Multi Culti strip down and sling low with this ep of restrained early-morning house from UK's Jamie Paton. One half of Cage & Aviary, the London-based producer follows up releases on Emotional Especial and Holga Nord with virtuosic depth.
It may be the power of suggestion, but Squeeze the Prime Time sounds like a well-worn night-life wayfarer wringing their very last brain cells for more serotonin on the dance-floor. On 'Syrens' especially, there is a sense of subdued, spectral ecstasy. Squelchy, spacey, bumpy, this is a masterful soundtrack to synapses firing to the world's most cherished tryptamine.
Multi Culti production duo Dreems & Thomas Von Party add a 'Self-Help' remix, an unashamed attempt to lend 75% more hippy to the package, taking holotropic breath-work to the masses as only a pair of gurus can do.


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After a couple of releases for the label, including notable remixes, plus the excellent recent 7 for Hoga Nord Rekords, Jamie returns to warm glow of Especial for a collective vinyl only EP of 4 unreleased remixes brought together for limited release. Opening is his dark, brooding rework of See You In The Dark from Sexy Merlin's 2012 cassette only release Heater. Taking the 2mins + plus original and feeding it through modular and space echo environs, this long form remix has been alighting dance floors whenever aired. Throbbing bass and phased, twisted vocals pull the track deeper, all with that neu-wave touch that has become Jamie's hallmark whether sought or not! Next Jamie turns to the Eastern melodies of Guy Schalom. The drummer and percussionist first came in to Paton's orbit via his partnership within Cage & Aviary and his remix here strips the original to his affinity with dub and bass. Horns rise and fall, driven by snare and guitar in a unique reversion of a version in the truest (es)sense. Roots and vulture y'all. The B-side heads back deep with his wonderful remix of Gatos Negros's Overdrive. Taken from the bands 7th Life album on Spain's Rotten City, the interplay with arpeggio, bass and vocals shows why Jamie has his own unique following. Closing the EP sees a return to a relationship first seen via Cage & Aviary's remixes of Blancmange in 2014. A mutual admiration achieved, the band requested a special remix of their rerecorded 1982 classic Feel Me. Jamie rebuilds the track with a nod to it's past, his own sound and also, as a final homage to nights remembered at the Brixton HQ years of World Unknown, where the original was such a highlight. Here comes a love song "


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With the Bizarre Feeling EP laying the sound for the subsequent fist year of the label, it is right Jamie returns with EP#2 to move things forward with another twisted take on his unique mutoid-protoid-machine-funk-groove. Starting with Mad Obsession you would be forgiven for thinking you'll have Bizarre Feeling Part 2, with warped vocals - taken from late night, half asleep scribbled notes - and space echo haze, but let the percussion work-out trip you up and the stars in and before you know it things start going leftfild and then deeper with the Free Party Sound System bass line shuffl of Time Nearly Time. What he is on (about), no one knows. It is on the flp however that things take a darker turn. Beyond the confession booth, down sharp stairs and dripping ceiling to a red light lit room of latter day late night blues. If one ideal inspires Especial, it is an unknown basement where the DJ rolls Drole Model 's bottom end across a unifid, sweat packed room. And so life is a circle, a parallel universe and Alternative Obsession completes the EP. Dub vibes, accentuated vocals and killer SH09 horror show from Mr T J Fairplay and you have a rework worthy of 7am, Red Room, Renate. Life...coming around the corner.




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Emotional] Especial is the new label from the Emotional Recordings stable. A sub label to Emotional Response, Especial is though squarely aimed at the floor rather than the head. In a similar vain to the limited 4 EPs-only label that was Emotional Relish, it will merge the sounds and styles that influence contemporary electronic producers, taking in new wave, new beat, EBM and proto-house to create something modern. Jamie Paton of Cage & Aviary helms the debut release with Bizarre Feeling. A youth soaking up punk, dub and new wave, the EP acts at times as a homage to the sounds of New Order, The The, Kraftwerk and the then other-wordly machine funk emanating out of mid-80s Chicago. With both Timothy J Fairplay and Scott Fraser aiding and abetting down in the Scrutton Street bunker studio, with keys, guitar and a heavy dose of space echo, plus hypnotic FX laden vocals from Jamie himself, all propel the EP beyond pastische and make the perfect start to Especial.


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With distorted arpeggiated synthesisers and cold metallic drum-machine patterns, William Wiffen from Yorkshire invites you to his sonic warzone. Höga Nord Rekords proudly presents RED (Rapid Ear Damage), a stripped and harsh take on postpunk, motorik and EBM. With haunting and reverbdrenched synthesizers, Wiffen’s new project sometimes resembles acts like Two Lone Swordsmen in their dirtiest moments. RED is not a wholesome and pleasant experience. Heavily modified vocals, used more like an additional instrument, breaks through the distorted, hard, backbeat, contributing to the feeling of being trapped in a mental slit trench or bomb shelter: no light coming in – only sound. Set the controls for the heart of the void.

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The defenders of psych-funk, Kanot is back with their first full length album on Höga Nord Rekords. “Textile Fantasies” is an interdimensional groove voyage to a parallel universe where the nineties never happened. The beginning of the A-side represents the peaceful nature romantic side of Kanot where guitar licks are dancing like swarming mosquitoes round your head. You’re being onboard a canoe, in the early summer on Säveån, a river on the Swedish west coast. “Textile Fantasies” develops into a more dramatic scenery as the droning feeling in the tracks give way to more beat orientated music. Kanot is slowly approaching the city as the album goes on. Every sound on the record is thoroughly picked and placed in the mix. Like laying a jigsaw puzzle, Anton Kolbe puts down the virtuoso contributions of Jesper Jarold, building a dynamic and playful soundscape. Every song is pleasant in it’s own way and contributes to broaden the Kanot-universe.

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Motorik, Techno, Lo-fi, Primal and monotonous are words to describe Black Bones unique take on afro and post punk. This 7” is their first on Höga Nord Rekords and contains two tracks showing depth in musical creativity and record collections. Black Bones use familiar components in surprising ways: electronics and loops swirl over sequenced pounding backbeats, but when the aggressive stereo bass kicks in on “Nairobi Night Train”, Kenya’s border stretches all the way up to the British Isles and a huge savannah opens its horizons just south of Belfast. This is an unusual mix of European and African music tradition - a meeting of genres so seamless it’s hard labelling it crossover. It’s just an explosive potion mixed for dancing!

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Höga Nord Rekords kindly welcomes Teecwa back to the label, following up his last full length-album “Beyond the Altai” with “Elysian on Moon Lake”. He is still exploring the intersections between house, electro, techno and dub and once again he manages to harness the analogue electronics in his machines to produce modern psychedelia. “Elysian On Moon Lake” is rawer, less airy and not as sparkling as his last album. This is a tighter, and slightly darker experience than Teecwa’s previous work, maybe caused by being in quarantine for extensive time during production, letting some of the dreaminess aside for the harsher reality in a pandemic world. Still, you get a mind-altering experience in a lot of tracks since the album starts off in a lighter tone than how it later develops. Switching from the A- to the B-side works as a rite of passage going from dusk to night; the sun rays through the blinders are replaced by neon light dancing on the walls and ceiling. Regarding the dramaturgy of “Elysian On Moon Lake”, this album has movielike qualities; a well-directed piece from the opening impact and setup through the confrontational part where intensity builds up to the climax in “Hythmdoser” to the cooling down effect of the peaceful closer “Celestial Trails”. The trip eventually ends up in a safe and happy place after the cathartic finale. This is not a just collection of songs, this is an album made to experience in full length without interruptions.

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Rudolf Abramov is taking a step in a different direction from his last release on Höga Nord Rekords. This 7” contains the works of deep mining in an old hard drive during the introversion of the pandemic quarantine. These two gems have been going under a bit of tasteful polishing before reaching the point of release and the result is a punk meets Stoner rock experience propelled by hard sequencers and drum machines. This record is as English/Irish as you find em: straight forward instrumentation and lyrical performance presented with a dirty and rough production. The beats are stripped with an edgy punch and the synthesisers are overdriven, giving them guitar like qualities. The Paracetamol/Clonex 7” is a release of covid demons, and the sound of spitting out the bitter taste of isolation, or to use his own words: “On this 7" you will find absurd and desperate lyrics accompanied by heavy English and Irish accents, driven robotic drum machines, dirty synths, crunching bass, and as unpolished as your dad's old Angle grinder. All that served alongside your favourite cheese and onion crisps”

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Gazing at the stars is looking at the past. The galaxies send you messages from thousands of light years away. That overwhelming feeling is present on Free Andromeda by Timothy J. Fairplay. An album grounded on earth while floating through eternity with a loose connection to the Milky way. This nine-track record is, as always with T J. F. a delicately balanced mix between dark and light, analogue and digital, vast space and tight basements. With an impressing collection of premium synthesisers and drum machines, TJF showcases some of the most exquisite electronically generated soundscapes heard on this side of 1984. His sound on Free Andromeda can be described as leftfield inspired by various John Carpenter- and Italian horror movie soundtracks together with some West German Kosmische Musik. Thimothy J. Fairplay, somewhat of a veteran on the label, makes deep and warm electronic music celebrating underground sounds from the last five decades. This album is no exception. For all you introverts dreaming of a life in the starshine – here’s Free Andromeda!

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This recording is dedicated to nomads, space travelers, free spirits that visits earth for a brief time to make a mark here on their way to other worlds. They leave traces on tram wagons, walls and in our minds in our cities before moving on into the unknown. Especially one. A slow build up to a jungle crescendo is how “Iris” develops. This is a fine example of how Fontän effortlessly makes crossover music – no compromises needed in neither end of the spectrum, this music flows naturally. The dreamy music box-sounding intro of “Mast” falls into a deep half beat where warm E-bow guitars and sweeping synthesizers carries the music higher and higher away from the ground. These two tracks are a peaceful homage to all the cosmic kings and queens that have spent time here on earth. Safe travels!

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This recording is dedicated to nomads, space travelers, free spirits that visits earth for a brief time to make a mark here on their way to other worlds. They leave traces on tram wagons, walls and in our minds in our cities before moving on into the unknown. Especially one. A slow build up to a jungle crescendo is how “Iris” develops. This is a fine example of how Fontän effortlessly makes crossover music – no compromises needed in neither end of the spectrum, this music flows naturally. The dreamy music box-sounding intro of “Mast” falls into a deep half beat where warm E-bow guitars and sweeping synthesizers carries the music higher and higher away from the ground. These two tracks are a peaceful homage to all the cosmic kings and queens that have spent time here on earth. Safe travels!

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The music on this full-length record by The Idealist, released on Höga Nord Rekords could work as a soundtrack for a Voodoo-horror-movie. It´s creepy acid-driven sound, often with a 303 as the centrepiece of the rhythm, is the kind that you´d expected to being chased in a maze of trees to. Something threatening lies in The Idealists second release on the label. His Leftfield/techno is both a dark cold electronic adventure with metallic percussions, both a distorted image of a vengeful nature; a forest working as a single entity to find and feed on human souls. Just like contemporary acts like Ramadanman and Appleblim, The Idealist contributes and develops a sophisticated yet primal branch of modern, uncompromising electronic music.

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Imagine Andrew Weatherall producing Pere Ubu. The 7” Taki Chrome / Strummer Maxxx single by Pink Skull released on Höga Nord Rekords give a hint of how such a collaboration would sound. Mid seventies kraut rock á la “Neu 75” meet leftfield and sophisticated punk. The record has an organic warmth to it yet the excessive use of electronics: most instruments on the tracks are synthesizers and drum machines – all Moog, Korg and whatnot.
In the warmth of the Pink Skull-sound you suddenly get a wash of cold, hard rain from all directions. These elements of surprise create edges in the round soundscape and brings chaos to the mix. This is of course all part of Julian Grefes (founder of Pink Skull) plan. Pink Skull propels you out of the quarantine like a shiny metal free bird released from its rusty cage.

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Stuart Evans, aka Sordid Sound System is one of the founders of The Green Door Studio, a not for profit, analogue recording studio in Glasgow which emerged from an increasing disillusionment with the modern ways of music production. His sound holds outsider qualities, being everything but generic and predictable, mixing dub with movie soundtracks in the tradition of Carpenter and Italian likes. On this 7” released on Höga Nord Rekords, SSS deconstructs and rebuilds music in an imaginative style, pairing tribe-ritual “back to ape”-beats with synthesized cosmic harmonies. In a way, we are enjoying straight up dub here but this record is also a display of the vivid and creative Glasgow scene centred round “The Green door studio” and record labels like “Invisible Ink” where krautrock and 80’s/90’s electronic music is part of the foundation. Boundless joy for every girl and boy!

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A1. Hold
A2. Tense Soup
A3. Monkey
A4. No Place
B1. Cement Dust
B2. Nothing Blues
B3. Permanent Vacation
B4. Success


With an Arturo Micro brute synthesizer put through psychedelic effects, Modern Ruins keeps the flame of Andrew Weatherall and Suicide burning through times of isolation and disarray. This Synth Wave/New Wave experience of an album, released on LP on Höga Nord Rekords, sums up 2020 with its dark and cold sound.

The title speaks for itself: “Unemployment Disco Line” reflects the desperation in the sound and the reverb-drenched vocals in the back of the soundscape comes from deep within the Covid hole. Sick, fed up and restless!

Drawing influences from masters like the legends above,Rowland S. Howard, Johan Balance + Peter Christopherson et cetera, this debut album by Modern Ruins sums up four decades of underground club music and no matter how long this pandemic goes on we are in “Nothing Blues” until the dance floors open again.

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Timothy J Fairplay is back on the label with a 7” single containing two tracks cut from a rock of uranium. “Pathfinder Theme” and “UFO’s Over China” might differ in sound and tempo but are connected by a radiant feeling. The two tracks bathes in a greenish/yellow bright toxic aura. This plutonium charged music carries with it some quality elements known from his earlier repertoire like for example a primitive yet crisp beat working as foundation to a few but very exquisite synth sounds. Timothy J. Fairplay stands on the shoulders of past Italian masters and the works of John Carpenter but with an accentuated alien feel. Something otherworldly, maybe good, maybe harmful, is hidden in the vibe on both sides of this 7”. The balance between good and evil is very even - yin/yang from outer space!
A. Pathfinder Theme, B. UFOs Over China

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Rickard Jäverlings music can deservedly be described as playful and searching but for that sake not fumbling or too loose around the edges. On Album 4, the second album release from Jäverling on Höga Nord Rekords, he dwells more in dub than on his prior album release, and Jäverlings skillful songwriting is carried smoothly by the soft and fluffy production: the rhythm section sounds as if resting upon a sun warm bed of moss and elements flows in and out of the production like a freshly rippling stream of water deep in the summer forest. Echoes shoots through the pines, the hills and the valleys and makes the album a premium dub experience which dominates large parts of the album. Aside the obvious references to nature that comes in mind listening to Jäverlings music, this album is more than a romantic view on the Swedish wilderness. It flirts, like all quality dub from the seventies and eighties with science fiction and space with broad synthesizer sweeps and delay drenched clouds like imploding and exploding stars somewhere in the outskirts of the Milky way, spreading dust over the Swedish forest. On the final three tracks, Ganjaman_72 takes the album out of the galaxy with spaced out-remixes on some of the songs. With his feet steadily grounded in jamaican music tradition whit a non sentimental and curious view on production, Rickard Jäverling have together with Johan Holmegård (Dungen, Goran Kajfes), Andreas Söderström (ASS, Goran Kajfes) och Ganjaman_72 created the natural follow up to Album 3. TRACK LISTING:A1. Set Piece, A2. Road Across World, A3. Rising Skies, A4. Bruised Banana, A5. I Won’t Get Your Love, B1. From Left To Right, B2. Radiation, B3. I Won’t Get Your Love, B4. From Left To Dub, B5. Radiation Dub


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Jesse is one most interesting electronic acts of the Northern countries. Stiletti-Ana and Kalifornia-Keke make up the core of the band that plays with new genres and often explores new musical areas. In the bands residence, the studio in Helsinki with a collection of retro futuristic synthesizers that would make even William Onyeabor envy, the members are toying with new influences and creates deep pulsating and atmospheric songs. Höga Nord Rekords now release two of them as a 7”. This single has more in common with Stiletti-Anas solo record from 2019 than of earlier releases by Jesse and is more oriented towards and ambient- and leftfield sound than “Fluids” from 2018. The songs bubble and flows beneath a tense surface. The music is suggestive and soft, still with a club nerve in it.


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What new can be said about this incredible band? They have played the most danceable electronic death disco on the planet since 2012…or was it 2112? The past and the future melts together, trying to draw their timeline but anyways, right now their new 7” ”Stonerdisco”/”Superstandard” is out on Höga Nord Rekords. Exorcist have embraced hard rock more obvious than before, especially on the A-side, which is a boogie nightmare with fuzz bass and totally freed from guitar solos. The rhythm section with Osynlige Mann on bass and Tentakel on drums, plows in usual manner down space and time while Vesslans synthesizers shoots gamma rays through Exo-universe. The B-side is haunting, unsentimental dystopic disco. The Exorcist prove that they still hold the powers of making supersonic dance music! TRACK LISTING: A. Stonerdisco, B. Superstandard


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