOUND TRACK#1", a cassette tape work created by DJ KENSEI and Jusanga's sessions, is now available. TALKIE" is a bi-monthly event held at Brooklyn Brewery's flagship store "B" on the basement floor of K5 in Nihonbashi Kabuto-cho, Tokyo, titled Cinematic Art Salon. VIDEOGRAM) are in charge of the visuals, and the brewery's space is designed to entertain the crowds. TALKIE'S MOOD SOUND TRACK#1" will be released with the support of cassette tape label Tastee T Production. The sound sources included in the album are selected and edited from the session recordings by DJ KENSEI + Jusangga played at the event. We hope you will enjoy "TALKIE'S MOOD SOUND TRACK #1" as a complete piece of work as well as feeling the atmosphere of the event.

Dancefloor fire bombs from Kolt, a DJ and producer thus far mostly operating under the crew name Blacksea Não Maya (with Perigoso and Noronha). This is his first Retirement record. No quotation marks here, Kolt is actually stepping down from a fruitful decade-long career as DJ and producer. Fat, techno-ish, idiosyncratic big room afro mind melt sounding like no other hyped or non-hyped dance cuts out there. Futuristic and decidedly non-European in structure, this set of 4 tracks carries a more synthetic DNA than previous material, if we exclude his quasi-gothic slow burners in BNM's "Máquina de Vénus" LP. But in "Verdadeiro" Kolt is all virtual open arms and bare chest, appearing to satirize this idea of the megastar DJ. But what comes across is distinctive and alive (consequently deadly on the club sound system), wiping out the floor of any zombie-preset-DJ vibes. Take "Bateste" as an example: an evil bassline, wtf beeps, a vocal snippet prodding the dancers and a final blissful 30 seconds to ease you out. "Shaman" is the final track, its title just maybe nailing the atmosphere felt by people on the dancefloor. Shamelessly epic and in your face, a simulation of a throwback to a more clichéd clubland but just so left of centre that one can't find a complete correlation to fit the picture. Yes, we all go OMG.

Feels as if we're stepping outside the known universe of Nigga Fox but simultaneously being invited in. It's not about being hermetic, shutting out followers of his trademark dance beats or making an experimental statement per se. All this music comes effortlessly during sessions such as any other, so don't throw away valuable time searching for a concept. "Chá Preto" sounds revolutionary but not so much in his discography, accustomed as we are to game-changing compositional solutions in the afro musical continuum but - never forget - also in Dance Music taken as a broad genre. But is it Dance? Certainly a fair amount of suffering and introspection comes clear throughout the album, namely in the sequence made up of "Má Rotina" and "Mutadoree Leonor". "Mutadoree" is a free, alternative spelling of "much pain" and each listener can process the info as s(h)e pleases. The music is also strikingly beautiful, so there's really no final word on this. Beats come sparse, a very personal phraseology, the dancefloor a memory. Or just something to keep in mind for a future night out. Presently there's no lack of adventure or excitement in these grooves, a uniquely themed one-person show of musical skills and bare emotion. It ends in a snap, not a trace of embellishment. Pragmatic and out of the loop. Rewind and feel it all over again. Any comparison in mind? Flip through History books and you won't find this chapter.

Rhythm fiends, your time! Lisbon’s DJ Nigga Fox swangs it wide, precise and deadly on his first new tunes since 2019’s outstanding ‘Cartas Na Magna’ LP and a killer live tape in ’21 Deploying four immediately upfront, naturally experimental workouts, ‘Música Da Terra’ marks just over 10 years since DJ Nigga Fox came to our attention on the ‘African Digital Dance’ compilation, and solidly affirms his role as the leader of Lisbon’s new school. Balancing a cosmic jazzy depth akin to Jamal Moss or Ron Trent’s deep house with more urgent, syncopated ghetto grooves, his music is the pinnacle of contemporary Kuduro, if you ask us. The lad’s catalogue practically charts the sound’s development from grimy and hardcore to more sensual, textured and rhythmelodically psychedelic in a way that places him like Kuduro’s answer to Dego or A Guy Called Gerald, and especially on this EP. Including an instant standout jam with fellow Príncipe don DJ Firmeza in the muscular bass churn, bolshy brass and groggy pads of ‘Sanzaleiro’, Nigga Fox absolutely bosses it on his three solo works. There’s the adrenalizing scorcher ‘Madeso’ at the front, with its shards of marching horns sliced up into swingeing heads-down swagger, but also laid with a mental breakdown, while ‘Gás Natural’ cools off for a hot minute with its exquisite, chill breeze melody and in-the-pocket log drums leading somewhere deliciously darker, and ‘Sasuke’ simply slays with jaw-dropping twist of cosmic acid broken beat soul, lathering hazy organs, 303 and nimblest drums into the tightest, inimitable step. Oh my days this is fucking strong. TIP!

Prime Cuts from the legendary Scratch Perverts crew with an upful six-tracker, full of life and intelligence, and teeming with fidgety, DIY, turntablist energy. For us it’s a bit like a raid on the racks at Honest Jons, over the decades… but fresh and bright. It kicks off with a headlong garbling of eighties jazz-funk, complete with synths, a vocoder, and some incipient Herbie, all sagging woozily into some nuts pitch control, before a mean beat-down. Some dubwise Channel One follows up, with almightily anthemic snatches of melody and unmistakable chords, almost breaking down under a barrage of skittering effects, scratching, laser-fire, strangulated melodica, and cowbell. Then three excursions in classic Detroit techno: moody electro funk, with a sprinkling of Harold Faltermeyer; hard-grooving minimalism, with a dash of It Takes Two; then a more industrial outing, with clattering percussion and gobbling synth. Finally an ambient interlude — overcast but twinklingly ambivalent — to close. Ace. A lot of fun. Check it out. Honest Jon's

This release holds special significance as it captures MC Conrad’s final recording session, completed just days before his passing. On the day of the session, Conrad and DJ Prime Cuts laid down the chorus for Together, with plans for further writing that tragically never came to be. This release is both a tribute and a responsibility for DJ Prime Cuts, honoring Conrad’s last creative contribution and sharing it with the world. Proceeds from the single will go toward the MC Conrad Foundation and a GoFundMe campaign, supporting Conrad’s son and continuing his legacy. A-side Together is a vibrant electro-funk track combining chopped vocals, jazz-infused loops, and MC Conrad’s legendary voice. DJ Prime Cuts’ production masterfully blends the soulful essence of Roy Ayers with innovative, future-forward rhythms. The 130 BPM tempo breaks from Conrad’s typical work, but this track pushes beyond genres, creating a timeless piece that speaks to both artists’ versatility. The B-side, Our Time Is Now, stands as a high-energy tribute to Roy Ayers. It showcases DJ Prime Cuts’ prowess as a producer, blending deep basslines with techno-infused elements to create a track that’s both innovative and nostalgic. Originally conceived as part of the tribute to Ayers, the track celebrates the present moment and is a powerful homage to one of music’s greatest legends. With its infectious rhythm and dynamic production, Our Time Is Now is a must-listen for electronic music fans and Roy Ayers.

DJ Python's first solo record since the release of the critically-acclaimed album Mas Amable. it's too nice to just have your thoughts float in the space of your head endlessly forever and you don't have to decide which you focus on unless you want to i got a stone to skip 6 times across the water on the river i grew up by now i like to get the heaviest rocks and the lightest ones and drop them in the river to see which sink most beautifully I have no interest in saying the right thing anymore just the true thing --- DJ Python on collaborating with UFO Parfums and Candle Object: "we all appreciate each other’s work and thought it would be nice to do something together :) both candle Object and ufo Parfums are involved in music and inspired by music. Dj Python is inspired by candles and perfumes. To light a candle spray your wrist or put on a record . Same thing yo (~,’"

From the creator of Deep Reggaeton and the hit record ​"​¡Estéreo Bomba! Vol. 1​"​, DJ Python, returns with the first masterful full length album "Dulce Compañia". Comprised of eight ethe-real, banging hits of the most unique and thought provoking calibre - mixing Deep House, Shoegaze, Trance, and of course, Reggaeton - these songs-not-tracks slide over the Dembow in the unique way only Python can dream up. Rated E for Everyone.

Pitchfork gave it a good score of 7.4! Anthony Naples and Jenny Harris are well known for their work on The Trilogy Tapes and Proibito, and are also known for their work on the Harris' "The Trilogy Tapes" and "Proibito" labels.
DJ Python is also known for the smash hit "Dulce Compañia," his 17-year debut LP on Slattery's hot label, Incienso.
DJ Python's second album is an immersive sound that blurs the boundaries between ambient and dance music. The second album from DJ Python, who has been known around the world as "deep reggaeton", is an immersive work that blurs the line between ambient and dance music, updating Jamaican dance sounds from dancehall to reggaeton to dembow with a deep ambient perspective. The preceding single "ADMSDP" (B2), which features poet/performer LA Warman on vocals, is a masterpiece. The soundscape is a complete knockout!

Known for his viral video series “Sexta dos Crias”, Ramon Sucesso is a virtuosic DJ who crushes, reimagines and rearranges songs to such a degree that the original tracks become virtually unrecognizable. He has turned his controller into a particle accelerator, creating firework-like bursts of classic funk carioca samples, his own productions, mainstream tracks, nonsense TikTok sound bites, and tons of his trademark beat bolha. All contained within an unparalleled, mischievously non-linear rhythmic flow. Ramon’s social network profiles are as outrageously unpredictable as his mixes. He posts interactive emoji games, bountiful fast-food feasts with his family, comments about the Flamengo football team and videos of him playing FIFA. He has a prolifically restless mind, constantly riffing and improvising; he does whatever it takes to get by, to navigate the reality of life in Brazil and overcome the daunting challenges of the music industry. His new album “Sexta dos Crias” is the culmination of Ramon's DJ work. A LP that embodies the newest in funk carioca, a faithful transposition of the bailes to vinyl. And forget copyrights; forget the notion of ownership – you’ll find none of that here. Ramon has unpretentiously ushered in a new age of experimentation for the genre – making a daring and unprecedented foray into a territory where extreme and radical sounds abound.

Ominira's owner Kassem Mosse a.k.a. DJ Residue's casette album released from The Trilogy Tapes. Features over 20 minutes drone ambient/experimental soundscape of surrealism.

A subjective mixtape by Dj Salinger. Mixed, recorded and assembled by Dj Salinger in a state of deep melancholy. Mastering by Franz Kirmann.

Franz Kirmann is a French music producer living in London. He has made albums for various labels including Denovali, Bytes, Mercury KX. He also writes music for film and TV and is a lecturer in music production at Point Blank Music school.