Repress!

Swedish producer Martinou returns to Nous'klaer Audio for another dream inducing dance record.

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Repress!

the debut release of malmo in sweden based producer “martinou” on mule musiq.

we loved his previous release on nous'klaer audio and turbo.

we’re strongly feeling he is one of the best upcoming producer.

there are four first class atmospheric psychedelic deep house.

hope you like it.

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Repress!

Martinou lands on Nous'klaer Audio with his debut album RIFT. Emerging from a waking forest entranced by sun-rays reflected in the morning dew and the sound of rustling leaves in the rising wind. RIFT is a captivating road through the riddles of an imaginary landscape, full of noisy and organic textures bound by hypnotic and soothing melodies. From the calm opener of Absorption (Citywide) to the breathtaking Cirrus Apparition, and from the piercing tones of Velvet back to the closing act ...in all it's splendor. An album consisting of twelve tracks for every moment, a triple vinyl suited for warming up and tearing down a dancefloor, but best listened to from start to finish. Artwork by Romee van Oers. Including download code.

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UntilMyHeartStops' first release of 2017 comes from Swedish artist Martinou, of Sewer Sender and Rinse France. 4 Slices of captivating deep techno wizardry.


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Lenxi's debut album on Nous'klaer Audio receives a well-deserved remix treatment, breathing new life into its original dream world. Kindred spirits Polygonia, oma totem, Human Space Machine, and Daisy Moon each reimagine the material through their own distinct sound. A powerful and diverse collection of reinterpretations: From intricate, hypnotic textures to driving, dancefloor-ready energy, each remix opens a new pathway towards a vibrant second life primed for club systems and festival stages alike.

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Repress!

Swedish producer Martinou returns to Nous'klaer Audio for another dream inducing dance record.

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It's the end of the liberal democratic order. We regress. Back in time. To an era of authoritarian strongmen. Fascists. Morons. Humanity in reverse. History in reverse. Time in reverse. In reverse.

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Nous'klaer Audio presents Nikos: A central figure and driving force of the Rotterdam nightlife, behind the scenes as well as on stage with powerful, ever-evolving live performances. Four tracks to make your body move, cut loud and going deep. The release marks the start of a new series on the label dubbed Spine. Supporting the head, connecting the brain to the body, a base for movement. The Spine series will focus on flow, while remaining energetic and driving. The sound design is bending and twisting, the solid sub bass will keep you grounded. The release comes in a special sleeve designed by Alice Vink aka Dirtydms.

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Swedish producer Mattias El Mansouri (Aniara Recordings) returns to Nous'klaer Audio with a three hefty House cuts.Swedish producer Martinou returns to Nous'klaer Audio for another dream inducing dance record.

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Nous'klaer Audio proudly presents Lenxi and her debut album: 'Did you get the dream I sent you?' A personal 10-track long player balancing IDM, indie pop and techno, which was written in and about a period of life where heartbreak and threats reinforced each other, creating an inescapable loop of isolation. Attempting to regain confidence and hope, a process of dreaming up a fictive emotional escape emerged. Paintings, sketches, voice notes, and a first few synth-lines took shape--laying the groundwork for this very album. In the tail of the storm, the London-born, Amsterdam-based producer and DJ refined her ideas further in places that carried hopeful memories. Places that felt familiar. Revisiting studios in beloved locations from the past --in London and Paris-- and seeking for the new --in studios and the Westcoast waters of L.A.-- all helped to shape those purest ideas into full songs forming a story that demanded closure. Lenxi's debut album is a stunning sequence of dreams hinting at hope combined with nostalgia--built on a strong force battling the vulnerability of being alone--and ultimately finding a way out and onto the dance-floor. The album is pressed on 180g vinyl and comes with a download-card.

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Oddball indie-pop band Meetsysteem returns this spring with their long-awaited third studio album; their most beautiful one yet. What began as a search for a simple solo-record, a warm sound and a feeling reminiscent of their debut release, Geen Signaal, evolved into something far greater. In an attempt to rediscover that feeling, the writing began in the same spaces in Thailand where Geen Signaal was produced. It was there, on the other side of the globe, where a familiar face would become the source of inspiration. The Moon, floating in the vast endlessness of space was the guiding artistic force. Reconnecting Meetsysteem with their remarkable lyrical poetry, ambiguous messages combined with a subtle hidden darkness. Meetsystem regained their rare ability to create a vacuum to float in, just like the moon looming above us. The journey ignited a curiosity to question what forces act upon us keeping us in place and what is really on the other side? Along the way answers were found together with the people who crossed paths with Meetsysteem; like-minded artists who were simultaneously grappling with the same questions. Through their collective reflections this "would be" solo record turned into a powerhouse of musical collaboration. With poetry by Pelumi Adejumo, existential outcries by punk-activist Sophie Straat, metaphysical lyrics by Lewsberg's Arie van Vliet, weighted vocals by Ranie Ribeiro and Nana Adjoa, a meeting with Giant Julie and a wealth of extra hidden features, from voice memos to trumpet solos: the album became a collage of life--making it the freest, darkest, and most complete Meetsysteem album to date.

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Calling Mattheis a pillar of Nous'klaer Audio would be an understatement. Founded in 2013, the label was at the time solely created to put out Mattheis' Isms EP. Now, twelve years on, we present his latest album: Waiting for the Silhouette. The forty minute LP full of dreamy techno bliss explorations starts out, and is glued throughout, with ethereal modulating synths. Dreamscapes fuse into scattered drums and shifting patterns briefly usher in changing phases. It's in these moments when the unworldly contours take form and are built upon by other emerging elements. Waiting for the silhouette is a record about things coming to life, outlines that start to appear and shapes evoking memories that could as well be premonitions. Minimalism and maximalism become indistinguishable on this album, through the trip in between. Artwork by Frederic Dumoulin. The record is cut inside-out and comes with a downloadcard.

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Blending late 2000's minimalism and harmonies with razor-sharp sound design, Nous'klaer Audio is excited to present Erik Luebs. The American via Japan techno producer joins the label with a four-track solo EP dropping in 2025. While Erik has released music on other labels sparingly, his self-released catalog is vast, versatile, and deeply immersive - a favorite on repeat at Nous'klaer HQ. We're proud to present his first offering with us. Glimpse of Reality is a deep dive into syncopated rhythms and intricate sound design. The EP is rich with atmospheric sounds that are meticulously crafted yet hit with real impact. Each track is layered with delicate textures and packed with detail, rewarding close listening as new elements reveal themselves with each play - especially on big soundsystems.

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Straight from the bustling scene of Brussels comes Nous'klaer Audio's latest signing: an effervescent debut album by the young Belgian-Japanese producer, live-performer, pianist and DJ Gaiko. Gaiko (real name Kaito) bursts onto the scene with a nine-track full-length album that highlights the rich and diverse output of this emerging talent. His first offering spans left-field electronics, IDM and DnB, blending intricate drum-programming with lush synths and contemporary, contrasting piano pieces. The long player has been shaped into a push-and-pull dynamic of tempo and mood, a flow of quests that gradually grow into their entirety. From atmospheric textures to tight, propulsive beats, Gaiko builds layers that ripple into each subsequent track. This contrasting yet complementary energy flows from the tender "Millennium" into the unassuming highs of "Setagaya," while the floating electronica of IDM-leaning tracks "Subdued" and "Ever's Lullaby" build up to standout tracks "Martyr" and "Crush." Gaiko's self-titled debut balances euphoria with introspection through an unusually sophisticated playfulness, a rare quality that makes this vivid young artist all the more promising. The 180g vinyl comes in a heavyweight sleeve with artwork by Loe Duval (aka Barwouf) and includes a download card.

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***Standard edition with black vinyl, black inners and printed centre labels***

Nous'klaer Audio proudly presents Paerels III (aka Pearls 3), the third and final edition of its beloved 3x12" compilation series. This release brings together a refreshing splash of sounds, unbound by genre, blending deep-listening pieces with driving techno, rave-tinged house, and a few playful surprises. Contributions come from both familiar faces and new voices on the label, with some tracks pulled from the archives and others fresh out of the studio - curated by label-head Oberman. Featuring artists like Megan Leber, Mattheis with a remix from Pye Corner Audio, Marie K, Mattias El Mansouri, Cooper Saver, Kems Kriol, Martinou, Human Space Machine, Koraal, Eversines, Erik Luebs, Mathilde Nobel with an Oceanic remix, Mary Lake, and lastly Gotu Jim.

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***Limited edition with clear vinyl, white inners, printed centre labels and holographic sticker on B-, D- and F-side***

Nous'klaer Audio proudly presents Paerels III (aka Pearls 3), the third and final edition of its beloved 3x12" compilation series. This release brings together a refreshing splash of sounds, unbound by genre, blending deep-listening pieces with driving techno, rave-tinged house, and a few playful surprises. Contributions come from both familiar faces and new voices on the label, with some tracks pulled from the archives and others fresh out of the studio - curated by label-head Oberman. Featuring artists like Megan Leber, Mattheis with a remix from Pye Corner Audio, Marie K, Mattias El Mansouri, Cooper Saver, Kems Kriol, Martinou, Human Space Machine, Koraal, Eversines, Erik Luebs, Mathilde Nobel with an Oceanic remix, Mary Lake, and lastly Gotu Jim.

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Eversines returns to Nous'klaer Audio with a bouncing four-tracker EP. Warm acid lines laced with shimmering pads on top of electro-leaning drums. A versatile release to bring in the bag for club-nights and outdoor morning sessions. Full of feelings and always grooving.

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Nous'klaer Audio proudly presents Nicola Cruz's latest full-length album, Kinesia. On his third studio album, the Ecuadorian producer masterfully blends rich studio sessions with deep analog synthesis. Kinesia invites the listener to channel an inner voice - to pick up thoughts, words, and messages as if ancient information traveling through time has been received. This album functions as a form of 'antenna,' translating these ideas into compositions and movement. The album begins with a 5/4 rhythm structure, summoning the voice of machina into a textural atmosphere, led by Perma, Nicola's vision of an infinite breaks vortex, and sustains the tension with the meditative Telepathine, a substance fictionally associated with telepathy. Regardless of the tempo, each track is intricately laced with chants, subtle percussion, textures, and spacious details that draw you back for more. With Kinesia, Nicola Cruz continues to evolve his signature sound and takes you along for the ride. While the album is crafted for a deep, introspective journey, the kinetic influence remains ever-present on dance floors.

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***Limited Repress in Black Sleeve and Stamp*** Berliner Robert Dietz lands on the Rotterdam label Nous'klaer Audio with the summery five-tracker RIP To My Idea Of You. A record infused with beautiful melodies and bright energy boosting drums - for the club, home and everything in between.

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Preceding Nicola Cruz' new album Kinesia coming on Nous'klaer Audio this autumn, the Rotterdam label and Ecuadorian producer present the first album single with two vinyl only remixes on a limited 12". Under his alter-ego Fauna Extinta, Nicola Cruz reworked the track Perma into a sublime grooving house remix and dub version. Limited to 200 copies. Stamp design by Pedro Zoz.

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Comforter2's 2023 tape album gets the remix treatment! By none other than Peach, Alex Kassian, Downstairs J and RDS.

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Phantasy transports back to 1982 for a faithful reissue of the highly sought after ‘Fools Are Friendly’ from Xclusiv, carefully re-mastered from the original tapes. The alias of sisters Karen and Maxine Berlinski, Xclusiv emerged inconspicuously from the London borough of Croydon with a sophisticated vision of cosmic disco pop, linking the suburbs with Soho’s neon-tinted nightlife. Decades later, and in close collaboration with the sisters, this highly sought-after record arrives lovingly reissued by Phantasy in its original, sensuous form. Originally self-released on Le Maitre Music, a record label spun-off from their family-run fireworks and pyrotechnics company, ‘Fools Are Friendly’ has the irresistible sense of a radio hit that never was. A brilliant DIY reflection of the disco and soul that dominated the charts of the time, its glossy, primitive electronics echo the synth experiments of Giorgio Moroder or Didier Marouani, pioneers that were transforming pop music. The extended mix provides an overture to the sisters’ twinned vocals, unfolding with delectable disco drama. In contrast, the Instrumental Mix lets the record’s blend of elements truly breathe, a synthesised version of Xclusiv’s irresistible vocal hook holding court between timeless arpeggios and subtle modulation.

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Nils Frahm reveals new ‘Solo’ album and the ‘Klavins 450’ piano project on the world’s first Piano Day! Berlin-based composer Nils Frahm has fast become know as a prolific performer and recording artist with the piano at the core. Piano Day is an official body created by Nils and his closest friends, and will house various exciting, piano-related projects. The first project revealed by the Piano Day team is the building of what will be world’s tallest piano: the Klavins 450. As the life-long dream of David Klavins, it even exceeds the currently largest upright piano there is, the Klavins M370. Situated in Germany, Tübingen, 1.8 tons in weight, 3.7 meters high, its longest strings are about 10 feet in length. And it was on this piano that Nils recorded eight improvised piano motifs in one sitting, which form his new ‘Solo’ album – available for free download on the world’s first Piano Day on the 88th day (March 29, 2015) fromwww.pianoday.org. Once recorded, Nils began to think of ways to release the album as a gift to his fans, similarly to his 2012 release ‘Screws’, and that’s when Nils came up with the idea of Piano Day. With a target of 100.000 euros to reach, Nils eases his fans into sharing their money for the project with this free release. All direct donations and a portion from any record sales will go to the Klavins 450 project until the target has been hit. LINER NOTES: Situated in Germany, Tübingen, 1.8 tons in weight, 3.7 meters high: the Klavins M370 is probably the largest upright piano there is. Its longest strings are about 10 feet in length. This colossus was initially built to evaluate a useful maximum size of the piano. Driven by the assumption that pianos could sound better, David got to work in 1985 and finished his instrument 2 years later. Back then I was 5 years old, having no idea how much I would fall in love with it. When I finally met David Klavins and his enormous piano 27 years later, in the very beginning of 2014, I arrived with empty hands. I didn't know what music, what songs I was about to record in the next 3 days. Every piano has unique features and certain strengths. Some have more, some have less of them, but there is no bad piano out there,although I do moan about them almost all the time. Some simply hide their secrets better than others. These thoughts made me start to write music when I am with the particular instrument, the tape running. The 8 pieces featured on this album were selected out of hours of improvising, happy hours as I recollect. The joy of playing and listening to the sound of the instrument made me play slower and slower, softer and softer, as almost every new note was destroying the immense beauty and sustain of the previous note. I was preparing the instrument with parts of my felt collection, carefully tuning mic positions with the help of my dear friend and recording gear wizard Matthias Hahn and simply playing whatever came to my mind. In conversations about this I am still struggling for words in order to praise David’s instrument. Words simply don’t do it justice, so listen for yourself. With lots of love, Nils Frahm

Tracks
01. Ode
02. Some
03. Circling
04. Merry
05. Chant
06. Wall
07. Immerse!
08. Four Hands

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Gondwana Records is pleased to announce ‘Interlude’, the second album from Estonian-born, London-based composer and pianist Hanakiv. Showcasing an expanded sound, the compositions trace a journey of overcoming the past, unfolding into a seductively unconventional style imbued with hope and a therapeutic quality.

Listen: https://on.soundcloud.com/WRD7TM2IZuRh9JhhPg

Track Listing:
A1. Intro
A2. Sunbeams
A3. Numb
A4. Hommikud
A5. Liikumatult
A6. Ma Langen

B1. May Song
B2. Lõpulau
B3. Lastele
B4. January Song
B5. Stillness


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Rival Consoles has been concurrently in the foreground and background of electronic music since the late 00s; conjuring tense melancholia for Black Mirror soundtracks, playing in front of 10,000 dance fans at Drumsheds, selling out London’s Barbican Hall, and logging an expansive, wandering collection of synth-sculpted albums that explore a myriad different styles and aesthetics—but always with human emotion as their lodestar. Landscape from Memory, the ninth studio LP from the UK producer and musician born Ryan Lee West, finally blossomed following a frustrating fallow year away from the production desk. For West, having spent the past decade producing and writing in a habitual way, falling out of love with creativity meant a slowing of the clock that makes him tick, a sense of being swallowed whole by some elementary force. However, the time out also made room for his most invigorating record yet.

Partly stitched together from a scrapbook of discarded audio snippets, Landscape from Memory demanded a degree of openness and vulnerability in its assembly. “There is a kind of strange beauty to it because it involves the past, present and future in a very strong way,” offers the Erased Tapes mainstay. He set to work massaging melodic kernels into full tracks, like the skippy, haunted club shuffle of memory-jogging lead single ‘Catherine’, which is dedicated to his partner. “It’s extremely open, just a naked melody on drums, so exposed as an idea… I think because she was so excited by it, I was like, ‘Oh, yeah, I'm excited too, actually, I just didn't realise,” he reflects.

Appropriately, the title track became the first piece of music that made West “feel an emotional reaction after a long time of having zero reaction”—closing the record transcendently in a fever dream of euphoric synthwave—although ‘Catherine’ can be understood as the spark that lit the fuse, bristling with energetic joy. Similarly, ‘Known Shape’ makes a play for an otherworldly dancefloor, melding a loping drum pattern to a twitchy soundscape. Granted, some of the standout moments of the LP can be found lurking in its weirder, wilder corners, from the broken-sounding synth that runs like a rough river through ‘2 Forms’, to the head-nodding, disembodied bounce of uncanny valley bop ‘In a Trance’. “I remember making that in a New York hotel room, starting it, when Robert (Raths, Erased Tapes founder) was doing something on his phone and I was just being annoying in the background,” recalls West of one of several pieces made on the road. Yet Raths expressed his excitement about the track as he was hooked instantly.

“I like music that has a sense of momentum, really pushing forward,” he adds of the ‘Landscape from Memory’ ice-breaker. “And it just instantly has that from the first breath. So I kind of like moments like that when they appear.”

These climatic productions are characterised by their propulsive quality, and driven by West’s own push to step outside his comfort zone, having found inspiration flowing from new and unfamiliar sources. After his self-built Hackney studio suddenly felt too controlled of an environment, West altered course, mapping out tracks away from his desk. To that end, Landscape from Memory is a travelogue of creativity on the move, a collection of postcards from everywhere, and an album defined by its restlessness.

Just like the record itself sprang from conflicting emotions, bliss and dread tussle audibly for dominance throughout. You can hear this tug-of-war in the radiant swell of ‘Nocturne’, an eerie, reverb-drenched meander through classical tones, or the warm piano figures that collide with percussive crunch on ‘If Not Now’. Away from the music, this essence resides in a grainy film photo that in West’s eyes holds the record’s emotional DNA: a serene vista of tall green trees that hide the roaring A12 road beneath this studio. “I just think it’s quite evocative because even though it was an alarming place, it also looks really comforting at the same time,” he muses.

This dichotomy flourishes in that sweet spot between knotty ambient and widescreen electronica, where environmental tones and electro-acoustic textures converge to create a living document of sound. On Landscape from Memory, sonic touches hint at something intimate and familiar: cracking ice, the buzzing of a fridge, the distant hum of the motorway. Investing more time with the acoustic guitar in the initial stages helped West convey this homespun quality. For instance, on ‘In Reverse’, gossamer melodies are layered to create “a tapestry of guitar parts” while ‘Gaivotas’, which was born out of a residency at Lisbon’s synth hotspot Patch Point last February, contrasts “extremely digital synths” with a cheap acoustic guitar that snakes through dense, rhythmic terrain.

“A lot of things that go on in the music are like a guitarist's perspective of treating sounds,” he offers, explaining that much of the record involved “crudely recording” ideas into a laptop microphone. “I just like the honesty of it,” he says of the guitar, also pointing to the record’s additional array of “unusual recording techniques.” Among these, drums were placed on the sofa to create the muffled, deadened sensation on ‘Coda’, where a woozy shoegaze fog and angel sighs build into a jumpy, organic groove. Or ‘Tape Loop’, which “importantly, was recorded with a microphone. So not only does it slow down the music, but also the dimensions of the room the microphone picks up changes,” he explains.

Growing up, West would often mess around with the materials on his parents’ land in the small town of Syston outside of Leicester, hammering nails into wood and “sawing stuff,” which ignited a strong curiosity for making and materials from childhood. He soon found his way into music, starting on the guitar before teaching himself digital production and going on to study music technology at Leicester’s De Montfort University. He later became the first signee to the nascent London label Erased Tapes in 2007, establishing the label's shorthand for exploratory post-minimalism. IO, his debut album as Rival Consoles, came out in 2009, while his output has since evolved across nearly two decades of activity, from the critically acclaimed 2018 offering Persona to Landscape from Memory’s 2022 predecessor, Now Is.

As a multidisciplinary artist he has always been passionate about imagery and how it relates to and inspires music. His 2020 record Articulation was informed by drawings he made in his sketchbook. He has also been experimenting in various motion media, from programming particle animations in Max MSP to filming and editing daily video clips, and manipulating imagery in Touchdesigner or Blender, which would shape the visual counterpart in his live A/V shows since 2015.

As Rival Consoles, West’s calling card is his ability to channel hope, pain, sadness, and euphoria in one fell swoop, twisting the key in the lock of his internal world and telling stories without words. Crucially, Landscape from Memory is as much about zooming in on the details as it is about seeing past the horizon. Like a saturated photograph or an abstract painting daubed with bright splotches, Landscape from Memory is a riot of colour, an album blazing with a sound-shaper’s renewed love for his craft.

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"Especially in this time of isolation we need to remind ourselves of the importance of art, just how magical a medium sound is to express, to raise and answer question marks, to open and mend the soul... it's the most universally speaking of all languages as it knows no borders." At a time of global separation, Erased Tapes founder and sonic explorer Robert Raths stitched together a project putting what is most important at the forefront - connection. This collection of works by undisclosed artists from the roster gives space and time to appreciate art at its most honest. By shedding the information noise usually attached to release cycles and by bringing music back to the magic of sound, we're presented with an opportunity for exploration when we need it most. Robert spoke to Mary Anne Hobbs of BBC 6Music about how releasing music without revealing its origin through the 20..---0 morse code series enabled him to share what him and the artists have been working on in real-time as opposed to the usual delays that come with releasing music. "All the information, all that noise... As much as it can help give context, it also takes something away. It tends to cloud your senses and take away from the magic of when you first hear something that's completely unknown to your ears. How wonderful a sensation it is to just listen and let the music speak for itself without prejudice or the need for any references." - Robert Raths

2 LP+Dwn

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Newly remastered version of Oren Ambarchi’s long out-of-print classic Hubris originally released on Editions Mego in 2016. Expertly remastered by audio wizard Joe Talia who worked with the original mixes, highlighting the myriad details of the audio with forensic precision, previously unheard up until now.

From the 2016 press release: Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi’s Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi’s love of Wang Chung’s soundtrack to William Friedkin’s To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O’Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell’s electronic percussion in its final section. After a short second part, in which Ambarchi, O’Rourke and crys cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronics from Ricardo Villalobos and the twin drums of Will Guthrie and Joe Talia, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi’s own fuzzed-out harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions. Players: Oren Ambarchi, crys cole, Mark Fell, Will Guthrie, Arto Lindsay, Jim O’Rourke, Konrad Sprenger, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman.

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WAS - Word and Sound Medien GmbH
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Germany
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Second Pressing, Fanzine is now printed on the innersleeve.

With two critically acclaimed albums and a swathe of award-winning production turns under their belt, Ana Frango Elétrico present their most confident and accomplished work to date: Me Chama De Gato Que Eu Sou Sua / Call Me They That I’m Yours. Gesturing to a tradition of Brazilian boogie music, but bouncing with modern pop ebullience, the album sees the Rio artist evolve from a captivating upstart into a surefooted scene leader in full stride.

At just 25, the prolific artist and producer has already garnered worldwide admirers. Ana’s sophomore Little Electric Chicken Heart was nominated at the 2020 Latin Grammys. Since then, standalone singles have received the WME ‘Best Music Producer’ Award, recognising Ana’s deep passion for music production – a passion which has led to collaborations with nascent Brazilian stars Dora Morelenbaum, Illy and Sophia Chablau. Most recently, Ana was hailed for their co-production of Bala Desejo’s 2022 Latin Grammy-winning album Sim Sim Sim.

The new album finds Ana at their most assured and full voiced. Album opener “Electric Fish”, with funky bass and shimmering backing vocals, sets a buoyant tone. “Boy of Stranger Things” is its bombastic counterpart. It’s the grooviest Ana has ever sounded. And the most brazen. Lyrically, where Ana was once oblique on personal matters, they are now forthright – lucidly exploring their gender identity, citing accessible cultural references, and often singing in English.

“I started this album in 2021 with the intention of showing, in means of sound, understandings and feelings about queer love, subjectively exposing myself,” the non-binary artist states – before qualifying that though “feeling was its driving force, the album is really about musical production."

“There’s so many references to different decades,” Ana explains. “Seventies drums with eighties processing … Going back, getting beyond … Testing the limits of organic sounds”. Characteristically playful, on Me Chama, Ana takes vivid and rewarding detours through funk-inflected R&B (“Dela”) and art pop (“Dr. Sabe Tudo”). “Nuvem Vermelha” is a cinematic chanson with lush strings that recalls Arthur Verocai. Then, “Coisa Maluca” loafs with the indie insouciance of Canadian slacker Mac Demarco. Later, “Let's Go Before Again”, is a full-on drum machine workout evocative of Stereolab.

“Even if people don't find my own references here, they'll find theirs,” observes Ana. “Maybe that’s this record’s biggest goal.”

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On The Arboretum, Analogue Attic co-founder Alex Albrecht leans further into the dancefloor, channelling the more hypnotic and driving energy that Butter Sessions is known for. Across the five tracks, listeners are treated to Albrecht's signature melody-driven deep house, bolstered by intricate rhythms, a deeper low end, and hypnotic loops designed for larger systems and later hours. The tracks are playful yet serious, functional yet full of personality. There's the joy of long blends and the tiny details that bubble up in the mix: field recordings from time spent away, nostalgic archival material, and subtle harmonic shifts that keep the tension simmering. It's a record built for dancers, but also for home listening. By embracing a tougher, more energetic sound, this release expands Albrecht's sonic world while staying true to the textural depth and sense of journey that run through all his work.credits

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More