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The second of four 12" vinyls will be released on December 6th, anticipating the release of the new Death SS concept album: "The Entity
produced by Steve Sylvester with the magic touch of Tom Dalgety, a Grammy-winning english producer, already at work with Rammstein,
Ghost , Cult and others.

The second single “Out To Get Me” is a dark and orchestral ballad that underlines the moment of the concept of the work in which the main
character Jekyll becomes aware of the evil that his alter-ego has caused. After that he feel the reaction of people surronding him. Tormented
by doubts and remorse, his mental health degenerates and he become to feel himself persecuted by infernal creatures, that are actually the real
monsters of his conscience coming to life.

“Limited Deluxe” edition on transparent blue vinyl with a special shaped cover. The product contains the second part of the booklet with the
entire story behind the concept album together with two other songs taken from the album: “TWO SOULS and HELL IS REVEALED”,
available only in physical format.

Eevo Lute originator Wladimir M. shares another chapter of his precious techno poetry. "When I was nine years old, I heard 'Funkytown' on the radio of the pool attendant over and over again. I still go to that pool. In the mid-eighties, everyone at my high school knew 'Don't Go'. And I turned sixteen, or seventeen. And was blown away by the bass line of Los 'Ninos Del Parque'. I heard it for the first time in the dark, one of the first times in that discotheque. The bass line was so atypical that I kept losing it, there in that stuffy classroom where a teacher was telling us about 'economics'. And where Peter, who was sitting next to me, was talking about 'Computer World'. And further away there was Chicago House, little did we know. I was born for it." Wladimir M. (1968), 2024

S.E. Rogie went from running a tailor shop in Sierra Leone to being one of West Africa's most popular artists. He toured around the country, singing his palm wine music in multiple local languages, created his own record label, and was known as the most handsome man in Sierra Leone. He formed the highlife band The Morningstars in 1965. In 1973, he came to the Bay Area to live and expand his base, performing everywhere from local high schools and convalescent homes to festivals and large stages. In his later life he hit the road again and toured the world, eventually passing away while on stage in Russia in 1994. He shared the following songwriting wisdom with his son, Rogee Rogers: "When you write a song, you can be complicated if you want, but your chorus should be that anybody can sing it." These tracks were originally released on his own Rogie label in the 1960s and include solo, ensemble, and Morningstars songs, most of which have never been reissued until now."

‘Leon’ is the highly anticipated fourth album from Grammy Award-winning recording artist, songwriter, and producer Leon Bridges. With 13 tracks featuring Leon’s signature storytelling and a unique blend of organic genre alchemy, ‘Leon’ is his most poignant, powerful, and personal work to date. He takes fans on a trip through the heart of Ft. Worth he knows best, the things he holds dear, and the people and places that shaped him. Featuring production by Ian Fitchuk (Beyonce, Noah Kahan), Daniel Tashian (Kacey Musgraves), and Tyler Johnson (Harry Styles, Miley Cyrus), Leon describes the album as “somewhat of a self-portrait… I’m excited to share these stories about my home, about nostalgia, about my upbringing, about where I’m from, with all of you. I hope this music brings you back to your roots and your journey.”



Quote from Leon:
“‘Leon’ has been a long-time coming. I started writing pieces of it as far back as ‘Gold-Diggers Sound.’ They didn’t fit what I was trying to do with that album and I tried moving on. But I couldn’t shake them because they’re part of me. And, if I’m honest, also because I think this is some of my most excellent work yet.In many ways, Leon has been in the works since my childhood. This record is about simpler days. It’s about time spent in my beloved Fort Worth and the experiences that made me the man I am today. It’s soulful music in the truest sense - it’s imbued with my soul.I’m excited to share these stories about my home, about nostalgia, about my upbringing, about where I’m from, with all of you. I hope this music brings you back to your roots and your journey.”

Tina Records presents Cargo Cult, six tracks from the Musci archives created using an extensive collection of traditional instruments combined with synthesisers and electronics, with remixes provided by Cut Hands and Nokuit.

Italian ethnomusicologist Roberto Musci, active since the mid 80s, has experienced a resurgence in interest since the 2016 Music From Memory compilation 'Tower of Silence', receiving endorsements from disparate influential figures. His music featured in a playlist Ryuichi Sakamoto curated for his favourite Japanese restaurant in New York, as well as in a 2019 Yung Lean playlist for The Opioid Crisis Lookbook.

Cut Hands is the alias of William Bennett, most well known as the originator of the Power Electronics genre with his project Whitehouse. Inspired by Haitian Vodou, under the Cut Hands moniker, Bennett has been exploring rhythm and percussive instrumentation since 2007 with releases on Blackest Ever Black and Downwards.

A film composer by day, Nokuit has developed a distinctive cosmology over a mutating series of releases on underground labels such as wannamarchi.club and NKT. He has performed internationally, including at Cafe OTO as part of a lineup curated by Flora Yin-Wong.

Eurorack tweaker, 8-bit master, king of carnival madness, Dutch producer Solo moderna is back with his female alter ego singer Krage, for some 80s flavored, chiptune infused, electro-latin bangers. Unofficial Electo-Funk anthems? Sweaty remakes from outta space? who knows.. the only unquestionable thing here is that loads of fun await the crowd when dropping this tasty 7” on the turntable. Certainly not your average tropical music, though.

This double sider stands as a foretaste for the album release in May 2024, that will unite this pair in a perfect fusion of Afro-Latin rhythms and modern synth pop.

The Numero Group guide to private issue new age. Featuring Laraaji, Iasos, Joanna Brouk, Don Slepian, Peter Davison, Master Wilburn Burchette, Jordan De La Sierra, David Casper, Robert Slap and 9 other pioneers of the Perrier underground. Adorned with Marcus Uzilevsky's Linear Landscapes, this 2xLP compilation is housed in a sturdy tip-on jacket and is accompanied by a 32-page booklet. The fourth world awaits.

The Numero Group guide to private issue new age. Featuring Laraaji, Iasos, Joanna Brouk, Don Slepian, Peter Davison, Master Wilburn Burchette, Jordan De La Sierra, David Casper, Robert Slap and 9 other pioneers of the Perrier underground. Adorned with Marcus Uzilevsky's Linear Landscapes, this 2xLP compilation is housed in a sturdy tip-on jacket and is accompanied by a 32-page booklet. The fourth world awaits.

This EP from The Brothers Grimm is a bona fide classic - but what else would you expect from the legendary combination of two of the best producers in the scene, Dyce and Acen?

Both sides are incredible, but Exodus is the track that really took off to become one of the first jungle anthems. The EP is famous for its clever use of an absolutely killer breakbeat, and a unique vocal that showcased all the best elements of old skool rave and jungle. This is mixed with many audio elements that were brand new back then, but have since become standard in the jungle scene.

Now beautifully remastered from DAT, this is an EP that every collector and raver must have in their collection!

Lara Sarkissian’s long-awaited debut full-length, ‘Remnants’ is an ornate patchwork of ancient and modern sonic shapes that uses the vernacular of electronic music to reformulate Armenian traditions and memories. Taking digitally modeled instruments (such as the kanun, a large zither, and the duduk, an ancient double reed woodwind instrument), vocals, davul and dhol drums, tenor saxophone (from acclaimed Paris-based player Adrien Soleiman) and myriad electronic elements and techniques, Sarkissian tangles the old and the new, creating an immersive, narrative-driven experience that’s powered by history, mythology and her own familial connection to the West Asian landscape. It’s an album that’s best absorbed like a film; only multiple encounters can reveal its layered themes and references to industrial music, noise, various club styles, ambient and traditional folk.

Born and raised in San Francisco and currently based in Los Angeles, Sarkissian has developed her unique approach to composition over years of relentless experimentation across various disciplines. Her interest in music production initially stemmed from her filmmaking and video editing work, when she began to sculpt her own sound collages and scores to accompany the visuals. Since then, she’s constantly blurred the boundary between dance and experimental music, DJing around the world, producing AV installations and scoring film and video projects that have been exhibited in Berlin’s Gropius Bau, Montréal’s Musée d’art contemporain, the Music Center Los Angeles and other prestigious institutions, and releasing music with labels such as Tresor, Knekelhuis, All Centre, Silva Electronics and CLUB CHAI, the label and event series she co-founded. In recent years, she’s also been able to advance the theory behind her art, publishing a conversation with ethnomusicologist Sylvia Alajaji in the Journal of the Society of Armenian Studies in 2021, and unveiling her methodology in Norient’s ‘This Track Contains Politics – The Culture of Sampling in Experimental Electronica’ a year later.

‘Remnants’ is a new stage in Sarkissian’s evolution as an artist; not only is it her first proper album, but it’s the inaugural release on her new platform btwn Earth+Sky. She sees the label as a place to encourage collaborations between musicians and producers and prioritize sound in visual arts realms, and ‘Remnants’ is the ideal proof of concept. It opens with ‘Heaven, or Paradise; and Hell’, a track that’s inspired by the layout of the Armenian sharakan (or hymn) ‘Aravot Luso’. Sarkissian imagines the original piece’s harmonies and melodies as parts of a dreamy electronic opera, using digital kanun sounds to punctuate her woozy, evocative synths. Soleimen joins on tenor sax in the third act, while Sarkissian repeats the chant and Jace Akira adds ghostly traces of electric guitar and bass. And on the rousing ‘Our Dead Can’t Rest (Old Jugha Flute Dance)’, Sarkissian chops urgent davul and dhol drum rhythms with spine-chilling shvi woodwind sounds lifted from a documentary about Old Jugha. The title is a reference to the moving of graves by Armenian families; the area initially housed over 10,000 elaborately carved khachkars (cross stones), one of which is pictured on the album’s cover, provided by historian Argam Aivazian’s archive.

On ‘Miracle’, Sarkissian samples atmospheres from the post-Soviet Armenian comedy film ‘Կիսանդրի’ (Kisandri). She takes this opportunity to lighten the mood a little, powdering her smudged samples with tightly edited breaks and bass thumps. It’s not until the album’s middle section that the duduk, perhaps Armenia’s best-known instrument, makes its appearance. Its familiar reedy tones, popularized by Djivan Gasparyan on his many Hollywood soundtrack appearances, emerge on ‘Unraveling (Interlude)’, weaving through the acidic ‘Zephyr’ and ‘Far from the eye far from the Heart’, a post-punk inspired stomper. Sarkissian mutates the instrument almost beyond recognition, pitching and layering it into a voice-like wail that creeps between her woody, dancefloor-primed percussion on the former, and turning it into a gentle, ghostly moan on the latter. And she brings ‘Remnants’ to a close with two of her most cryptic tracks, marrying digital kanun strings with Soleiman’s resonant tenor hums on ‘What Solace Can I Give’, and looping the same saxophone sounds until they dissolve into the air on the beatless closer ‘…nothing matters more than touching you although i haven’t touched you yet’.

It’s an album that ties up Sarkissian’s various interests and experiences, finding a romantic, poetic glimmer of light in history’s darkness. But most of all, ‘Remnants’ is about the optimism of starting anew, and rebuilding a life from the pieces of everything that’s been left behind.

S-Tone Inc., one of the most acclaimed artists on Schema Records, with +300.000 monthly listeners and millions of plays on Spotify, is back with a full rework of his previous full-length "Body & Soul", a homage to the late '70s / early '80s disco music that the artist used to immerse in during those adventurous years. Early '90s British acid jazz, '70s soul, Brazilian and jazz music are here reworked in a nu-disco key, with the exception of the downbeat tracks "Flying Away" and "Midnight Sun" and the 'spacey' "Odoya", rearranged by The Invisible Session without mining the overall mood of this release.

Naoki Zushi. Perhaps best known for his stellar guitar contributions to psych folk group, Nagisa Ni Te, Zushi has had a parallel career, for several decades, slowly releasing solo albums that spotlight his exultant guitar playing. Originally released to CD only by Shinji Shibayama of Nagisa Ni Te’s Org imprint in 2018, IV has Zushi playing and writing at a peak, its six songs slowly unfurling with a kind of paradoxical understated grandeur. This is psychedelic guitar music at its most paced and considered, yet given to flights of inspiration, and in this respect, Zushi sits within a lineage of guitarists who’ve used their instrument both as textural anchor and improvisatory tool – think of figures like Phil Manzanera and Robert Fripp, but also Roy Montgomery, Liz Harris of Grouper, even Tom Verlaine on his instrumental solo albums. Like those artists, Zushi locates moments of deep emotional resonance amidst luxuriant textural and melodic exploration. Zushi’s history stretches back to the mid 1970s. While for many, he first appeared on the scene as a founding member of noise legends Hijokaidan, alongside Jojo Hiroshige, his musical contributions predate that encounter. He started out playing progressive rock and improvised music, making home recordings of when he was in high school. He was a member of Rasenkaidan (Spiral Staircase) alongside Hiroshige and Idiot (Kenichi Takayama), the group that soon mutated into Hijokaidan (Emergency Staircase). Zushi and Takayama would soon form Idiot O’Clock, in 1982; Zushi also led his own Naoki Zushi Unit, starting in 1983. But for many, Zushi’s first significant appearance on record was as a member of Shinji Shibayama’s mid-eighties psych-pop group, Hallelujahs, whose sole album was recently reissued on vinyl. That group mutated into Nagisa Ni Te, and Zushi has played a significant role as their lead guitarist for several decades. His own solo music has appeared sporadically – Paradise (1987), Phenomenal Luciferin (1998), III (2005) and IV, with a few recent, meditative offerings, For My Friends’ Sleep (2021) and Nocturnes (2022). With IV, though, Zushi achieved something remarkable, a kind of extended exploration of the time-altering properties of echoplexed, hypnotically spiralling guitar interplay. The opening ‘Mirror’, “a song about the mirror inside me,” Zushi explains, starts out as a lush psych-folk song, slow and gentle, but soon takes to the skies with a cat’s cradle of Fripp-esque guitars, before thick, droning chords sweep the song to a drowsy coda. ‘Nocturne’ weaves silver skeins of guitar melody around a cyclical chord pattern; it gathers energy and quiet intensity through insistent repetition. The rest of the album explores the nuance Zushi can draw out of simple elements, building on what ‘Mirror’ and ‘Nocturne’ offer – the profundity of a chord change; the melancholy of a few quietly sighed words; the exhilaration of a guitar solo bursting out of the speakers; the subtle shifts in emotional register offered by tone and touch. Throughout, there’s something quiet, yet ineffable, shading the contours of the songs, such that it makes perfect sense when Zushi says, “What I want to express through music may be ‘sense of mystery’.” A few of the songs had their basic parts recorded at LM Studio and Studio Nemu with Shibayama and Masako Takeda joining on bass and drums, respectively; much of the album, however, was tracked at Zushi’s home studio. That seems appropriate for a collection of songs that are expansive in their intimacy. Asked what drove the sessions, Zushi answers, “I thought I’d make IV an album that particularly focuses on the guitar play.” And focus it does, as Zushi’s sky-scraping, soaring, elemental tone is front and centre throughout. But these are no guitar heroics; rather, Zushi uses the guitar as conduit and diviner, a tool for spirit location, and IV is his most eloquent expression yet of such singular magic.

Following the release of Co-Accused's VA006 EP this summer, the Glasgow promoters and label heads pick out one of the last release’s heady talents for his own solo EP. UK wonky techno and jacked-up-riff master Luke’s Anger presents Corporate Hell EP for release this December, busting out with bare back to basics raw jam energy. Known for bringing an edge of fun and funk to techno, Luke’s been a big feature of Jerome Hill’s much respected Don’t Records, also released by Sunil Sharpe’s Earwiggle and high-spec club trax imprint Sneaker Social Club.

‘Corporate Hell’ opens the release with a bumping four four stomper, driven by a screaming melody line that lifts the dancefloor energy from the off. ‘The Sentinel’ follows with yet another big dancefloor moment made up of super slick machine funk, hammering away with grimy distortion.

Over on the B Side, the rawest of the raw ‘UFOh No!’ drives up the intensity in classic wonky techno style, off kilter melodies riff beside a shuffling beat lifting the levels another notch. To close out the EP the heady peak time pace of the EP stays lifted with bleep techno mover ‘Haffa Bar Jack’ in what’s a pure and relentless-to-the-end banger. This is classic Luke’s Anger material, made for the DJ and dance floor at its core.

Coming off a successful transatlantic exchange, Brian Kage and his Michigander label keep the momentum, and the collaborative spirit, moving with an EP that hits closer to home. For any Detroit artist, working with Delano Smith would be on the bucket list, as one of the city's original, more influential DJs — before the D developed any of its "waves" — who would come into his own as a producer later to, once again, help mold the Techno City's sound. Make no mistakes about it, this tastemaker had a ripple effect back before techno even had a name, when it was just "progressive" music and mixing. The thing is, the feeling of admiration and respect here is mutual, from the moment Smith first stumbled across one of Kage's records and had to know who was making these sounds. This meeting of the minds happened organically and timely, with Keep 'em Movin’ as the result.

Opening the release is the title track, a driving number with pulsating synth tones and deep, call and response piano stabs. The ever so slightly pitched down vocals are modern and effortlessly cool, a style that resonates with today's dancefloors, but done tastefully, and with lyrical content that sets the record straight about what it really means to represent Detroit.

"D Spirit" takes an ancestral turn. This is spaced-out Detroit techno meets afro deep at its finest. Forward moving keys are bathed in deep, celestial pads as shuffling hats accented by light hand percussion beckon the body to move. Lively marimbas cut through the hypnotic undertones and awaken the senses with soulful appeal. A fluid bassline rumbles beneath while baroque pianos add tension and heighten the atmosphere.

The final track rounds the release out with an exclamation mark. For lovers of Delano Smith's infamous remix of "A

Legendary producer Sweet Abraham, head of Diaspora Recordings, is making his long-awaited return to vinyl with a release on the swiss label imprint Léman Records. For the first time in a while, he feels the same sense of responsibility and excitement as in his early days with
Defender and deep4life. While remaining true to his signature sound, Abraham ventures into a more relaxed, slower house tempo, creating a deep, atmospheric, and dub-infused vibe. The tracks "Givin U" and "Walk of Melech," though distinct from one another, offer a fresh take on his style, while maintaining the richness and depth his fans have come to expect!

Ted Taylor was born in Okmulgee; Oklahoma; but in the early 1950s he moved to California; where he would become a member of several vocal gospel groups.

Robert Mitchum (1917-1997) was an acclaimed actor and singer, known for his Academy Award-nominated role and his 1957 calypso album, Calypso - Like So....

he debut album from Marcus Mumford, frontman of Multi-Platinum, Grammy, and Brit Award winning band Mumford & Sons. Collaborations with Clairo, Phoebe Bridgers, Brandi Carlile, and Monica Martin. Exclusive Limited Edition Version, includes Unique Artwork & 12-inch Clear Transparent

A Mountain of One return with their second single from eagerly awaited forthcoming album "Stars Planets Dust Me".

"Dealer" sees them push further into the Cosmos with a modern take on the electronic disco pulses of Kraftwerk and Giorgio Moroder mixed with organic sensibilities, Electric sitar and reverse guitar akin to the heady moments of The Beatles track "Tomorrow never knows". Criss crossing Balearic, psychedelia, disco and electronica.



”Dealer” shows the band, made up of musical soulmates Mo Morris and Zeben Jameson, have lost nothing in the past decade. Recorded over Skype during the coronavirus pandemic, with Mo now in Bali and Zeben in west London, a shimmering, modern classic, experimental but accessible, melodic and adventurous. As ever, it is utterly unique, made in a musical universe all of their own.

When A Mountain Of One first started performing, they quickly became one of the most- acclaimed bands out there, with the likes of i-D, Sunday Times Culture, Pitchfork, NME and more raving about them and their inspired and original approach.

Sold-out shows and awesome reviews followed with “Collected Works” and “Institute of Joy”, two phenomenal globally acclaimed albums that have stood the test of time,
This heady odyssey is mastered again by Global Electronic music icon "Ricardo Villalobos", and soon to also be remixed by Ricardo on a full album of his interpretations of the forthcoming album.
Their first single "Custards last stand" from the forthcoming album had radio support from NTS radio, Worldwide FM / BBC 6.



The forthcoming album “Stars Planets Dust Me” will be released March of 2022.

Cascading through kaleidoscopic stardust and forming in the outer reaches of the music universe, transcending time and distance, cosmonaut musicians Mo Morris & Zeben Jameson reconnect to write & record songs from opposite sides of their planet (Bali and London) written over the internet during the pandemic. Landing the much anticipated and eagerly awaited new A Mountain of One album "Stars planets dust me".

Welcome to the formative British psych electronic heroes A Mountain Of Ones 3rd studio album.

Mastered and reimagined and a full forthcoming album rework by electronic wizard, master selector & global superstar Ricardo Villalobos, featuring additional collaborations from 80s/90s Balearic legends "The Woodentops`s" front man "Rolo McGinty,”, Japan’s cult heroes ``Dip in the Pool" and "Unkle" and "Toy Drum`s" Pablo Clements.

UK Dub master "Dennis Bovell MBE" also makes an incredible appearance on the "Custards Last Stands" dub versions. Now available on a ltd Japanese 10". A beautiful artwork series generously loaded in by photography legend Dick Sweeney, and co-mixed by Dea Barandana in Indonesia. With its cosmic pop sound, soulful soaring, balearic sensibilities and feel good choruses it carries all the weight of a much needed revo- lution in psychedelic, conceptual ever popular music and sounds & feels like the infamous crossover album that promised to come from the heady days of the bands ascend last time round.

So here’s some back story, garnered from the hearsay, folk law, the myths and the legends, of 10 years ago, in case, like Mo & Zeb, if they'd remembered any of it, they probably weren’t there, after 2 much acclaimed albums and sellout shows vanishing in a cosmic cloud of dust the yin and yang brothers Mo Morris (ZSOU/Electric Stew) & Zeb Jameson (Oasis/Tricky/Pretenders) uncoupled and each em- barked on a pathfinder mission to equip themselves for their inevitable return... they just didn’t know it at the time... and as the global community ground to a halt 2 years ago they sought refuge from opposite sides of the planet in each other's company again.

The solace and rejuvenation it gave had them re-emerging as invigorated, inspired and wiser music creators, this has given rise to the evolution of their 3rd all important album‘s sound.

Zeb "our capacity as human beings is more phenomenal and limitless and way beyond the conventional thinking of society constructs but also in complete harmony with the intelligence and brilliance of advancing technologies".
Experiencing this energy together, as dedicated and devoted music pioneers, these great collaborative universal truths were revealed, imbed and steeped in their writing and recording experience as the music touched and resonated with all involved to create the fresh and fully formed A Mountain Of One 2.0.