quête:15 years

Record 3 of the Cartulis Music 15th Anniversary compilation, marking fifteen years of independent activity across club culture, events, and releases.

Cartulis 15th Anniversary Compilation — 15 years of rhythm, risk, and reverie. Still dancing, always forward.

Record 3 of the Cartulis Music 15th Anniversary compilation, marking fifteen years of independent activity across club culture, events, and releases.

Cartulis 15th Anniversary Compilation — 15 years of rhythm, risk, and reverie. Still dancing, always forward.

Guti returns to Crosstown Rebels with improvisational new EP, ‘You Know Ya Miss Me’.An exploration of instinct, groove, and the new Latin sound, the Argentinian live maestro returns to Damian Lazarus’ imprint on 13th March 2026.

A new wave of Latin-infused groove arrives on Crosstown Rebels, and South American favourite Guti is at the helm. Returning to Damian Lazarus’ imprint with a release that captures his music in its most immediate and expressive form, his four-track ‘You Know Ya Miss Me’ EP marks his first material on the label since 2020, reigniting a relationship that stretches back over 15 years. For the Argentinian artist, the studio has always been a living room, a jam space, a place where ideas can breathe, collide, and evolve naturally. Throughout his career, Guti has blended groove-driven house and Latin percussion into a signature sonic language in which spontaneity guides the process. The result here is a new release that feels as alive as it does intentional, designed for ears, hearts, and dancefloors alike.
Title track ‘You Know Ya Miss Me’ opens with warm rhythmic layers and subtle instrumental interplay, a space where melody and movement coexist freely. ‘What You Give’ follows, pulsing with the organic energy of jam-session dynamics, each percussive gesture and melodic line alive with intention. On the flip, ‘The Truth’ unfurls a rich tapestry of percussion, soulful vocals, and improvisational motifs, while ‘La Nueva Onda Latina’ closes the EP as a vivid statement; an embodiment of the “new Latin sound” at the heart of Guti’s ethos, where instruments, electronics, and collaborative energy meet on equal footing. At its core, ‘You Know Ya Miss Me’ is a showcase of a musical mind at work: deliberate yet free, precise yet flowing, rooted in tradition but open to the unexpected. It’s a reflection of Guti’s belief that dance music can be both kinetic and expressive, that improvisation and groove can coexist, and that the most resonant sounds are born when musicians let go in the moment. This EP invites listeners into that space, to move with the rhythms, and to experience a sound unmistakably Guti; organic, vibrant, and alive.

To celebrate a decade and a half of excavating the hidden treasures of the Polish underground, The Very Polish Cut Outs presents a definitive anniversary compilation featuring 15, mostly unreleased, tracks from the years 2008-2025.
Since its inception, the label has been instrumental in bridging the gap between Poland's rich musical heritage and the modern dancefloor, and this release serves as a comprehensive time capsule of that journey. From early, legendary edits that defined the label to brand-new, forward-thinking productions, the collection showcases the evolution of a label that turned crate-digging into a national cultural phenomenon.
The compilation brings together a heavy-hitting roster of the label's most influential contributors, featuring essential tracks and rarities from artists such as Pejza?, Ptaki, Holiday 80, Skalpel, Etnobotanika and the label boss Zambon. The sonic palette is vast, moving seamlessly from sun-drenched Balearic and dusty disco-funk to the grittier realms of house and breakbeat. It is a celebration of the label's unique ability to transform forgotten melodies from the 70s and 80s into timeless club anthems, while simultaneously pushing the boundaries of contemporary Polish electronic music.
In keeping with the label's deep-rooted commitment to physical culture, this milestone release is a strictly limited, vinyl-only pressing. The amazing artwork is as always, the work of Bartosz Szymkiewicz.

To celebrate a decade and a half of excavating the hidden treasures of the Polish underground, The Very Polish Cut Outs presents a definitive anniversary compilation featuring 15, mostly unreleased, tracks from the years 2008-2025.
Since its inception, the label has been instrumental in bridging the gap between Poland's rich musical heritage and the modern dancefloor, and this release serves as a comprehensive time capsule of that journey. From early, legendary edits that defined the label to brand-new, forward-thinking productions, the collection showcases the evolution of a label that turned crate-digging into a national cultural phenomenon.
The compilation brings together a heavy-hitting roster of the label's most influential contributors, featuring essential tracks and rarities from artists such as Pejza?, Ptaki, Holiday 80, Skalpel, Etnobotanika and the label boss Zambon. The sonic palette is vast, moving seamlessly from sun-drenched Balearic and dusty disco-funk to the grittier realms of house and breakbeat. It is a celebration of the label's unique ability to transform forgotten melodies from the 70s and 80s into timeless club anthems, while simultaneously pushing the boundaries of contemporary Polish electronic music.
In keeping with the label's deep-rooted commitment to physical culture, this milestone release is a strictly limited, vinyl-only pressing. The amazing artwork is as always, the work of Bartosz Szymkiewicz.

Mastery, London’s pioneering sound studio, has spent its first two years creating live experiences and installations exploring sound as a gateway to altered states. Now, with co-founders LWE, Mastery enters recorded music with Quantum Sound, a first-of-its-kind project combining sound meditation, breathwork, neuroscience and ambient electronic composition. Announced in December in collaboration with Houndstooth, the album builds on Mastery’s ongoing exploration of sound as both meditation and live electronic music, first introduced through immersive performances by Cherub Sanson, Tim Wheater and Daniel Avery.

Released on 12th February, Quantum Sound positions sound as a psychedelic catalyst, designed for eyes-closed listening. The multi-artist album spans ambient and transcendental spaces, featuring Jon Hopkins, Hannah Holland, Wata Igarashi, Manami, Jennifer Loveless, Silent Shadow and Alessandro Cortini. It also includes a continuous 60-minute mix by Hannah Holland, alongside a 15-minute sound meditation by Cherub Sanson and Tim Wheater with electronic composer Rommek. Following Djrum’s Come Find Me, Ruthlss'’ Dark Angel is out today. Ruthlss is a live electronic artist, composer and producer building a singular musical universe where club culture, classical virtuosity and emotional
storytelling collide. At the centre of the project is a fully authored live show - written, produced and performed entirely by Ruth - that treats electronic music with the emotional and structural depth of film scores and symphonic works, while retaining the physical impact and communal release of the dancefloor.

Five years on from her debut on the label, Surgeons Girl returns to Livity Sound with an EP of explorative, synth-rich techno. In the time since A Violet Sleep announced Sinead McMillan's fulsome analogue sound, she's maintained a considered presence with live, hardware-rooted performance and a select handful of releases.
On A Moment To Machine EP, McMillan showcases a widescreen strain of techno that leans into the expressive, emotional weight of powerful synth composition while maintaining a fierce physicality tuned up for the club. 'Under This Space' and 'Razor's Whip' dart along upwards of 150 without sacrificing depth and subtlety, while 'Steps Right' and 'Silken Place' shelve drums in favour of cascading arpeggios. 'Rested' brings balance to the record with needlepoint rhythmic exploration and pensive pads, rounding out Surgeons Girl's ever-developing, highly personal approach to techno.

THE PARTY is a celebration that has existed for nearly 10 years in Paris. A private event, off the radar of social media, THE PARTY is inspired by the New York Loft, and gathers between 150 and 400 people twice a year, under a church.
It was created by Serge Papo and his wife Maryvonne Beaune. Serge Papo organized the first rave parties in Paris in the early 1990s; he has been a DJ and party organizer for over 30 years.
On January 31, 2026, THE PARTY will celebrate its 10th anniversary, will invite the DJ of the New York Loft, Douglas Sherman, and will launch its label, THE PARTY RECORDS, along with a debut release — the double single Crystal Clear / Zeva — the result of a collaboration between Serge and Etibar Asadli, an exceptional jazz pianist from Azerbaijan who now lives in Paris.

Tomos is no stranger to reinvention. Over the years, his sonic explorations have spanned genres, yet one thread has remained constant—his deep-rooted connection to house music. His earliest co-releases under the alias Vanguard were high-energy French House cuts, built on the foundations of crate-digging and sample collage, channeling the spirit of Daft Punk and the wider French electronic movement.

Now, 15 years later, he returns to those techniques with a fresh perspective, releasing his latest EP Soul Feels Good through the esteemed Noire & Blanche.

Soul Feels Good isn’t just a nod to the past—it’s a showcase of the vast influences that drive his ever-evolving sound. Tomos weaves together an intricate patchwork, merging the meticulous sampling techniques of his early career with a broader, more mature musical palette. The result? A genre-fluid blend of Jazz, House, Dub, Soul, Gospel, Broken Beat, Downtempo and Disco—stitched together with the finesse of an artist who has spent years honing his skills.

For listeners who appreciate the craft of sampling and fans of genre-defying, groove-driven music - Soul Feels Good is a record that demands attention.

DC10 remains one of the most authentic clubbing experiences on the White Isle. It has different golden eras depending on your age, but for minimal lovers, that was 15 years ago, when you would get the likes of Romanina outfit a:rpia:r doing a cult b4b with Ricardo Villalobos. That's the vibe these new edits are going for from the Sorry We Play Vinyl label. 'EDIT4' is all wonky rhythms and twisted synthetic sounds and rising sine waves with chopped vocal fragments. 'EDIT5' is dubby house scattered with congas and 'EDIT6' is a more light and soulful sound for the early morning session with funky guitar twangs and skeletal rhythms locking you in for the duration.

Tom Joyce’s sought after Sounds Benefit label marks their milestone tenth release with “7 Years Of Sounds Benefit”, a carefully curated selection of essential artists and rising talents presented as a double vinyl LP. The two slabs of wax manoeuvre between innovative electro and refined flavours of house and techno for trained ears.

First up is a reissue from S-Max, New Delhi Projects, previously released on Below back in ‘99. A chugging display of sounds that were way ahead of their time. After featuring on SND002, Ben Cohen makes his comeback on the label with Short Night, a breakbeat journey which boasts beautiful and emotive chord progressions. The B side features somewhat of a rarity as Etienne shares a track, Gateway Experience, futuristic energy from the accomplished producer, layered with subtle yet effective acid tones. Label head Tom Joyce delivers 7:15pm, a dreamy quest through melt in your mind synths and punchy electro drum patterns.

As we approach the second vinyl, we uncover further gems from the archive as Lowtec kindly shares his unreleased La Java 2014, which was created circa. 2000. Javier Carballo and Aniano have been making positive movements with their Hdz moniker in recent times, and Moog is another stamp of approval, a warm bass line converses with the crisp drums and spaced out elements. On the flip, Berlin based Englishman Rob Amboule turns out a killer elasticated groove which takes you for a late night shuffle in Scrap It. Huge fun for the hazy hours on the dance floor. Nuversion, formerly known as Juliano, showcases his debut track under this name with Crepuscule, addressing further pensive moods with his classy production. Ending the fantastic release in a meditative state of mind, cruising on sweet melodies.

What can be said about Joey Beltram’s ‘Energy Flash’ that hasn’t be said already! The track still gets rinsed, week in, week out, across radio stations, clubs and festivals, testimony to the sheer importance of this techno classic.

Released originally in 1990 on the R&S Records label, ‘Beltram Vol. 1’ included the aforementioned ‘Energy Flash’, alongside three equally ground-breaking dance tracks that possibly get overshadowed by the big lead track. But tracks like ‘Subsonic Bass’ broke the mould and went on to influence a raft of rave and drum ‘n’ bass tunes, thanks in part to its use of the now legendary ‘hoover’ bass sound. The sinister acid of ‘Jazz 3033’ still sounds as fresh today as it did 33 years ago, and the menacingly titled ‘Psycho Bass’ reveals the EP’s most passive moment, as its solid breakbeat cuts through ethereal tones and chugging synths.

‘Beltram Volume 1’ has been remastered by Beau Thomas at Ten Eight Seven Mastering, and the release comes in an updated sleeve, faithfully recreating the 1990 packaging.

‘Beltram Volume 1’ by Joey Beltram is available on R&S Records from 10th February 2023.

For its 25th anniversary, Cocoon Recordings returns to its roots with an elaborate vinyl LP box set, marking the first part of a two-volume anniversary project. 25 Years Cocoon Recordings – Volume
One brings together exclusive contributions from international artists who have defined the sound and diversity of the label over the past two decades, complemented by fresh talents who are helping to shape its future.
Over the span of 25 years, Cocoon Recordings has created a catalog that now comprises hundreds of releases, 12-inches, albums, mix CDs, and iconic compilation box sets, always bridging past, present, and future. While firmly rooted in techno and house, the label has also provided space for electronica,
ambient, and other evolving genres.
25 Years Cocoon Recordings – Volume One is more than just a compilation. It is both a homage to the label’s history and a glimpse into what lies ahead. With exclusive tracks that embody the Cocoon sound in all its depth and complexity, this release marks a milestone in the legacy of one of electronic
music’s most influential labels, arguably the strongest compilation in Cocoon’s history. To mark this special occasion, Sven Väth’s label presents the first of two carefully curated volumes, uniting 15 exclusive tracks from international artists in celebration of nearly three decades of Cocoon
Recordings. The luxurious 5x12" box set features a spectral-reflective foil finish and includes contributions from renowned names such as Butch, Robag Wruhme, Josh Wink, Guy J, and Dino Lenny, alongside longtime companions of the label including Extrawelt, Harvey McKay, Johannes
Volk, and Raxon. New discoveries of recent years, Jonathan Kaspar and Riccardo De Polo, enrich the release in their own distinctive ways. The compilation is completed by the unmistakable talents of Damiano von Erckert, Fedele, and ja:ck, who provide the perfect conclusion to the first of two parts.
This release sets the stage for what's next: a daring diptych where musical voices emerge, shining with originality and passion, carrying the spirit forward. The story is just beginning. Something special is on the horizon. One can only wonder which artists will shine on the second chapter.

Marking 50 years of David Bowie’s groundbreaking tenth studio album, the limited-edition picture disc LP is pressed from the same master and includes an exact reproduction of the original promotional poster used at release.

For this anniversary edition, the Half Speed Master album has been recut on a customised late-model Neumann VMS80 lathe with fully recapped electronics, sourced from 192kHz restored masters of the original Record Plant master tapes. No additional processing was applied, delivering the closest possible representation of the album’s original sound.

A future classic - a project resurrected from a collaborative effort of the minds of late and great tastemaker and creator Mike Huckaby & Echospace's, Stephen Hitchell. Coming up on over 15 years since this project was conceived while working together on the Model 500 "Starlight" remix project back in 2008, this project truly captures a beautiful moment in time. During this period there was something magical in the air, a creative synergy and understanding of all things deep! The original mix (2008) results from a few sequences and patterns developed out of Wavetable ideas Mike was creating for a sample library he was curating at the time. The sweeps and transients found in these lofi wavetables truly add to the Detroit sound Mike's legacy was built upon, always staying true to his roots. After a few projects together (and more forthcoming) another collaboration was born with SF based (via Glasgow) producer, Federsen who simply put gives us a deeper than deep tribal stomper we're certain Huck would be dropping at peak hour! On the flip, cv313 + federsen reunite to surf Mike's wavetables once more, creating an addictive hook with a sick DETROIT saw bass deeper than the ocean floor! Intrusion's Dub closes out the EP and sends the listener deeper into the abyss, offering sonic designs from another planet, dubbed out into eternal bliss! We truly hope this project resonates and captures some of Mike's creative spirit and sound design. This 12" is a tribute to a true Detroit hero who's contributions to music and the culture are few and far between, a true legend.

R.I.P. HUCK

Italian artist and researcher Mariachiara Troianiello is Katatonic Silentio, and is an artist able to move fluidly between club culture and experimental practice. A DJ with more than 15 years behind the decks, her selections can drift from musique concrete, ambient, spoken word and global soundscapes to the harder edges of techno, drum & bass, and leftfield electronics. Her work also explores how sound interacts with space and the body and on Lysergic Induction Forge, she dips into IDM, electro, ambient and dub. 'Velvet Dweller" gets underway with warped synths and liquid rhythms, 'Dubbin'Acid' is a slow, percolating rhythm and 'Psychoactive Groove' sounds like the innerworkings of a brain during a psychoactive experience. 'Acid Foundation' closes with a gentle acid-laced ascent. Classy stuff.

The Éthiopiques series returns! Essential archive recordings from an extremely fruitful period in Ethiopian music.

Before “Swinging Addis” took over the world, there was Moussié Nerses Nalbandian — the Armenian-born composer who shaped modern Ethiopian music. Mentor, arranger, and pioneer, he laid the foundations of Ethio-jazz.

This Éthiopiques volume revives his forgotten legacy, recorded live by Either/ Orchestra First issue ever with new exclusive photos and in depth liner 8-page insert.

“Ethiopian jazzmen are the best musicians that we have seen so far in Africa.
They really are promising handlers of jazz instruments.”

Wilbur De Paris
(1959, after a concert in Addis Ababa)

አዲስ፡ዘመን። *Addis zèmèn* **A new era.**
The time is the mid-1950s and early 1960s, just before "Swinging Addis" bloomed – or rather boomed – onto the scene. Brass instruments are still dominant, but the advent of the electric guitar, and the very first electronic organs, are just around the corner. Rock’n'Roll, R’n’B, Soul and the Twist have not yet barged their way in. Addis Ababa is steeped in the big band atmosphere of the post-war era, with Glenn Miller's *In the* *Mood* as its world-wide theme song, neck and neck with the Latin craze that was in vogue at the same period. Life has become enjoyable once again, with the return of peace after the terrible Italian Fascist invasion of Ethiopia (1935-1941). The redeployment of modern music is part and parcel of the postwar reconstruction. *Addis zèmèn* – a new era – is the watchword of the postwar period, just as it was all across war-torn Europe.
The generation who were the young parents of baby boomers** were the first to enjoy this musical renaissance, before the baby boomers themselves took over and forever super-charged the soundtrack of the final days of imperial reign. Music is Ethiopia's most popular art form, and very often serves as the best barometer for the upsurge of energy that is critical for reconstruction. Whether it be jazz in Saint-Germain-des-Prés or the *zazous* who revolutionised both jazz and French *chanson* after the *Libération*, be it Madrid's post-Franco Movida, or Dada, the Surrealists and *les années folles* that followed World War I, the periods just after mourning and hardship always give rise to brighter and more tuneful tomorrows. Addis Ababa, as the country's capital, and the epicentre of change, was no exception to this vital rule.

**Two generations of Nalbandian musicians**
Nersès Nalbandian belonged to a family of Armenian exiles, who had moved to Ethiopia in the mid-1920s. The uncle Kevork arrived along with the fabled "*Arba Lidjotch*", the** "*40 Kids*", young Armenian orphans and musicians that the Ras Tafari had recruited when he visited Jerusalem in 1924, intending to turn their brass band into the official imperial band. If Kevork Nalbandian was the one who first opened the way of modernism, pushing innovation so far as to invent musical theatre, it was his nephew Nersès who would go on to become, from the 1940s and until his death in 1977, a pivotal figure of modern Ethiopian music and of the heights it. Going all the way back to the 1950s. Nothing less. And it is Nersès who is largely to thank for the brassy colours that so greatly contributed to the international renown of Ethiopian groove. While the younger generations today venture timidly into the genealogy of their country's modern music, often losing their way amidst a distinctly xenophobic historiographical complacency, many survivors of the imperial period are still around to bear witness and pay tribute to the essential role that "Moussié Nersès" played in the rise of Abyssinia's musical modernity.
Given the year of his birth (15 March 1915), no one knows for sure if Nersès Nalbandian was born in Aintab, today Gaziantep (Turkiye/former Ottoman Empire) or on the other side of the border in Alep, Syria... What is certain is that his family, like the entire Armenian community, was amongst the victims of the genocide perpetrated by the Turks. Alep, the place of safety – today in ruins.
Before Nersès then, there was uncle Kevork (1887-1963). For a quarter of a century, he was a whirlwind of activity in music teaching and theatrical innovation. *Guèbrè Mariam le Gondaré* (የጎንደሬ ገብረ ማርያም አጥቶ ማግኘት, 1926 EC=1934) is his most famous creation. This play included "ten Ethiopian songs" — a totally innovative approach. According to his autobiographical notes, preserved by the Nalbandian family, Kevork indicates that he composed some 50 such pieces over the course of his career. This shows just how much he understood, very early on, the critical importance of song as Ethiopia's crowning artistic form. Indeed, for Ethiopian listeners, the most important thing is the lyrics, with all their multifarious mischief, far more than a strong melody, sophisticated arrangements or even an exceptional voice. (This is also why Ethiopians by and large, and beginning with the artists and producers themselves, believed for a long time — and wrongly — that their music could not possibly be exported, and could never win over audiences abroad, who did not speak the country's languages).

Last but not least, one of Kevork's major contributions remains composing Ethiopia's first national anthem – with lyrics by Yoftahé Negussié.
Nersès Nalbandian moved to Ethiopia at the end of the 1930s, at the behest of his ground-breaking uncle. Proficient in many instruments (pretty much everything but the drums), conductor, choir director, composer, arranger, adapter, creator, piano tuner, purveyor of rented pianos,... he was above all an energetic and influential teacher. From 1946 onwards, thanks to Kevork's connexion, Nersès was appointed musical director of the Addis Ababa Municipality Band. In just a few years, Nersès transformed it into the first truly modern ensemble, thanks to the quality of his teaching, his choice of repertoire, and the sophistication of his arrangements. It was this group that would go on to become the orchestra of the Haile Selassie Theatre shortly after its inauguration in 1955, which was a major celebration of the Emperor's jubilee, marking the 25th anniversary of his on-again-off-again reign.

At some point or other in his long career, Nersès Nalbandian had a hand in the creation of just about every institutional band (Municipality Band, Police Orchestra, Imperial Bodyguard Band, Army Band, Yared Music School…), but it was with the Haile Selassie Theatre – today the National Theatre – that his abilities were most on display, up until his death in 1977. To this must be added the development of choral singing in Ethiopia, hitherto unknown, and a sort of secret garden dedicated to the memory of Armenian sacred music, and brought together in two thick, unpublished volumes. Shortly before his death (November 13, 1977), he was appointed to lead the impressive Ethiopian delegation at Festac in Lagos, Nigeria (January-February 1977).

His status as a stateless foreigner regularly excluded him from the most senior positions, in spite of the respect he commanded (and commands to this day) from the musicians of his era. Naturally gifted and largely self-taught, Nerses was tirelessly curious about new musical developments, drawing inspiration from the very first imported records, and especially from listening intensely to the musical programmes broadcast over short-wave radio – BBC *First*. A prolific composer and arranger, he was constantly mindful of formalising and integrating Ethiopian parameters (specific “musical modes”, pentatonic scale, and the dominance of ternary rhythms) into his “modernisation” of the musical culture, rather than trying to over-westernise it. It even seems very probable that *Moussié* Nerses made a decisive contribution to the development of tighter music-teaching methods, in order to revitalise musical education during this period of prodigious cultural ferment. Flying in the face of all the historiographical and musicological evidence, it is taken as sacrosanct dogma that the four musical modes or chords officially recognised today, the *qǝñǝt* or *qiñit* (ቅኝት), are every bit as millennial as Ethiopia itself. It would appear however that some streamlining of these chords actually took place in around 1960. It was only from this time onward that music teaching was structured around these four fundamental musical modes and chords: *Ambassel*, *Bati*, *Tezeta* and *Antchi Hoyé*. A historical and musical “details” that is, apparently, difficult to swallow, especially if that should honour a *foreigner*. Modern Ethiopian music has Nersès to thank for many of its standards and, to this day, it is not unusual for the National Radio to broadcast thunderous oldies that bear unmistakable traces of his outrageously groovy touch.

Fra Lippo Lippi released six studio albums between 1981 and 1992, two of them on Virgin Records, namely "Songs" in 1986 and "Light And Shade" in 1987. All the original releases were deleted many years ago. There are two previous The Best Of Fra Lippo Lippi releases on CD (1995 and 2003), but this is the first on vinyl. With the limited playing time of vinyl, we had to make some tough decisions, but in the end the song selection very much gave itself. The dark horse here is "Stitches and Burns", an overlooked gem from the final studio album "Dreams" (1992) that didn't make the previous 15 track collection, but in mysterious ways gained new life through organic streaming, with over 70 million streams on Spotify at the time of writing. Included is also the international hit "Shouldn't Have To Be Like That" and "Angel", featuring the late, great Walter Becker on guitar and production duties. The duo is still very popular in various parts of the world and now has 1,2 mill monthly listeners on Spotify. This 2025 reissue is pressed on clear vinyl (500 ww copies).

It's rare to hear a debut 12' single that really blows you away. That's hardly a controversial statement; in truth, most producers take time to find their feet, developing a distinct style over a period of years, rather than months.
Magnesii, then, is something special. Currently based in Amsterdam. The previously unheard of producer has delivered a stunning debut 12' for Tom Trago's Voyage
Direct label. R Raw, fuzzy and in turns melancholic, spellbinding and intense, its' three tracks bubble and hiss to the distinct sound of vintage analogue hardware.

You see, the young Dutch producer tends to avoid modern computers. 'I often feel like those screens suck my soul away,' he says. Instead, he jams out tunes on a tasteful selection of analogue gear, sequencing with either the Alesis MMT-8 or the Akai MPC2000 - a favourite toy of many of the Netherlands' best electronic producers - and adding basslines, beats, acid lines and melodies on obscure synths and drumcomputers'. His creations are then bounced down straight to 1/4" tape or cassette.

Some of these resultant jams, as showcased on this impressive debut, are nothing less than inspired. Acid lines rise and fall, machine drums rattle, and distinctive synth
lines weave in and out of the mix. These are raw tracks for the dancefloor blessed with all the colour and warmth associated with vintage hardware.

'RZTB Tantra' sets the tone, layering bubbling acid lines and dreamy chords over a relentlessly nagging bassline and punchy, scattergun drum machine percussion. 'Lava Jam' is decidedly deeper, with woozy, emotive melodies and alien electronics tumbling over a dusty rhythm pattern and tactile acid bass.

Magnesii completes a sterling debut with 'Van Dyke Island Jam', whose squidgy bassline and long, drawn-out M1 chords work in complete harmony with the crispy rhythm track and densely building percussion hits. Like its' predecessor, it too seems to be tinged with sadness, as if Magnesii's machines are shedding a tear for glories past.

Clearly, Magnesii is a name to look out for in future. For the time being, we'll have to make do with one of the most impressive debut 12' singles of 2014 to date.

For the first time in more than 15 years, the debut album by Grouper is being made available on LP and CD, reissued in conjunction with the 20th anniversary of the original release.
The first in a series of ineffable solo albums and collaborations that have come since, these are the initial sounds widely shared by the artist on a long journey of explorations that continue to this day.