Soul4Real News

The tenth release of a series of EPs containing some of the best originally unissued Motown tracks, now available on vinyl / 7" for the first time.

Benefit compilation with exclusive tracks from live performances & installations at eavesdrop festival 2024. All revenues go to charities providing medical aid and food sovereignty in Gaza.

In november 2024, eavesdrop festival presented its 3rd edition of contemporary electronic music and sound art, taking place in the striking architectural setting of silent green’s Betonhalle in Berlin. ”to eavesdrop” - is invoked as a mode of listening intently, attentively and with curiosity. With its ongoing commitment to adventurous listening cultures, the festival brought together a top-notch line-up of Berlin based and international artists, who share a common practice in electronic sound composition whilst spanning a diversity of inter-related contemporary tendencies. Whether it’s multi-award winning Mariam Razaei’s exceptional turntablism, Ilpo Väisänen’s legendary DIY analogue electronics, Jasmine Guffond’s generative sound installation, Nina Garcia’s extraordinary electric guitar manipulations, Lottie Sebes’ AI voice synthesis or Rashad Becker’s idiosyncratic synthesizer explorations, to name a few, eavesdrop invited listeners to consider, from multiple perspectives, new social and technical developments in international music and sound cultures.

This compilation documents those 2 nights with 9 exclusive tracks - 7 live performances and 2 stereo mixes from multi-channel installations, edited by the festival’s curator / organizer Jasmine Guffond, with a total running time of approx. 78 minutes. All revenues will go to charities providing medical aid and food sovereignty in Gaza: Medical Aid For Palestinians & Thamra.

Excellent Drum & Bass Album. 4 tracks on a 2x12'' : Make Me Feel, Activ8, Rude Block, Undefectible love.

Efficient Space is honoured to share the little-heard recordings of three Yolngu songmen from Northeast Arnhem Land - Bobby Bunnungurr, Jimmy Djamunba and Peter Milaynga (d. 2007) - working in collaboration with Victorian musician Peter Mumme. Yolngu are the indigenous peoples of Arnhem Land in Northern Territory, Australia; their clans are the Marangu and Malabirr, the languages Djinang and Gannalbingu. Their songs are of instruction, story and ceremony.

A connection first initiated by Yolngu actor David Gulpilil, Waak Waak Djungi's mid-90s recordings were preceded by years of respectful sharing of culture. Mumme explains that 'the aim was to produce something that is new, not in the sense of a breakthrough, but what emerges from the combining of existing ideas'. What developed was sonically unique - sprawling vocal/electronic soundscapes and field recordings that reimagine the traditional songs of black crows and white cockatoos, sharing, creation spirits and of leaving and returning home to country. Spacious and patiently durational, the songs resound in a big land with a big story to tell.

On the 1997 Waak Waak Djungi album Crow Fire Music, these interpretations were assembled with traditional recordings and additional material from Sebastian Jörgensen and Sally Grice. Falling short of generating public interest, it became well known in the Yolngu homeland. Nearly two decades later, a CD copy filed away in the 3RRR FM library would prompt a three year investigation to meet the people behind the music.

Waak Waak ga Min Min (Black Crow, White Cockatoo) combines the previously unreleased Gandi Bawong with five contemporary versions from the original album, with a new cover painting by Bobby Bunnungurr. Tracing 1997 back to many millennia ago, this is a captivating window into the richness of Aboriginal culture and collaboration.

The first album on Girasole Records is from longtime friend William Caycedo. Since his first release on the label he morphed into a bass funky loaded unique sounds machine. He delivers a storytelling adventure on vinyl with this full 9 track album. G Soul it is!

AboutBlank produces here 3 majestic tunes...

Super positive state of mind style, not too happy through but really sunny and full of energy, with a repetitive serial music acid melody on the Cosmicology A side 45 RPM killer 180BPM hardfloor track.

The flip open on a regular 160 BPM heavy kicker, trippy mental acid-pikes-of-ice more classic but bloody efficient...

Last track (same speed as A1) is a serious hard-kicker too... at the hardcore frontier with a crazy melody coming in, reminding the old school 90's transecore best-of...

This record was produced both by Brain Bending and Acid Night.

Visual by X.G.

Artcore, Cybercore, Ambiance. 126 BPM

"rat" is an electronic project born from the gutters of Brussels in 2024 by long-standing collaborators "neither" and "Milius." After 15 years of hidden experiments they have been assembling a sonic language where glitch, ritualised circuitry and spectral noise merge. Their debut release "home" (Futura Resistenza) unfolds as a labyrinth of disjointed rhythms, haunted textures and fleeting moments that feel slightly out of time. Very little is known. All you can do is listen.

For a few years, Slovakian born & Czech-based artist pantata (Stefan Barcak) has been making music for himself, while running a record store slash coffee bar (called 25,2 rpm) in Prague. Over the course of a month in 2024 pantata made many songs with different analog machines and selected the favourite tracks out of this. His music is very laidback -almost empty- analog music that reminds of K. Leimer and Tara Cross mixed with Czech & Slovakian childhood memories and love and honesty of nowadays memories. "I was born on March 3, 1998, in a small town in eastern Slovakia. In the distance, you could see the Slovak mountains. That image of big mountains on the horizon still inspires my work today. In my early years, before my family and I moved to Prague, I was quite an outsider, I liked drawing and painting and I never stopped. Nowadays, I have a nice setup at home. A few synths: Sequential Circuits Six-Trak, Pro-One, Yamaha DX7, Roland Juno, JP-8000, S-1 (a small SH-101 clone), and classic Roland drum machines like the 909 and 707. I also use a few effect pedals, an old mixer, and a Tascam Portastudio where I record everything to tape. When I make a track, I usually need to finish it in one day. I start playing my instruments, and whatever feeling I have that day needs to be recorded. If I leave a song for tomorrow, I might lose the feeling and feel something completely different, so I prefer to start a new track instead."

Jagged City unveils their debut instrumental EP, `There Are More of Us, Always`, a bold collection that moves between spacious, melodic guitar passages and raucous, swelling climbs. With heartfelt, melodious songwriting, a diverse range of eclectic touches buried within, and eruptions of dense, layered sound, this record delivers wonderfully balanced compositions through raw and personal production. The project began as a cross-continental art experiment between Jake Woodruff (Defeater) and Carlos Torres (former touring member of Explosions In The Sky). What started as a simple exchange of ideas quickly found real shape through collaborative composition and thoughtful arrangement. Early sessions with David Haik helped refine the songs' structures and drum frameworks, setting the groundwork for what would become Jagged City's striking debut. "We wrote with pure instinct, just tried to add something new to a genre that we love. As we traded ideas, we took some left turns and incorporated elements that may be unexpected." (Woodruff) The result feels immediate, deviously rough at the edges, and charged with a punk-minded intensity that keeps the momentum taut and the sound intimate. RIYL Mogwai, Do Make Say Think, Godspeed, Mono, Defeater, Explosions In The Sky

Predatory Void returns with their third record, an EP titled `Atoned in Metamorphosis`, a concentrated statement of intent that compresses the band's restless energy into four precise movements. The music negotiates extremes: patient, reverb-saturated passages give way to sudden, metallic eruptions; subterranean basslines provide narrative weight beneath volatile guitar textures, vocals growl, wail and lament as drums alternate between measured architecture and volcanic release. The result is an austere, immersive sound that is both incandescent and violently sharp. Conceptually the EP takes on the ugly shadow of the unconscious and cathartically wrestles the demon onto canvas. Calling on elements from sludge, doom and black metal, as well as the unrelenting energies of hardcore and contrasting slower, haunted atmospheres, Predatory Void's signature sound is as volatile and piercing as ever. Concise, tight compositions that hook you in melody and then rage in filthy agony. The music can be confrontational, but it is never gratuitous_force is deployed to clarify rather than to overwhelm as emotional depth is at all times the compass. The production aesthetic prioritises fidelity to performance: takes are preserved for their immediacy, dynamics remain uncompromised, and the mix privileges contrast so that quiet moments carry as much dramaturgical weight as full-band climaxes. `Atoned in Metamorphosis` consolidates Predatory Void's forward motion and stakes a claim for a sound that prizes architectural heft and textural nuance in equal measure. Listeners should expect an immediate physical response in what is undeniably an ardent expression, and enjoy the reward of cumulative detail, for the EP dares you to listen closely: to feel transitions as processes, and to accept tension as a pathway to release. Predatory Void invites engagement, not escape, and demands to be met on its own terms, boldly. RIYL Hexis * CELESTE * Wallowing * LLNN * Downfall of Gaia * Witching

Walk Don't Run ist ein Buddy-Comedy-Thriller, der sich über zwölf nächtliche und nostalgische Stunden erstreckt und die Auflösung einer lebenslangen Freundschaft erzählt, die durch eine manische Flucht aus einem Diner, die Entführung eines Woodie Wagon, eine Fahrt mit der Big Dipper-Achterbahn und eine Surf-Session um 3 Uhr morgens ausgelöst wird. Unterlegt mit Demos aus dem Ry-Ko-Ausschussstapel, ist Moodys instrumentale Abkürzung eine Momentaufnahme des Surf-Musik-Crashs Mitte der 1960er Jahre. Passend zum Nacht-Thema des Films tauscht Walk Don't Run die schlurfenden, verträumten Balladen der Ära ein und filmt die echoartigen Wellen des privaten Strandes lange nach Einbruch der Dunkelheit.

Neon Green Vinyl. Limited to 350 copies. "The Grotesque Within" is what we proudly call our first true self-produced album. Recorded in the winter of 2025 between Outside Inside Studio in Treviso and our own home studio, it marks a raw and uncompromising chapter in our sound. The record weaves a dense narrative inspired by the unsettling atmosphere found in the works of Thomas Ligotti - where reality constantly threatens to unravel, and horror seeps into the everyday. Much like Ligotti's existential tales, The Grotesque Within doesn't simply portray darkness - it observes how the absurd and the horrific have become indistinguishable from our modern reality. Each track is a confrontation - with the bizarre, the dissonant, and the disturbingly familiar.This is not just an album. It's a descent into the uncanny that already surrounds us.

Die drei Schwestern der Rockband „The Warning“ sind zurück mit ihrem mitreißenden Live-Album „Live
from Auditorio Nacional CDMX“.
Die in Mexico geborenen Geschwister Daniela „Dany“, Paulina „Pau“ und Alejandra „Ale“, haben inzwischen unzählige Kilometer auf Tournee zurückgelegt, hundert Millionen Streams erzielt und eine riesige
Fangemeinde begeistert.
Ihre harte Arbeit und Leidenschaft haben ihren Sound mit beeindruckender Präzision verfeinert. Sie kombinieren alternative Hymnen mit eingängigen Melodien und einem kraftvollen Hardrock-Einschlag.
„Live from Auditorio Nacional CDMX“ dokumentiert ein unvergessliches Konzert vor 30.000 Fans in MexicoCity und fängt nicht nur die mitreißenden Songs, sondern auch die einzigartige Atmosphäre des Abends ein.
Das Album ist als CD und auf Vinyl erhältlich.

"Ranking Dread In Dub, originally released, on the Silver Camel UK label run by the late Tony Gorman, in 1982 is back in the shops with a completely remastered version that highlights the musical production of this classic album. The rhythm’s are provided by The Roots Radics and Sly & Robbie, with the tracks mixed at King Tubby’s. It also come back with the iconic artwork by Rod Vass."

Auf dem vierten Album von Chrystia Cabral als SPELLLING verwandelt die Künstlerin aus der Bay Area ihr gefeiertes Avant-Pop-Projekt in einen Spiegel. Cabrals Texte auf „Portrait of My Heart“ befassen sich mit Liebe, Intimität, Angst und Entfremdung und tauschen den allegorischen Ansatz vieler ihrer früheren Werke gegen einen Blick in ihr menschliches Herz. Die thematische Unverblümtheit des Albums spiegelt sich in den Arrangements wider und macht es zum bisher schärfsten und direktesten SPELLLING-Album. Vom düsteren Minimalismus ihrer frühesten Musik über den üppig orchestrierten Prog-Pop von „The Turning Wheel“ aus dem Jahr 2021 bis hin zu diesem neuen energiegeladenen Ausdruck ihres kreativen Geistes hat Cabral immer wieder bewiesen, dass SPELLLING alles sein kann, was sie braucht. Der Titeltrack mit seinem treibenden Drum-Groove und dem hymnischen Refrain von „I don't belong here“ ist die stärkste Verkörperung der Hinwendung des Albums zu emotionaler Direktheit. Sobald sich die Hauptmelodie herauskristallisiert hatte, nutzte Cabral den Song als Werkzeug, um ihre Ängste als Performerin zu verarbeiten, und entschied sich für eine straffere, rockigere Komposition. Diese Transformation spiegelt die allgemeine Verlagerung des Albums in Richtung Energie und Unmittelbarkeit wider, die von der Kernband Wyatt Overson (Gitarre), Patrick Shelley (Schlagzeug) und Giulio Xavier Cetto (Bass) vorangetrieben wird, deren Zusammenarbeit neue Konturen des SPELLLING-Sounds offenbart. Cabral schreibt und demontiert immer noch alleine, aber die Präsentation der Songs für „Portrait of My Heart“ vor ihren Bandkollegen hat ihr geholfen, die späteren lebendigen, organischen Formen zu entdecken. Das gilt auch für die Zusammenarbeit mit einem Produzententrio: Drew Vandenberg, der Tontechniker von „The Turning Wheel“, Rob Bisel, der mit SZA zusammenarbeitet, und Psymun, der Produzent von Yves Tumor. Wichtige Gastbeiträge prägen das Album zusätzlich. Chaz Bear (Toro y Moi) liefert SPELLLINGs erstes Duett auf „Mount Analogue“, Turnstile-Gitarrist Pat McCrory verwandelt Cabrals ursprüngliches Piano-Demo für „Alibi“ in die knackige, rifflastige Version, die auf dem Album zu hören ist, während Braxton Marcellous von Zulu „Drain“ seine schlammige Wucht verleiht. Diese Teile fügen sich nicht nur nahtlos in das Album ein, sie fühlen sich wie ein integraler Bestandteil seines Universums an. Letztendlich ist Portrait of My Heart jedoch niemandes Platte, sondern die von Cabral. Sie zieht furchtlos den Vorhang über Teile ihrer selbst zurück, die sie in SPELLLING noch nie gezeigt hat - ihre Gefühle als Außenseiterin, ihre übermäßig vorsichtige Art, die Art und Weise, wie sie sich rücksichtslos in intime Beziehungen stürzen kann, um sie dann genauso schnell wieder abzubrechen. „Es ist wie ein offenes Tagebuch all dieser Empfindungen“, sagt sie.

Barry Walker Jr. is a pedal steel player and guitarist whose roots in Americana, Country and Folk traditions influence his melding of minimalism, ambient and spiritual music. The Portland-based instrumentalist is also a member of the Rose City Band, known for his gorgeous phrasing and deft interplay with guitarist Ripley Johnson. On Paleo Sol, Walker demonstrates his singular voice as a pedal steel player and composer. Evoking the American western ranges and basins, the album embodies a longer, geologic view of time that patiently marvels at the ripples of change throughout lifetimes and ages. Walker is joined on Paleo Sol by drummer Rob Smith (Rhytion, Pigeons) and bassist and Mouth Painter bandmate Jason Willmon (Fruited Planes). Paleo Sol"s tranquil landscapes glide, built on warm finger-picked guitar figures and pedal steel swells coupled with deft percussion and bass touches by Smith and Willmon respectively. The trio plays with exceptional fluidity either completing each others phrasing or working together to build momentum. Smith notes: "The drums are not keeping time as much as evidencing its elasticity, mixing into the other instruments, changing phase states." Every gesture on the album is rich with intention, moving with grace and playing with timbre and time.

This remastered vinyl reissue of Blind Ear reintroduces The Celibate Rifles' urgent, socially aware punk-rock energy, cementing its place as a cornerstone of Australian alternative rock. 1989 is where The Celibate Rifles take their punk instincts to the next level-garage muscle, surgical precision, and a rock'n'roll pulse that sounds more urgent than ever today. Formed in Sydney ten years ago, the band appears here in full flight: two guitars in constant dialogue, a rhythm section with newfound dynamic range, and a razor-edged vocal that bites without losing melody. The remaster opens up the stereo image, sharpens the six-string detail, and restores to the turntable the physical punch this record demanded from day one; it's the definitive way to (re)discover a key title from the Australian school. The tracklist is pure traction: "Some Kind of Feeling" hits the ground running with speed and focus; "Wonderful Life '88" nails an instant hook and a clear-eyed critique of yuppie culture; and the closer, "O Salvation," lands as an expansive, cathartic statement of intent. Two tracks unusual in Australian rock for their subject matter-"Sean O'Farrell" and "Belfast"-tackle the Northern Ireland conflict head-on and underscore the band's social gaze, while the rest of the album maintains a no-filler intensity. This edition preserves the original LP sequence (the two bonus tracks existed only on the period CD) and stands as an essential piece for collectors and front racks alike: ideal for in-stores, listening bars, and classic alternative rock playlists. If your audience connects with BORED!, Radio Birdman, The New Christs, or The Saints, Blind Ear is an unequivocal yes.

Inspired by the concept of the city as a living, complex entity - a feeling Youniss describes as the difference between "living in a city and just being in that city" - Good Effort! is an open-ended narrative drawn from the artist's own experiences, including growing up on the outskirts of Antwerp.

Like a vibrant city itself, the album is a culmination of organic interactions, layered with diverse perspectives from a collective of artists. Good Effort! features a dynamic cast of collaborators, including international heavyweights like Pink Siifu, Petite Noir, and Quelle Chris, alongside celebrated names from the Belgian underground such as Dienne and Porcelain id.

While retaining his critical edge - especially on themes like gentrification, an acute problem in his home city - Youniss explores the full range of his voice across the album's tracks, resulting in a warmer, more texturally diverse sound.

Tracks like “Notice,” “Glass Ceilings,” and “The Sun Is Falling” expand his textural use of distortion, while others, such as “At the Still Point of the World” and “Why Don’t You?”, float at a more tranquil register. The record's energy peaks on “TakeThat” where Pink Siifu and Youniss trade frenetic bars atop jazzy drum freakouts.

Despite the cynicism forged by witnessing his environment change - like the flattening of the beloved venue Onder Stroom for a parking space - Youniss offers a crucial message of perseverance. The album's title, Good Effort!, is a defiant embrace of trying again.

Stoop Kid is the jangly indie rock project of Diest-born Jens Rubens. After Camp Careful (2021) and Mount Cope (2023), Stoop Kid returns with his third full-length album Office Overdue, a ten-song collection that captures the quiet fatigue, flickering humor, and
fragile hope of keeping it together in a world that won't slow down.

'Office Overdue' is a collection of songs Jens made at home in his modest home studio. For this album, he wanted to let go of pressure and expectations more than ever, and only work on music when he genuinely felt like it.No fancy studio, no producer, just walking upstairs and messing around. The result doesn't always sound perfectly polished: the drums are sometimes clumsily programmed and more than a few wrong notes made it onto the record. The guitars were allowed to hit a bit harder this time, with the '90s slacker vibes coming through more prominently. The result is a record that feels raw and honest, and above all, was made purely out of enthusiasm.

Office Overdue explores the attempt to keep functioning in everyday life while the world around us feels on the verge of collapse. The songs move between mental exhaustion and self-reflection, carried by a dry, sometimes bitter humour that helps lighten the weight. The album focuses on repetition and routine, and on the tension between wanting to care for others and being trapped inside one's own head. Themes of anxiety, guilt and dissociation recur throughout, but are always accompanied by small moments of connection, gentle resistance and acceptance. Office Overdue embraces the mess, the doubt and the false notes, without drawing grand conclusions. Not everything is resolved, but the persistence remains.

Äktaro stands for äkta (genuine) and ro (calm): music shaped by the simplicity and solitude of Swedish nature. This album was recorded during a winter week in a small family cabin in the Swedish woods, where cold days and a warm fireplace set the tone. The music sits between Scandinavian folk, jazz influences, ambient elements, and minimalist improvisation. Using analogue recording gear, traditional Swedish songs, and inspiration from Jan Johansson, it became a warm and personal collection in which place, time, and memory are clearly present. The music offers room for calm and reflection, much like the atmosphere during the recording week.

3 bloody good tunes... Acid Hard techno industrial jewel, with a loud sound and a perfect press... Uhm... love it !

" A very limited 7” for the tropical heads, beat travellers and cosmic cumbia astronauts on the new imprint Sun Of A Beach — the free-spirited daughter of Editions de Lux, who skipped town, fell in love somewhere between Kingston and Cartagena, and came back glowing, barefoot, and heavy on the bass.

At home in the steaming rainforest as much as the urban jungle of the Chapinero district of Bogotá, Colombia’s psychedelic groove pilots Ácido Pantera deliver a double-sided tropical weapon aimed straight at late-night sweatboxes, boat parties, and sun-soaked terraces.

"Te quiero, te amo” is a declaration of love at 132 bpm, bouncing along like a low-rider over cobblestones while neon synths float in the humid air.

Flip it for “Pájaro cantor”, a sound system destroyer that will lock the floor in an acid trance that feels both ancestral and futuristic in the same breath. This one’s featured on the FC26 soundtrack and will have you shimmying like Luis Díaz right before he bangs one into the top corner!

You know what to do!"

Repress

The Undefined Tales saga continues. This time with seekers bossman Alex Picone; the man who doesn't need an introduction with his impressive trackrecord, a true legend in the scene. On the other hand we've got from Paris residing Charonne boys; these new kids on the block are quickly making name for themselves with releases on Partisan, Imprints & LMML. And last but not least Cobert; a diamond in the rough, with quality releases on amazing stories.

We reach release number 10 on ITWS! 3 tasty cuts by a couple wizards., Arno x System A presents The Deadliners , Comes with a Phone Traxxx Remix to finish off this must buy package.

R.i.O. welcomes a new member. Straight in full length. An album created by Dorsten,North-Rhine-Westfalia based producer Aroma Von Troisdorf - a man who refuses to be putin a box. Unlike others, who politely stay in one lane, he is a tuneful shape shifter. Alreadyhis 2021 debut on the Cologne based label Papercup Records smashed Krautrock, Synthpop,Electro, Ambient, and dub together. His 2023 and 2024 Papercup Ep's "Buttergolem"and "Rodeln am Rhein" added Italo-Disco, Synth-pop and a drop of experimental Electroto his versatility. Now eight new creations, brilliantly composed, yet - even in odd flashes -effortlessly catchy. They bring once more a stylistic melting pot, now enlarged with TheCure-ish dreamscapes, stretching over guitar riffs and bass grooves, like in the closingambient-folk star "Zeiten" or the dreamy opening track "Fog Frog Green". There is themotorik krautrock pulse of "Osmopower", that boogies heavy in drum machine hypnosisunder Aroma's entrancing new-wave vocals. Tunes like "Dreams Unfold" or "AmplifyShrooms" are likewise propulsive, each one psyching in its very own rhythmic sector. Morevoices are present too. In the two-minute manic preacher "Colas", were Togolese rapperand political activist Yao Bobby chants edgy. Or in "Closer", where singer Aprico sendsspoken-word trances echoing through the cosmic jacking. And there is "Lovers Lake", ahypnotic drift of witchy vocals, bluesy chords, and endless synthscapes, that makes youswim on your feed. Shift the shapes, "Blaumilch" opens the gates.

As the days becoming shorter and the sun keeps its rotation Norwegian label Soria announces the second release.

Artificial Drm are back with their distinctive psyche aesthetics followed by a majestic remix from Ness.

Syncretic marks the debut full-length from Australian duo Bhairavi Raman, a Western and Carnatic violinist, and Nanthesh Sivarajah, a mridangam player and versatile percussionist. Both artists share a Tamil heritage, a current that hums across the album. Raman, from South India, and Sivarajah, from Sri Lanka, draw lines that connect Western practice and Carnatic tradition. This hybrid is central to Raman’s approach as a violinist, an instrument itself caught between East and West since the late 18th century. Her playing folds history, lineage and experimentation into music that acknowledges inheritance while gently rewiring its circuitry.

Expanding on traditional music can be a precarious practice, but Syncretic never feels heavy-handed. Raman and Sivarajah exercise measured restraint, letting the Carnatic framework breathe even as it is refracted through contemporary tools. Delays, looping, subtle layering and synthesized harmonies tilt tradition into a new light without disguising it.

Even within a contemporary framework, Raman’s rigorous Carnatic training under gurus Sri S. Varadarajan (India), Sri Murali Kumar (Australia) and Sri Gopinath Iyer (Australia) is unmistakable. She captures the spiritual and emotional essence of each raga: on Seven, the playful raga Bahudari becomes both centrepiece and conduit, while on the traditional piece Thunbam Nergayil, drawn from a Tamil poem, we hear a deeply personal iteration, a weeping euphony of mixed emotions hitting all at once. Tradition here is absorbed, expanded and reframed.

Sivarajah’s command of the mridangam, honed by his gurus Sri Jambunathan (Sri Lanka), Sri Balasri Rasiah (Australia) and Sri T. R. Sundaresan (India), is central to his original composition Guardian. He sustains tradition while extending it through layering and sound-spatialisation. The mridangam here functions as both a structural and ornamental force, mapping continuity between inherited form and contemporary sonic architecture.

Syncretic resonates as a space where Tamil heritage, diasporic memory and contemporary practice coalesce. Culture, like sound, circulates, transforms and persists. Tradition is not an archive but living material, a soundworld that lingers in the ears and the imagination.

"Originally released in 1979 on Sly & Robbie's Taxi label, this album was Black Uhuru's second LP. Recorded at Channel One it set forth a new sound in recorded music technology. The songs blend into dub versions and the mixing is simply stunning. The track Shine Eye Gal also features guitarist Keith Richards"
(but hey, nobody's perfect).

"Hear the meticulous song writing of Michael Rose, joined by Puma Jones & Duckie Simpson, to complete the vocal line-up.

Sly & Robbie and the Taxi Gang created a sublime sonic masterpiece at Channel One studio in Jamaica. They were at their absolute peak of their powers, before being launched as global superstars with Grace Jones.

Black Uhuru went on to be an extremely popular live outfit, touring endlessly around the world, breaking down barriers and making new inroads to territories previously unknown to Jamaican artists.

This Classic reissue is a must for all reggae collectors."

Brendan Eder follows up minimalist 70s-jazz concept with new ambient-classical album, THERAPY. Brendan Eder is a Los Angeles composer and drummer best-known for his eponymous genre-bending ensemble of woodwinds, drumset, and bass; as well as his film scoring work, most notably on four short films for director Ari Aster. On March 3, 2023 Eder released his third album, THERAPY, a collection of meditative woodwind arrangements recorded primarily at Church of the Good Shepherd in Arcadia, California.

The quest for THERAPY came during a period of deep spiritual curiosity. Eder was avidly watching testimonies of near death experience survivors (NDEs), pouring over books of Theosophical artwork and philosophy, and
processing experiences of grief, uncertainty and spirituality.

Eder wanted to explore the threshold between the spiritual and physical dimensions, and create music that could evoke its shape and texture — a theme further illustrated in the original album artwork and single covers by Adam Rabinowitz. Eder felt he must be on to something when, on a whim, he looked up the tempo of a piece he was calling “137 Riddle.” Turned out to be “the most important number in the world” in theoretical physics, as well as a provocative number in Jewish mysticism.

Since 2020, Eder's cover of Aphex Twin's “#20 (Lichen)” has garnered over two million streams. Appropriately, THERAPY delivers two new Aphex Twin arrangements alongside eight original pieces.

Maintaining his track record of recording the best musicians Eder can find, THERAPY features special guests Nailah Hunter (harp), Henry Solomon (saxophone), and Ethan Haman on The Newberry Memorial Organ at Yale University.

Welcome to the world of Edward Blankman, a retired dentist who wrote elegant, minimalist jazz in obscurity circa 1970. At least that’s the story.

In truth, Edward Blankman’s Cape Cod Cottage is the 2021 concept album from Echo Park composer Brendan Eder.

A tender, wistful follow up to 2020’s To Mix With Time, the Cape Cod Cottage sound evokes the spirit of Erik Satie, Miles Davis with Gil Evans, and Stevie Wonder, balanced with the accessibility of 1960s lounge-exotica. Eder’s characteristic arrangements are crafted to reflect the past, without losing the innovative quality of his modern ear.

Eder created Blankman’s story to channel his own grief, with bittersweet tenderness. Read the liner notes, and you’ll be transported to the quiet shores of Cape Cod, where a lonely retiree mourns his late wife, Natalie, with walks in nature and evenings at his Wurlitzer.

The story is brought to life with a meticulously crafted package sporting classic liner notes, faux 1970s photographs documenting Edward with the musicians (taken during the actual session), a make-believe jazz label, and a commissioned oil painting of Edward’s cottage. Eder spent over a year rendering the compositions and charts according to his vision.

Eder brought together a dream line up with a ton of chemistry for the project; drummer Christian Euman (Jacob Collier), saxophonist Josh Johnson (Jeff Parker, Leon Bridges), and bassist Alex Boneham (Billy Childs), who all studied together at the Hancock Institute of Jazz. Rounding out the group is flutist Sarah Robinson, a recurring player in Eder’s ensemble, and Edward Blankman (Brendan) on the Wurlitzer.

The cast was booked for a single date with coveted engineer Michael Harris (Kamasi Washington, Angel Olsen, Fleet Foxes) at famed Electro-Vox Recording Studios. To create realism for Edward’s story, the charts were purposefully withheld from the musicians until they arrived at the studio. The result is an authentic and natural performance delivered by players at the top of their game, captured on pristine vintage equipment including the legendary Neve-8028 console.

Brochure is back for the first 12” in our Soft Rock for Hard Times series, transforming Holly Near’s iconic soft rock stepper “Back Off” into a synthesizer driven disco dancer. Rebecca Felix joins the band to sing lead vocals and nails the stern yet blasé delivery that makes the original so captivating.

After wrapping their cover, Brochure returned to the studio to produce the Paradise Mix which has its sights on Italian shores, winding seaside roads and open air night clubs.

On side B, Jex Opolis’ Good Timin’ Dub delivers a hypnotic house groove that is guaranteed to put evil thoughts in your mind and happy steps in your feet.

Dreems rounds out the record with an echo and delay fueled odyssey for his Risky Connection Dub which takes the song on a deep, dubby trip.

Bangalore-based producer Chaz (IN) makes a striking debut on KUJE002 with Soul Contract, a four-track EP that marks a shift from his industrial roots into mental techno with a driving edge. These tracks aren't just meant to be heard; they're body music, built to be felt as much as listened to.
The EP opens with Hardwired, a percussion-heavy trip that builds tension through progressive hihat patterns, bleeps, and raw energy. Sling Hook follows with a composition that's both driving and mind-bending.
On the B-side, Wiggle Room taps into an almost animalistic dimension; a jungle of percussive textures that breathe, shift, and pull you in. The record closes with Retroactive, where shimmering synths and ghostly, wailing tones sketch out a post-human vision of Bangalore.
Soul Contract is mental techno with a pulse, designed to inhabit your body while captivating your mind.

Ghetto Pop Life was Danger Mouse’s first full length album on Lex and a hip hop classic, harking back to the sound of the early 90s East Coast and resurrecting Brooklyn’s most soulful thug MC, Jemini The Gifted One. Incorporating a full church choir on the title track, Danger Mouse also brings in heavy hitting guest rappers J-Zone, Tha Alkaholiks, The Pharcyde and Prince Po. In the words of the NME "Ghetto Pop Life is a funk-fuelled hip hop record that virtually orders you to get down’. LEX010LPRT was originally an exclusive variant but now available to all.

Alchemy: An Index of Possibilities ist das zweite Soloalbum von David Sylvian, entstanden zwischen Brilliant Trees und Gone to Earth. Das Werk vereint verschiedene Projekte zu einem atmosphärischen Klangkosmos, in dem Sylvians charakteristische Stimme auf experimentelle Soundscapes trifft.

Für diese Edition wurde die jüngste Remaster-Version verwendet. Sie erscheint als Corona Gold Opaque Red Vinyl – ein Sammlerstück für Fans von Sylvian und Liebhaber außergewöhnlicher Pressungen.

"deathcrash’s third album, Somersaults, glimmers with an everyday euphoria. The London-based slowcore/ post-rock quartet has always had an affinity for building worlds only to crush them. From their breakout EP, People thought my windows were stars (2021), through two critically acclaimed studio albums, Return (2022) and Less (2023), they have been both the architects and the destroyers, the creationists and the ones manning the flood barrier. But, recorded between Black Box Studio in the Loire Valley and Haggerston’s Holy Mountain, Somersaults is almost joyful.

Its ten tracks are more vocal heavy than any of the band’s catalogue – think Mark Linkous via The Kinks – but lyrically, Somersaults resists revelation. For all its abrasion, phrases appear half-swallowed, broken off at the edge of meaning, consumed by the smaller textures of living. “Thirty, no career, it fucking worries me / And doing the band doesn’t help,” Banks sings in ‘NYC’. But, “This life is the best life,” he finishes in ‘CMC’ on top of the ambient white noise of an office printer, thankful that the band is still there, “still making noise in the doorway.”

Their role as caretakers of Duster, Low and Codeine’s slowcore lineage is all across Somersaults – songs scud to a narcotic crawl, sound monolithic and inwards before spotlighting a crystalline nothing. Cathartic builds are muddied with tenderness, the bass a heavy grounding, the drums an exhausted heartbeat grasping for air. But more so than ever, even the silence feels collaborative – a gesture of communal trust – friends celebrating the room they’ve made for each other’s ghosts, and some of the biggest, brightest songs they’ve made to date."

I wrote these tracks in 4 different ways, a couple with different groove boxes and the others all in the computer, and I wanted to come from more of a dub angle on these ones. The sample on Humble Rock I have had on a drive for many years but the technology I had at the time struggled to time stretch it properly, so with today’s tech it allowed me to use it which formed the structure and vibes of the track. When I wrote the track Reveal it was when I heard Antony B voicing a dub for another sound on YouTube. With him being a favourite of mine I felt it had to be used, especially the message of what he is saying. His delivery is second to none. After some cutting out of the sounds name I used it to form the drop of the track. I am very proud of the intro of this one with the chords that I played in a soulful styling as you don’t expect the drop based on the intro melody. The others were based around old sound tapes I had lying around and this is how the ep took shape.. Jah see them the middle section was a big up to the late great Tango as one of his tunes formed the inspiration for the switch up section. I really hope it resonates with people who hear and obtain this limited run. Peace and respects always artical commercial never!!

Music is a powerful thing it brings people together from a different mother and different father
It can hit you soft or hit you harder
Crosses the sea and breaks down the border
I hope this reaches you in perfect order. Bless!

Swapping BPM for GPM (Goosebumps per minute), Dusky’s Life Signs Vol.3 is made from the heart to nourish the soul. to a long-overdue journey to the uncharted territories of Planet Dusky. Completing their triptych for Running Back with four tracks, one of the UK’s most dependable duos shows once again how to connect fun with functionality and funk with efficiency. From the jacking rhythms of early Chicago to the emotive qualities of Detroit and the fever pitch aesthetics of the UK sounds of the 90s or the studies of the contemporary scene, it includes the right choice for each taste and need. Dusky, but not rusty.

Orange vinyl, limited to 200 copies. REMASTERED version of the Earthless epic live at Roadburn 2008. "This double gatefold LP, recorded at Roadburn Festival in 2008, celebrates the psychedelic powerhouse that is Earthless in all their mind-splitting live glory. In fact they put in one of the best live performances I'd ever seen." - The Sleeping Shaman

Ebo Taylor, der ghanaische Gitarrist, Komponist, Bandleader und Produzent, ist eine wegweisende Figur in der Highlife-Musik. Remined freut sich, diese beiden Klassiker als 45er in Zusammenarbeit mit Mr. Bongo zu präsentieren. ,Will You Promise" und ,Maye Omama" sind beide aus Taylors 1976er Veröffentlichung ,My Love And Music" von 1976.

Ebo Taylor, der ghanaische Gitarrist, Komponist, Bandleader und Produzent, ist eine wegweisende Figur in der Highlife-Musik. Remined freut sich, diese beiden Klassiker als 45er in Zusammenarbeit mit Mr. Bongo zu präsentieren. ,Will You Promise" und ,Maye Omama" sind beide aus Taylors 1976er Veröffentlichung ,My Love And Music" von 1976.

Efde's first release on Voyage Direct. Here he gets a chance to showcase his trademark sound on an expansive, four-track E.P for the Amsterdam-based label.
Some may be familiar with Efde's work through his occasional 12' singles for Nordik Netrecords and Soweso, where he distilled a variety of influences - think dreamy, ultra-deep house, the Chicago bump of Chez Damier, and the sci-fi pulse of Detroit - into tracks that had a distinctive vibe all of their own.

My Bleep' is arguably his most stunning production yet: a spine-tingling re-imagining of Detroit futurism built around sparkling, intertwined melody lines, dusty drum machine rhythms, hissing hi-hats and throbbing, analogue bass. While a thing of rare beauty, it also comes blessed with moments of sweaty percussive intensity, with stacked snare hits that increase in energy as the track progresses. The original's inherent beauty is emphasized further on the accompanying Ambient Mix', which recalls the glory days of Pete Namlook's FAX Records in the early 1990s.

There's more far-sighted dancefloor futurism to be found on the flip, where the spacey chord progressions, sprightly synth-bass and restless rhythms of Just Did It' capture the spirit of both the Motor City, and the classic UK techno-funk of Dave Angel and Luke Slater. A fine EP is completed by the ultra-deep shuffle of CMP135', which successfully draws on Efde's love of bumpin' U.S deep house whilst retaining the intergalactic sounds that are such a key part of the Dutchman's club-ready productions.

Hidden away amidst the bustle of Rio de Janeiro’s Catete neighbourhood is a small alleyway behind a cast iron gate. At its end is Bairro Saavedra, the courtyard surrounded by Neo-colonial houses where Brazilian guitar virtuoso Fabiano do Nascimento spent much of his childhood. Built in 1928, this secluded neighbourhood with its wooden shutters, tiled floors and tranquil benches, provides the inspiration for the title of Do Nascimento’s new album VILA, a collaborative project with a sixteen piece orchestra led by trombonist and arranger Vittor Santos.

Recorded between Rio de Janeiro and Los Angeles, VILA is grand, tender, warm, playful and nostalgic. On this stunningly ambitious work, the delicate compositions led by Nascimento's guitar, which sits central in the mix, are surrounded by Santos’ breathtaking orchestral arrangements which swirl in all directions: complimenting, questioning, responding; in constant conversation.

Like the eclecticism of the architecture Do Nascimento grew up surrounded by, his music straddles many worlds at once. He is known as a Brazilian acoustic guitar master and as such has collaborated with Arthur Verocai, Airto Moreira and Itibere Zwarg. But equally at home in Los Angeles's jazz and experimental music scenes, Do Nascimento is also known for his work with artists like Sam Gendel and Carlos Nino.

Vittor Santos is an arranger and Trombonist who has worked extensively with many of the greats of Brazilian music, including João Donato, Marcos Valle, Toninho Horta, and Elza Soares.

=====================================
Credits:

Fabiano do Nascimento – 6, 7 and soprano guitars.
All orchestral arrangements and production by Vitor Santos.
Recorded at Electro-Sound studio, Los Angeles and Estúdio Fibra, Rio de Janeiro
Engineered by Jason Hiller and Garbiel Lucchini
Mastered by Mike Bozzi

Oboe – Francisco Gonçalves
Contrabaixo – Rodrigo Villa
Drums – Márcio Bahia
Violino - Ricardo Amado
Violino – Thiago Teixeira
Violin – Daniel Albuquerque
Violin – Márcio Sanches
Viola – Ivan Zandonade
Viola – Dhyan Toffolo
Cello - Hugo Pilger
Cello – Janaína Salles
Double Bass – Rômulo Gomes
Clarinet – José Batista
French Horn – Philip Doyle
Trombones - Vittor Santos
Violin – Daniel Guedes

For the 33rd release of the Acid Avengers series, we invited two projects made by four veterans of the french electronic scene. Fondzyo, a new duo composed of John Lord Fonda and Kazyo (half of Teenage Bad Girl), is delivering here its first release. Nomenklatur, the pair formed by the founders of Elektrofon, is already known for bomb releases on Module, Space Factory and their own imprint. On this new split EP, both projects offer a 303 journey made with mental groove, deep rythms and of course some pure acid techno. 5 tracks designed for the floor that are gonna kick your ass !

Solid House grooves by the Parisian producer on the legendary Nu Groove label from NY.

Rare as fish knees, roots gem!

“Me Look Like A Lion But Me Humble Like A Man”

Fredrick Dookie & Desmond Silpatt were cousins and close friends who though not prolific, created one stunning reggae tune which has been near impossible to find for over 40 years.
Like artists from Supercat to Sheila Rickards, Freddie & Dessie are of Indo-Jamaican descent. They gravitated to music from an early age.

Recorded at Aquarius and arranged by Wire Lindo, the track features back up vocals from a young Beres Hammond.

"I have loved this song for a very long time and this exclusive reissue has been in the works for several years since I tracked down one half of the duo Dessie aka Desmond Silpatt who is now based in Florida." says Chris from Shella Records.

Freddie who provides the song’s hypnotic vocal was a devout Rasta man who sadly passed away in 2019. He is survived by Dessie, a renaissance man, inventor and author who has penned thousands of songs in his time.

Broken and industrial Technoid music. Very dark and ritual, progressives and hypnotic with loads of things happening... Beautiful tunes !

LIMITED 200 copies

Double A-side pressure! With his fast paced and beautifully organic approach to Techno we excitedly bring you a four track vinyl EP from true rising star Human Safari. Hailing from the Mediterranean Techno stronghold Malta, Human Safari perfectly blends the energy of Techno with earthiness tribal sounds to maximum effect throughout this powerfully electric release on EarToGround Records.

From the heart of Tamanrasset in South Algeria, Imarhan transcend Tuareg tradition, weaving hypnotic synths into desert blues. The result is a timeless work—deeply respectful of their roots, yet alive with a stirring sense of modernity.

ESSAM is the band’s fourth album, recorded with the same core lineup, but marks a significant shift in their sound and approach. Musically, it marks a departure from the rocky, bluesy, psychedelic Tuareg guitar-driven sound influenced by Tinariwen’s heritage — moving toward something more open, modern, and exploratory.
For the first time, their long-time sound engineer Maxime Kosinetz stepped in as producer. He travelled to Tamanrasset with Emile Papandreou (of the French duo UTO), a multi-instrumentalist who introduced electronic elements by sampling live instruments and reprocessing them in real time with a modular synthesizer — subtly reshaping the band's sonic identity.
The album was recorded mostly live, in one big room at Aboogi Studio — the band’s own rehearsal and recording space in Tamanrasset. The studio, a converted concert hall, has become a kind of cultural hub for the local youth. Friends dropped by during the sessions to contribute handclaps, vocals, and just be part of the energy. It’s a space where people gather, hang out, play dominoes, smoke chicha — a rare communal spot in a city that doesn’t offer many for young people, somewhat like a youth and community center.
This context — the creative shift, the live recording process, the atmosphere around Aboogi — might be interesting threads to explore in the conversation.

To step out from trival sounds.
Jo IND strikes here again !

A side brinsg a quiet sweet tune, strings is the thema... With a veryu nice Josh Winks acid style for the start, meeting the cello effect... Sweet musical crazyness... with tonality variations and harmony richness... Acid as a musical instrument.


take your time and enter the universe of these 2 superb tunes : we splitted the listening of B side in two so you can hear this superb intro... Defenitly feeling the space in full with a 1m30 intro... before kicking in a mystical way...
The label visual of B side is an fatastic vision of someone falling ? flying ? in front of a soundwall ???
totally in the state of mind of this crazey tune...

Repress!

A true hot stepper and one of the best of its kind, this 1984 masterpiece from Ini Kamoze is heavy, real and authentic. It was actually Jamaican born artist Cecil Campbell's debut album and features spacious, slow motion dubs that invite you deep within their cavernous drums. The chattery percussion, echoing hits and loose percussion all make a real mark. "World-A-Music" has a beat fans of Damien Marley will recognise, and "General" features some of Campbells more vulnerable vocal work. For fans old and new, this is a perfect roots album with a unique perspective.

"Key To The Kuffs has aged into excellence in the nearly five years since it first came out" Pitchfork

"On paper, a full collaborative album from NYC's notorious rap villain DOOM and space-age production from Jneiro Jarel can't fail. In practice, it's even better. DOOM is in the form of his life here." Mojo

"Here be GMOs and dead Indians and food and water as a 'secure investment' and an earthquake in Iceland and a discourse on melanin. Here also be the priceless couplet: 'Not to interrupt / But anybody else notice time speeding up?'" 9/10 Robert Cristgau, VICE

NJ/NY legend JUNIOR SANCHEZ opens his edits archive to bless the masses with four fresh reworks from the likes of SOLANGE, SAULT, and DEPECHE MODE. "ENJOY THE SILENCE" & "LOOSING YOU" are perfect peak hour hands in the air material, while "WHY WHY WHY" builds on a deeper sound. Paper sleeve.

Superb KS23 Sounds... Acid banging old school kicker.

Cut & Mastered at The Exchange

2023 Repress

It's always a huge pleasure to have him back. Lewis Fautzi's astronomic ascension is well known and we are delighted that he decided to 'play home' one more time.

Although the years are passing by, Lewis is faithful to his principles. His personal style is almost a trademark and impossible not to recognize. Techno scene has evolved and he has evolved with it but always in a straight line, adapting himself perfectly to the new tendencies and keeping his touch and his vision.

This new ep is full of trippy pads and powerful bass lines. Mesmerizeng techno as its finest and with a small cherry on top of the cake: a remix by Rødhåd. His first time with us and there is no greater feeling, specially knowing the huge artist he is. Established nowadays as a techno force, the german producer combines the hypnotic with different theatrical approaches and came a long way demonstranting the uncontainable nature of his brand of shadowy dance creations, as someone once described his work. We couldn't be happier with the result.

In summary, the first ep by Lewis Fautzi on his own imprint with a remix by Rødhåd.

Lewis, welcome back home!! And thank you for bringing such an illustrious guest.

Oxblood Red vinyl, limited to 400 copies. Lord Elephant are back with their second studio album "Ultra Soul", a psyched blend of 70's, 90's and 00's extravaganzas mixed together with the distinctive heavy breath of the band. Blues, doom and sludge are fused again in the strange trademark of the trio, allergic to genre-labels and ready to expand the vision beyond cages! Recorded, mixed and mastered at Studio 73, Ravenna, by Riccardo Pasini (Nero Di Marte, Ephel Duath, Ottone Pesante..) Artwork and Layout by JJ Farfante ArtLab (Melvins, Mudhoney, Ufomammut)

“My auntie asked me what’s my path?” spits Lord Jah-Monte Ogbon on his debut from the celebrated Lex Records. The lyric relatably references the cross roads he’s at in his current life, especially as someone right on the cusp of rap stardom. “Recently I’ve been thinking more and more about what comes next in my life,” the artist reveals.


It’s fair to say Ogbon’s Lex LP features less of the sh*t-talking court jester of old. Instead, there’s more of an imperfect man re-examining past mistakes so he can avoid any future forks in the road. There’s a particular focus on overcoming heartbreak, inspiring Ogbon to admit he’s haunted by an ex so badly he now needs to call up the Ghostbusters for assistance.

Since emerging in the late 2010s, Lord Jah-Monte Ogbon has consistently lit up America’s underground rap scene and this is thanks to a refreshingly honest writing style. Amid the exquisitely wavy strings of 2021’s The Missing Link / The Sneaky Link, for example, he rapped: “Everyone thinks they’re player, until their bitch doesn’t come home.” Biting and snappy, the nasally vocals carry the playful verve of comedian Richard Pryor bravely excavating personal Demons to solicit giggles.

All this brash, wry Redman-inspired storytelling continues on the new project. Its first single is titled I’m Signed to Lex, Now I’m Up – a name that mirrors what a big moment releasing a project on the label that once housed MF DOOM represents for Lord Jah-Monte Ogbon’s legacy. “I’m really driven by being able to level up and give my family more financial freedom,” he hopes.
And, if auntie asked what his path was right now, what exactly would the rapper say? Lord Jah-Monte Ogbon concludes: “Auntie: this rapping thing feels like it’s finally about to pay off!”

First-ever vinyl edition of Magic Castles' 2014 cult album The Lore Of Mysticore. A hypnotic blend of shimmering psych pop, hazy drones, and kaleidoscopic guitar textures, this record captures the Minneapolis band at the height of their creative powers. Originally released in 2014, The Lore Of Mysticore stands as one of the most compelling documents of the contemporary psychedelic underground. Minneapolis-based Magic Castles craft a hypnotic and immersive sound that blends shimmering psych-pop, hazy drones, and kaleidoscopic guitar textures into expansive, sun-drenched songs. This first-ever vinyl edition brings the band's beloved debut album to wax for the very first time, offering fans a chance to experience its swirling, cinematic beauty in a format that truly does it justice. Essential listening for fans of The Brian Jonestown Massacre, The Asteroid #4 and Spacemen 3

2025 Repress

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to create electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre. His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With "9 Is A Classic", "Slaves To The Rave", "Pitch-Hiker", "Stereo Murder" and "We Have Arrived", just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties! The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp. All original tracks have been re-mastered to the highest possible standard of quality.

Pure Crystal clear vinyl sound better... anec even more acid like crazy...
First tracks brings a mental dancefloor lattence, reinforced by its crazy folowwing Destructo.. An exciting Freebreak tune...
The flip is an extreme broken acid live-sounds-like, glowing like a Winterreise ‎from Isla Gold and A pure jewel.

Acid Night invite Nout Heretik ! ,
3 tunes that burned the dancefloor during this year, massive bass and sub's with progressives acid sharps... to the core !

Fast sieben Jahre nach ihrem letzten Release, zahlreichen internationalen Touren, und dem Preis als Beste Band bei der ersten Ausgabe des Deutschen Jazzpreis 2021, veröffentlicht PHILM gleich zwei neue Alben. "2024" wurde in einem alten Berliner Kinosaal, der Zentrifuge, aufgenommen. Auf der Suche nach "eigenen rhythmischen Mantras", nach seltsamen, vielschichtigen Grooves und ungewohnten Sounds. Durch Groppers Kompositionen in merkwürdige Welten katapultiert, geht es PHILM um den emotionalen Gehalt dieser Grooves und um das gemeinsame Navigieren in diesen. Diese abenteuerliche Atmosphäre im Raum und das zwischenmenschliche Zusammenspiel hinterlassen ihre Spuren im Sound. Denn genau dies macht PHILM aus: eine Band, in der es nicht darum geht, sich gegenseitig mit Solos zu überbieten, sondern eine geteilte musikalische Sprache zu finden, gemeinsam zu gestalten, wie eine verzahnte Soundmaschine.

Dancefloor clear sounds, rising up and up and up... Neither happy or dark... pure tekno !
4 of them kick at regular 170 BPM.

BIG trippy tunes super cool in the mix... Bass-kicks are clear and pumpin.

Good !

After releasing on drop bass networks, Atmosfear , Loop, Sub / Version in the early 90s, and more recently on Mego, Staalplaat, Crónica and Praxis, Pure is returning in to the techno scene with a 5 tracks EP.
The tracks were recorded in 1995 together with Omniscience, no joke at all... pure analog, acid, authentic,live recorded underground Devil Hardcore/techno.

Irradiated is the second LP on Appendix.files from Berlin-based sound artist and producer Kurt Reinartz Salgado. Across eight tracks, Reinartz explores the space between dub-techno lineage and ambient experimentation — what he describes as “ADHD-ambient.” Drawing from ’90s German techno and Chain Reaction-era dub, the album blends elastic 4/4 rhythms, fractured breaks, submerged bass pressure, and patient, detail-driven atmospheres.

The record moves from deep dub openings through porous rhythmic studies and warm melodic ruptures, before closing with hydrophone and geophone recordings from Berlin’s Kaulsdorfer See — grounding the LP in physical space and material listening.

Atom is back with its 16th instalment, this time coming in hot with a debut release from Bristol based Rennz. Let him take you on a stripped back acid filled journey to the stratosphere at 170bpm.

The B-side features two remixes from Atom's roster. Micropulse dials back the intensity and twists the melody into a new and more progressive cut at 160bpm. Last, but not least, Dr. Silberman marks his return to Atom after ATF010's popularity and support from Pawlowski at Possession in Paris. His remix perfectly captures the essence this much loved style, produced with love and attention.

It's a must for any fan of classic German hard trance from the golden era of the 90s.

As always, there will be an additional 50 "Collector's edition" copies available direct via the Atom website that include the Atom label jacket inside a full artwork sleeve with a vinyl backed sticker.

do not listen it in 2 minutes please !

this is Music... Oscillating between Mental Tribe, some XP breaks and a trance feeling...

A travel into time as tunes were selected in 2024... Mastering issues and pressing fevers... And finally... this project took 2 years to come out.

It's a different way for Acid tribe music...
This is a Present.

If you like C.Ysme, Verdure, Moanda and before Tettsuo, 25ème dimension, Win and before again Curley, Pure or Somatics...

if you really open you mind : you can catch it !

Do not fall into the Format-trap for this kind of production.

Enjoy o/

Scalameriya, 1/2 of the Void+1 administration, delivers a new, conceptual techno EP.